{"id":22,"date":"2014-05-01T22:33:19","date_gmt":"2014-05-01T22:33:19","guid":{"rendered":"http:\/\/localhost:8888\/paulmathieu.ca\/?page_id=22"},"modified":"2023-02-06T14:00:34","modified_gmt":"2023-02-06T14:00:34","slug":"c-v","status":"publish","type":"page","link":"https:\/\/www.paulmathieu.ca\/?page_id=22","title":{"rendered":"CURRICULUM VITAE"},"content":{"rendered":"

PAUL MATHIEU<\/span><\/strong> Download<\/a>\n

EDUCATION<\/span><\/strong>
\n1987 \u00a0\u00a0 MFA, UCLA, Los Angeles,
\n1984 \u00a0\u00a0 MA, SFSU, San Francisco,
\n1982 \u00a0\u00a0 The Banff Centre, Banff, Alberta,
\n1982 \u00a0\u00a0 UQAM, Montreal, Diploma in Printmaking,
\n1979 \u00a0\u00a0 North Staffordshire Polytechnic, Stoke-on Trent, UK,
\n1977 \u00a0\u00a0 Alberta College of Art, Calgary,
\n1975 \u00a0\u00a0 C\u00e9gep du Vieux-Montr\u00e9al.<\/p>\n

GRANTS, PRIZES AWARDS and BURSARIES<\/span><\/strong>
\n2013 and 2007 SSHRC Research Grants,
\n2010 \u00a0\u00a0 Voulkos Fellow, Archie Bray Foundation, Helena, Montana,
\n2008 \u00a0\u00a0 Vancouver Mayor\u2019s Art Award,
\n2007 \u00a0\u00a0 Saydie Bronfman Award for Crafts
\n2007\u00a0 \u00a0<\/span> Governor General Award in Visual Arts,
\n2005 \u00a0\u00a0 Canada Arts Council Travel Grant,
\n2004 \u00a0\u00a0 Lighton International Artist Exchange Program, Kansas City Artists Coalition,
\n2000 \u00a0\u00a0 Chalmers Award for Excellence in Crafts,
\n1996 \u00a0\u00a0 \u201cA\u201d Grant, Canada Arts Council,
\n1994 \u00a0\u00a0 6th National Ceramics Biennial (Trois-Rivi\u00e8res and Public Prizes),
\n1993 \u00a0\u00a0 Tama Art Studio Artist in Residence Program, Tokyo, Japan,
\n1992 \u00a0\u00a0 Pierre Legault Prize, 5th National Ceramics Biennial,
\n1992\u00a0 \u00a0<\/span> \u201cB\u201d Grant, Canada Arts Council,
\n1991 \u00a0\u00a0 Bourse \u201cA\u201d, Minist\u00e8re des Affaires Culturelles, Quebec,
\n1991\u00a0 \u00a0<\/span> Project Grant, Canada Arts Council,
\n1990 \u00a0\u00a0 Prize, 4th National Ceramics Biennial, Trois-Rivi\u00e8res,
\n1989 \u00a0\u00a0 Bourse \u201cB\u201d, Minist\u00e8re des Affaires Culturelles, Quebec,
\n1986 \u00a0\u00a0 Prize, 2nd National Ceramics Biennial, Trois-Rivi\u00e8res,
\n1986\u00a0 \u00a0<\/span> UCLA Graduate Fellowship,
\n1985 \u00a0\u00a0 Minist\u00e8re des Affaires Culturelles, Quebec (Travel Grant),
\n1982-87 Fonds FCAR, Quebec (Graduate Research Grant),
\n1985 \u00a0\u00a0 Grand Prix des M\u00e9tiers d\u2019Art,
\n1984 \u00a0\u00a0 Minist\u00e8re des Affaires Culturelles, Quebec (Expenses Grant),
\n1978 \u00a0\u00a0 \u201cB\u201d Grant, Canada Arts Council.<\/p>\n

TEACHING EXPERIENCE<\/span><\/strong>
\n2020-22\u00a0 ECUAD, non-regular faculty
\n1996-2019\u00a0 Emily Carr University of Art+Design, Vancouver, B.C., Emeritus Professor
\n1996\u00a0\u00a0\u00a0 Ecole Nationale Sup\u00e9rieure des Beaux-Arts, Paris, France
\n\u00ad\u00ad\u00ad\u00ad1991-96\u00a0 Concordia University, Montreal
\n1995 \u00a0\u00a0 Emily Carr Institute of Art and Design, Vancouver, B.C.
\n1991 \u00a0\u00a0 Allende Institute, San Miguel, GTO, Mexico
\n1988 \u00a0\u00a0 Universit\u00e9 du Qu\u00e9bec, Montreal
\n1980-81\u00a0 C\u00e9gep du Vieux Montr\u00e9al
\n1984 \u00a0\u00a0 San Francisco State University (teaching assistantship)
\n1985\/88\u00a0 C\u00e9gep du Vieux Montr\u00e9al
\n1976-80\u00a0 Centre des Arts Visuels, Montreal<\/p>\n

