Notes from the Director
Winter 2012
On October 3, 2011 Sarah Millfelt, NCC’s new director, took the baton from Emily Galusha, NCC’s director since 1994. (They will overlap for the next couple of months.) Emily asked Sarah to talk about her ideas and concerns for the future.What do you think will be the greatest challenges for NCC in the next three to five years?
Northern Clay Center must define new ways in which it can stay relevant and helpful to artists, students, and collectors in this digital age and in these economic times. We need to expand our online presence in an effort to reach those who cannot, or will not, pass through the Center’s doors. We need to continue to provide high quality programs that meet the needs of our constituents and that, not incidentally, catch the interest and commitment of new funders.
What differences might people see in programs or the place?
They will see an increased focus on our online presence—from the inclusion of educational resources such as our publications and artist lecture videos, to the sale of pots and the ability to view our exhibitions in virtual space. We also hope they will see a better roof and more green around the building.
What can they feel confident won’t change?
Northern Clay Center is revered for both its commitment to the advancement of the ceramic arts and for its high quality and diverse programming. These cornerstones will not disappear in your absence; nor will NCC’s long-standing relationships with all of its constituents—from artists to students to community partners and donors. There will be no change simply for change’s sake. What’s working will continue to work; what’s not will be assessed and changed accordingly.
What programs are coming up in the next 3 - 6 months that you are especially excited about?
Northern Clay Center will start the fourth year of our 4-year grant from the Wallace Foundation, with new partnerships with such organizations as Cerenity Senior Care, Lyngblomsten, and Volunteers of America—all of which serve our Wallace target population of 55 and older. We will also continue our long-standing partnerships with the University of Minnesota’s OSHER Lifelong Learning program and provide intergenerational programming for youth and 55+ at several Twin Cities organizations who serve 55+ in various independent and assisted living units.
In February, NCC will prove once again that the world’s best chili is not created in California, Mexico, or Texas—it is born in the crock pots of hungry Midwesterners, whose chili gives them heat and solace in the dead of winter. Join us Thursday, February 9, from 4 – 8 pm, for the ART@HAND Open House and the 4th Annual Chili Cook-off. Beginning at 6 pm, amateur chilistas (and professionals alike) battle for such titles as Best Chili of the Vine, Fowl, or Hoof.
NCC’s exhibition program will highlight a wide spectrum of ceramic work—from the very talented emerging artists who received Jerome and Fogelberg grants (January), to more established artists who are exploring ideas of production, design, and ceramic industry in the FUN•ctional exhibition in March, and the work of our first of two 2012 Regis Masters, Richard Shaw, also in March.
On a personal level, what do you think might be the biggest adjustments we each have to make?
Sarah—I’ve worked closely with you for over 12 years. You have been a mentor who has become a trusted peer. I’ll notice when you’re not here.
Emily—On the most prosaic level, not coming to NCC every day of the week and often on weekends—not waking up at 2 am trying to sort out some personnel issue, or more happily, coming up with a good title for an exhibition.
What are we each proudest of in the past and excited about for the future?
Sarah—The ClayToGo program has flourished over the last decade, due to the talents of NCC’s amazing teaching artists and staff. I am honored to have had the opportunity to work alongside these individuals and cultivate partnerships with local schools and community organizations—and hundreds of teachers, staff, and parents who are passionate advocates for arts education—to bring clay to thousands of youth, adults, and families.
There are so many kinds of people interested in the ceramic arts—young, old, makers, collectors, novices. Everyone knows someone who makes pots or clay sculpture. I am excited to find new ways to connect with these individuals who have not yet, for whatever reason, discovered the Clay Center and its programming. Likewise, I am eager to re-engage those who have had a long history with NCC.
Emily—When I began my involvement with the Clay Center, it was a struggling start-up whose survival was in doubt, despite the great ideas, hard work, and initial funding of the founding artists, staff, collectors, and funders. I’m very pleased to leave an organization that is financially strong, and in the hands of a capable board and staff who will steer it through these very difficult economic times.
In terms of programming, I am very proud of the roster of exhibitions produced by NCC, which have included almost anything that can be done with ceramic material—from industrial uses to mugs to architecture to unfired installation, and from hot out of the kiln to Neolithic age. It is a list unequaled by any other arts organization in scale and scope.
And then there is NCC’s work with artists: since 1994, NCC has paid over $5.5 million to individual artists, in the form of commissions, grants, studio subsidy, and teaching fees. With continued funding from foundations and others, we will continue to do all of that and more in the future.