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Margaret Bohls

Biography to Display: 

EDUCATION

1986–1987 Coursework in Art Theory & Philosophy, Honors Program, University of Maine, Orono, Maine

1989 BFA Ceramics, Rhode Island School of Design, Providence, Rhode Island

1995 MFA Ceramics, Louisiana State University, Baton Rouge, Louisiana

RESIDENCIES

1990-1992 Artist in Residence, Archie Bray Foundation for the Ceramic Arts, Helena, Montana

2000Watershed Center for the Ceramic Arts, Artists Invite Artists Program, Newcastle, Maine

PRIMARY WORK EXPERIENCE

1994 Adjunct Faculty, Newcomb Art Department, Tulane University, New Orleans, Louisiana

1995-1998 Assistant Professor of Ceramics, Sam Houston State University, Huntsville, Texas

1998 Summer Term Faculty, Sam Houston State University, Puebla Field School, Puebla, Mexico

1998–2010Assistant Professor of Ceramics, University of Minnesota, Minneapolis, Minnesota

2005 Visiting Faculty – Ceramics, Pennsylvania State University, State College, Pennsylvania

2005–2011 Ceramics Faculty, Northern Clay Center, Minneapolis, Minnesota

2006 Visiting Faculty – Ceramics, Ohio University, Athens, Ohio

2008 Summer Visiting Faculty – Ceramics, NSCAD University, Halifax, Nova Scotia, Canada

Spring 2011 Ceramics Faculty, Anoka Ramsey Community College, Coon Rapids, Minnesota

2011– Assistant Professor of Ceramics, University of Nebraska, Lincoln, Nebraska

 

Margaret Bohls in known for two distinct bodies of work: Diagonal Grid Ware and Black/ White functional Ware. Each body of work is created using soft porcelain slabs that are strategically cut and assembled into three dimensional vessels. Bohls fires her work in an electric kiln (2,300F) to complete glazing.

Bohls’ Diagonal Grid Ware begins with soft slabs that are pressed into low-relief plaster molds with varying patterns. Using molds allows Bohls to develop undulating walls in the finished work. To complete the surface of pieces in this body of work, Leaf and floral sprigs (applied molded or cutout motifs) are added at the leather hard stage. Bohls’ Diagonal Grid Ware are then glazed giving it the appearance of semitransparent mottled hues.

Black and White Ware is constructed, much in the same way as Diagonal Grid Ware, using slabs of soft clay which is folded, cut and assembled by hand. In the case of the Black and White ware, the low-relief plaster molds are not used.  The surface decoration is strictly limited to either a black or white satin glazes that highlight the seams, folds and surface subtleties of the slab construction method used.

Public Collections

Public Collections to Display: 

American Museum of Ceramic Art, Pomona, California

Archie Bray Foundation for the Ceramic Arts, Helena, Montana

Minnesota Museum of American Art, St. Paul, Minnesota

rosenfieldcollection.com

Shimpo Tradition of Excellence Collection, Itasca, Illinois

University of St. Francis School of Creative Arts Permanent Collection, Fort Wayne, Indiana

Bibliography

Bibliography to Display: 

Bohls, Margaret. "Emerging Talent: Margaret Bohls." NCECA Journal 19 (1998).

 _____________. “Exquisite Pots; Six Degrees of Collaboration.” NCECA Journal 31 (2010).

 _____________. “Lattice Work Inspired.” Pottery Making Illustrated (January/ February 2011).

 _____________. “Potter’s Favorite Pots: Margaret Bohls.” Studio Potter 33, no.2 (2005).

 ____________. “The Content of Function.”  NCECA Journal  21 (2000).

 _____________. “Texture Molds.” Pottery Making Illustrated (January/February 2011).

 _____________. “ Soft Slab Teapot.” Pottery Making Illustrated (March/April 2010).

 Brown, Glen R. Art Moves Exhibition Catalog. Minneapolis, Minnesota: The University of Minnesota, 2003.

 Brown, Glen R. “Margaret Bohls’ Models of Tension.” Ceramics Monthly, April 2005.

Connole, Kelly.  Exquisite Pots: Six Degrees of Collaboration Exhibition Catalog. Minneapolis, Minnesota: Northern Clay Center, 2008.

Giguet, Aurore. "NCECA ’97 Clay National." Clay Times (March/April 1997).

 Kendall, Gail. “What’s in a Pot? The Arrowmont Exhibition at the Utilitarian Clay Symposium.” Studio Potter 33, no.2 (2005).

 Leach, Mark R. "Review of the 1997 NCECA Clay National Exhibition." NCECA Journal 18 (1997).

 Miracle, Julie. “Seven Points of View.” Ceramics Monthly  (June 1998).

 Silberman, Robert.  Five McKnight Artists Exhibition Catalog. Minneapolis, Minnesota: Northern Clay Center, 2002.

 Stieger, Bill.  “An Artist and a Teacher.” The Villager, March 10, 2010.

 Tudball, Ruthanne. Soda Glazing. London, England: A & C Black, 1995.

 Wolgamott, L. Kent. “Lux Exhibition Showcases the Work of UNL Faculty.” The Lincoln Journal Star, December 10, 2011.

 

 

CV or Resume: Click Here to Download
Source: Artist

Website(s):

http://www.margaretbohls.com/portfolio_grid.shtml

 

The Marks Project is not aware of any signatures or marks for this artist.
Mug
Date: ca 1990
Materials: Porcelain
Surface Technique: Glaze, Slip Trailing
R and C Harrison Collection
Photo: TMP
R and C Harrison Collection
Photo: TMP
Vase
Materials: Porcelain
Method: Slab Built
Surface Technique: Glaze
Photo: Loren Maron
Photo: Loren Maron
Oil and Vinegar Cruets
Materials: Porcelain
Method: Hand Built
Surface Technique: Glaze

Citation: "The Marks Project." Last modified June 17, 2019. http://www.themarksproject.org:443/marks/bohls