Posted May 2, 2018 in Blog, Case Study

Livia Marin, “Nomad Patterns,” 2012. Ceramic, resin, plaster, transfer print. Thirty-two pieces in series. Photo courtesy of artist.

HCCC Curatorial Fellow Sarah Darro recently asked Livia Marin a few questions about the processes and inspiration behind her work. Livia is featured in HCCC’s Case Study Space and is presented in conjunction with the recent exhibition, Treachery of Material: The Surrealist Impulse in Craft. Continue Reading »


Posted January 26, 2018 in Blog

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It goes without saying that 2017 was a remarkable year for Houston. From Hurricane Harvey to the Astros winning the World Series, it was an historic year, without mentioning the highs and lows for the nation as a whole. Here, at Houston Center for Contemporary Craft, we look back on last year with equal parts elation and wistfulness, but most of all with gratitude to you, our many supporters, collaborators, visitors, and enthusiasts.

Thank you to everyone—individuals and organizations included—who provided support to HCCC last year. Your contributions have been invaluable to our efforts, and, with your help, we continue to make Houston among the most exciting places for contemporary craft in the country. In particular, we wish to thank everyone who contributed to our recent annual fund.  A gift to the Houston Center for Contemporary Craft—whether made as part of last year’s drive or today—ensures our ability to support the work of contemporary craftspeople and make accessible their work to all audiences.

In 2017, We opened 11 exhibitions, with shows ranging from celebrations of the best of contemporary craft, such as Edward Eberle Retrospective or Storyline: The Contemporary Quilt, to those that pushed the definition of craft, including For Hire: Contemporary Sign Painting in America and The Sound of Things. Exhibitions like United by Hand: Work and Service by Alicia Dietz, Drew Cameron, and Ehren Tool and Annie Evelyn: Multiple Impressions encouraged visitors to get involved, or even get in touch, with the art on view. We expanded our educational programming, bringing fresh energy to our monthly Hands-on Houston programs; initiated Craft Social, a new evening program for visitors of all ages; and reintroduced a series of master workshops in disciplines such as life drawing and contemporary calligraphy. And, we welcomed many wonderful resident artists from across the country, even as we had to say goodbye to some of the previous artists, with whom we had grown close.

Last year was filled with exciting developments at HCCC, and 2018 promises more of the same. Expect to see the Center continue to challenge and inspire through exhibitions, programs, and events. This year will see the implementation of the first initiatives of our new strategic plan, written in 2017 to guide our growth over the next three years. If you haven’t been to the Center in a while, I hope you will join us and experience the exciting work we are doing. We remain open and free to the public, and we encourage everyone to experience craft in a novel way.

Please join us for our Winter/Spring Opening Reception on Friday, February 9, 5:30 – 8:00 PM.  We’ll be celebrating our upcoming exhibitions,  Light Charmer: Neon and Plasma in Action, with live performances in the Main Galleries, and Treachery of Material: The Surrealist Impulse in Craft, in the Artist Hall.  The evening will also feature open studios by the current resident artists.

In the meantime, we’d love to get your feedback in this brief survey, to hear what you like best about HCCC, how you would like to hear from us (and how often), and any other comments you may have that could help us to better serve your needs and interests. The survey will take less than five minutes to complete, and you’ll have the opportunity to enter a drawing to receive a $50 gift certificate from Asher Gallery.

Thanks again for your support, and we look forward to seeing you soon!

—Perry Allen Price, Executive Director


Posted October 11, 2017 in Blog

I don’t know about you, but this fall, I am particularly grateful to be part of the greater arts community of Houston. The cumulative effect of the recent disasters and tragedies has been traumatic, upending the lives of friends, families, and colleagues across the region, the country, and abroad. I have taken solace, however, from the experience here in Houston of a community that comes together in support of one another. Your support of Houston Center for Contemporary Craft is no different. Continue Reading »


Posted August 29, 2017 in Blog

Dear Friends of Houston Center for Contemporary Craft,

We are grateful for the many calls and messages asking after our safety and security following the unprecedented flooding in Houston – we are proud to be part of such a compassionate and steadfast field of colleagues, artists, and supporters. Thank you all. Continue Reading »


Posted August 8, 2017 in Blog

The following interview is the second in a summer series of Q&A sessions with current resident artists. HCCC Intern Claire Alderson recently spoke with Rebecca Hewitt, a metalsmith interested in environmental issues and community engagement.

Rebecca Hewitt, “Endangered,” 2015. Photo by Claire Lafontaine.

Claire Alderson: When did you get into making jewelry, and how has being environmentally conscious affected your process?

