Join us for an engaging and thought-provoking discussion centered around the captivating history of our current exhibition, Fired in Revolution: Ceramics from the People’s Republic of China.

Exhibition Manager Pam Aliaga will lead a tour and offer two signature boba drinks, created in house. The exhibition presents ceramic work created during the Cultural Revolution, a period in China when all artistic and imagery production was under strict control by Chairman Mao.

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What We Surround Ourselves With: A Metalsmith’s Collection highlights exceptional craftsmanship from the private collection of Metal Museum blacksmith, Jim Masterson.

Demonstrating metalsmithing mastery in a range of materials, techniques, and styles, this exhibition is an ode to the evolution of craft, work, and stories shared through the Museum’s metalsmithing community.

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In Shadow Piece(s): Chance-Based Responses in Clay, seven ceramic artists—Maggie Adams, Alexis C. Brunkow, E.C. Comstock, Tomo Ingalls, Vanessa Romo, Jennifer Schumacher Waller, and Kurt Tomerlin—respond to a single set of written instructions: Shadow Piece (1963) by Japanese Fluxus artist Meiko Shiomi. Originally conceived as a poetic performance score, Shadow Piece invites a meditation on the presence and movement of shadow in space and time.

Curated by E.C. Comstock and Olive Comstock.

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Join us in celebrating the achievements of our 2024 – 25 Early Career Artist Grant Recipients.

Northern Clay Center administers several grant programs designed to support artists in the early stages of their careers through residencies, grants, and education.

This exhibition features the work of Jessica Hernandez, Hannah Kautto, and Anastasia Speer.

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Seisler is a ceramic artist whose work investigates time, materiality, process, and the shifting roles of artist, viewer, and collaborator. She earned a BFA from the Museum of Fine Arts, Boston, and an MFA from the School of the Art Institute of Chicago (SAIC).

Seisler is also the Founder and Director of A-B Projects, a space dedicated to exhibitions and alternative education in conceptual ceramics.

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Mimlitsch-Gray explores craft as both subject and object, engaging the history and methods of metalsmithing to reinterpret utility and form. She received her MFA from Cranbrook Academy of Art and is an American Craft Council Fellow.

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Tools of the Trades: American Handmade Implements & Devices is the first exhibition of its kind to highlight beautifully designed, hand-crafted tools made by contemporary toolmakers and artists in the United States. It celebrates the ingenuity born of necessity and the special narratives in the hand-crafted.

The objects pertain to a wide scope of crafts: ceramics, textiles, hot glass, wood working, and metal, including the niche fields within them, such as blacksmithing or spinning.

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Join us for Motawi Tileworks’ third annual Winter Market on Saturday, December 13, 10 a.m.–5 p.m.

Drop in for photos with Santa and Mrs. Claus, a tile-signing hour with Nawal, quick factory tours, and a holiday tile retrospective. Browse our gallery, Boneyard, and staff-made art in a festive Christkindlmarkt setting.

At 2:30, don your best Krampus costume—top looks win a special 6×6 Krampus tile.

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Catalyst: Im/migration and Self-Taught Art in Chicago underscores the creative contributions of migrants and immigrants, broadening the scope to include artists deserving of greater attention, while posing questions about access to the art world and how art comes to be defined and valued. Considering artists in the context of their migration experience, cultural backgrounds and communities invites new insights into their work.

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To kick off our year of programming from nationally acclaimed teachers, we want to showcase the talents of our local community from first timers to experienced weavers, spinners, dyers, felters, rug hookers, and all things fiber arts.

Entries for the exhibition will be accepted from December 9, 2025 to January 16, 2026.

The exhibition will run from February 6 to March 8, 2026 with a special opening night on February 6.

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America 250: Common Threads reflects on 250 years of art as civic participation. A copy of the Declaration of Independence will anchor a group of historic documents displayed alongside quilts, weavings, whirligigs, paintings, and more, from the eighteenth century to the present. Local quilters working live in the galleries will piece quilt squares made by Arkansas K-12 students and designed by artist Basil Kincaid.

The exhibition is organized in partnership with the American Folk Art Museum.

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B. Jean Larson is an artist and researcher who questions value and visibility by exploring the intersections of utilitarian textile craft, posthumanism, and queer theory. Central to her practice is the metaphor of the bog: a queer space that shifts between the binaries of land and water and has been historically devalued.

Through meticulous hand braiding, B. Jean creates large-scale rag rugs that move between painting and sculpture, art and craft.

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Wayne Art Center is pleased to announce Living with Craft, featuring artworks in a diverse range of mediums that represent and celebrate an aesthetic and functional role of craft in our everyday environment.

A distinctive collection of contemporary lifestyle vignettes will showcase furniture, lighting, textiles, ceramics, glass, jewelry, wearable art, and sculptural objects by approximately 50 artists.

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Wayne Art Center is excited to announce the 30th anniversary of CraftForms, the International Juried Exhibition of Contemporary Fine Craft.

Located in the Davenport Gallery, the exhibition features work created by 102 artists from 31 states and four countries, including Hong Kong, Japan, South Korea and Switzerland.

Works include basketry, ceramics, fiber, furniture, glass, jewelry, metal, mixed media, paper, wearable art, wood and 3D printing.

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San Diego-based artist Ashley Blalock created a large-scale, site-specific crocheted installation for the Santa Cruz Museum of Art & History for their 30th Anniversary.

Says Blalock: This slow, meditative process is a remedy to world increasingly comprised of virtual connections, quick transitions, planned obsolescence, and instant gratification.”

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