Rebecca Hewitt:  I started making jewelry about five years ago, during my second semester of college. I took an intro course and fell in love with metalsmithing, although not immediately (the jeweler’s saw was a difficult tool for me to learn, and I went through piles of saw blades). Metalsmithing is captivating in many ways—there’s tradition, problem solving, and a beautiful community.

I try to be mindful of the processes and materials that I’m using in my practice. When approaching different processes, I consider the impact they might have and, if needed, employ potential alternatives. When approaching different materials, I try to source responsibly and locally whenever I can. Creating a totally ethical practice is impossible, but it’s my responsibility as a maker to continue to evolve my practice in an ethical manner.

Continue Reading »


Posted August 4, 2017 in Blog

Annie Evelyn, “Oshibana,” 2017. Handmade paper flowers, silk flowers, foam, wood. Photos by Scott Cartwright. Annie Evelyn, “Oshibana,” 2017. Handmade paper flowers, silk flowers, foam, wood. Photos by Scott Cartwright. 

One of the pleasures of the field of contemporary craft is the tactile experience of materials used by craftspeople in the creation of a unique work of art. Unfortunately, once the work is on exhibition in our galleries, as with any museum, it is “hands off” for visitors. This summer, the normal guidelines that constrain your perception of a work of art have been lifted, as we invite you to experience the installation of new work by furniture maker Annie Evelyn with your eyes as well as your, well, derriere. Continue Reading »


Posted July 12, 2017 in Blog

Shiyuan Xu, “Through the Lens #4,” 2016. Photo courtesy of Lisa Hardaway.

The following interview is the first in a summer series of Q&A sessions with current resident artists. HCCC Intern Claire Alderson recently spoke with Shiyuan Xu, a ceramicist inspired by a microscopic view of our world. Continue Reading »


Posted June 1, 2017 in Blog

Honeybees are here! Photo by Perry A. Price.

This spring, HCCC added around 10,000 new staff, give or take a hundred, but you will probably never notice them. They are working in our Craft Garden and likely will put in a few extra hours across the Museum District. They are honeybees, whose hive was recently installed on the roof of the Center.  Continue Reading »


Posted May 28, 2017 in Blog, Case Study

Peter Callas assisting Peter Voulkos in Belvidere, NJ, 1998. Peter Callas built the first anagama kiln in the United States, and Voulkos fired many of his pieces in it later in his career. Photo by TolneGGG (Own work) [CC BY-SA 4.0 (, via Wikimedia Commons.

The following text accompanied the work, Untitled Plate (1989), by Peter Voulkos, on view April 18 – May 21, 2017, at HCCC as part of the Case Study exhibition series. Rotating periodically throughout the year, this series presents an in-depth look at craft-based objects as they relate to current events and/or spotlights a moment in craft history.

HCCC would like to thank the Museum of Fine Arts, Houston, for making this work available for exhibition. Please make sure to visit In the Studio: Craft in Postwar America, 1950 – 1970, on view at the MFAH through October 8, 2017, to learn more about the development of Studio Craft in the United States.

Peter Voulkos (American, 1924-2002) was a pioneer of Studio Craft, a post-World War II movement in the United States that experimented with new techniques in the traditional materials of metal, clay, glass, wood, and fiber, as well as non-traditional materials. He shaped the ceramic avant-garde during the mid-20th Century and broadened the scope of contemporary ceramics through his experimentation with surface and form.

Continue Reading »


Posted May 5, 2017 in Blog

Madison Creech, “#TBT Smiley,” from the series, “Always Low Brow Always,” 2016. Hand embroidery on plastic Wal-Mart bag. Photo courtesy of Madison Creech.

HCCC Curatorial Fellow Sarah Darro recently asked Madison Creech a few questions about the processes and inspiration behind her work. Madison is featured in In Residence, which is on view in HCCC’s Artist Hall through May 20, 2017. 

Sarah Darro: Your series of sculptural quilts, LOL-a-Bye Felicia, incorporates digital fabrication techniques and humorous references to music and pop culture. How do you see this work in conversation with a contemporary culture of sampling in the music industry and on the Internet?

Madison Creech: Within contemporary culture, we consume information and images without hierarchy. In one scroll through Facebook, you will find a tongue-in-check meme, then a newsworthy injustice, then a series of baby photos, etc. Each update occupies the same amount of space as the next. Our mind is subconsciously making connections and comparisons between the memes, the news, and our personal lives. I feel like a lot of my collaborative work with Matthew [Madison’s husband and artistic partner] consists of iterations of these connections and comparisons. Continue Reading »