SELECTED GROUP SHOWS (with catalogue **)<\/span><\/strong>
\n2019\u00a0\u00a0\u00a0 \u201cIonic Bonds\u201d, Kamloops Art Gallery, BC**
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cThe Raiders\u201d, BAF, Bowen Island, BC
\n2017 \u00a0\u00a0 \u201cWestern Front Society 44th Anniversary Auction\u201d, Vancouver BC
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cContemporary Celadon in the Collection\u201d, Shangyu Celadon Art Museum, Shangyu, China
\n2016 \u00a0\u00a0 \u201cCeramics and Print\u201d, The Clay Studio, Philadelphia, USA
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201c3000 Years of Porcelain\u201d, MOA, University of New Mexico, Albuquerque, NM
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cBlue and White Porcelain in History and Today\u201d **,,Yingge Museum,Taipei,Taiwan
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cKitchen Midden\u201d, Griffin Art Projects, North Vancouver
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cContemporary Teapots in the Collection\u201d **, Shigaraki Ceramics Museum, Shigaraki, Japan
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cCamp Fires\u201d, Bellevue Art Museum, WA
\n2015 \u00a0\u00a0 \u201cCamp Fires\u201d, McCord Museum, Montr\u00e9al, PQ
\n2014 \u00a0\u00a0 \u201cCamp Fires\u201d, Gardiner Museum, Toronto **,
\n2019\u00a0\u00a0\u00a0<\/span>\u00a0\u201cMaking Otherwise\u201d, Carleton University Art Gallery, Ottawa **
\n2012 \u00a0\u00a0 \u201cGo East\u201d, Gardiner Museum, Toronto **,
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cElegant Disorders\u201d, Belkin Satellite, Vancouver \u201cRemaking Research\u201d ** Emily Carr Concourse Gallery
\n2010 \u00a0\u00a0 \u201cClay Throwdown\u201d, Bellevue Art Museum
\n2009 \u00a0\u00a0 NCECA National, Tempe, AZ **
\n2007 \u00a0\u00a0 Governor General Awards, National Gallery of Canada, Ottawa **
\n2006 \u00a0\u00a0 \u201cChina Trade\u201d, Centre A, Vancouver **
\n2005 \u00a0\u00a0 \u201cThe Visceral Vessel\u201d, San Antonio, Texas
\n2004 \u00a0\u00a0 \u201cHot Clay\u201d, Surrey Art Gallery **
\n2002 \u00a0\u00a0 International Ceramics Exhibition, Mino, Japan **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>International Ceramics Museum, Taipei, Taiwan **
\n2001 \u00a0\u00a0 75th Anniversary Alumni Exhibition, ACAD, Calgary
\n2000 \u00a0\u00a0 World Ceramic Exhibition, Korea **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>“Color and Fire”, Los Angeles County Museum, LA, CA **
\n1999 \u00a0\u00a0 9th National Ceramics Biennial, Trois-Rivi\u00e8res **
\n1997 \u00a0\u00a0 \u201cFoulem, Mathieu, Milette\u201d, Mus\u00e9e du Qu\u00e9bec **
\n1996 \u00a0\u00a0 \u201cWhite on White\u201d, Canadian Clay and Glass Gallery, Waterloo and touring (Shanghai) **
\n1995 \u00a0\u00a0 NCECA Clay National, Minneapolis and touring **
\n1994 \u00a0\u00a0 6th National Ceramics Biennial, Trois-Rivi\u00e8res **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>Tama Art Studio, Machida Art Gallery, Tokyo, Japan **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cGayramics\u201d, New Orleans Lesbian and Gay Centre, LA, USA.
\n1993 \u00a0\u00a0 \u201cSubversive Crafts\u201d, MIT List Visual Arts Centre, MA. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cThe Illusion of Place\u201d, Greenwich House Pottery, N.Y.
\n2019\u00a0\u00a0\u00a0<\/span>\u00a0\u201cLes Vaisseaux d\u2019Art\u201d, Mus\u00e9e Marcil, St-Lambert, Qu\u00e9bec **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>“Four Quebecers in Syracuse”, Everson Museum, Syracuse, N.Y.**
\n1992 \u00a0\u00a0 International Ceramic Competition, Mino, Japan **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>International Ceramic Invitational, Taipei, Taiwan **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>5th National Ceramics Biennial, Trois-Rivi\u00e8res **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>The Canadian Craft Museum, Vancouver **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cGayramics\u201d, Galerie Lieu Ouest, Montreal
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>The Society for Contemporary Crafts, Pittsburgh **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cThe Eccentric Teapot\u201d, Shigaraki Museum, Japan
\n2019\u00a0\u00a0\u00a0<\/span>\u00a0\u201cContainers Revisited\u201d, NCECA, Philadelphia **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>Canadian Teapot Invitational, Drexel University, PA.
\n1991 \u00a0\u00a0 The Hand and Spirit, Scottsdale, AZ (NCECA) **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>“Quebec Impressions in Clay”, Galerie Barbara Silverberg, Montreal
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>4th National Ceramic Invitational, The Canton Art Institute, Ohio **
\n1990 \u00a0\u00a0 Canadian Ceramics, Barbara Silverberg, Montreal. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>4th National Ceramics Biennial, Trois-Rivi\u00e8res. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>28th Ceramic National Exhibition, Everson Museum, Syracuse, NY **
\n1989 \u00a0\u00a0 \u201cThe Eccentric Teapot\u201d, Garth Clark Gallery, N.Y.\/L.A.
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>International Ceramics Exhibition, Mino, Japan. **
\n1988 \u00a0\u00a0 3rd National Ceramics Biennial, Trois-Rivi\u00e8res. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cFired Imagination\u201d, Canadian\/Australian Exchange.
\n1987 \u00a0\u00a0 \u201cDrawn to the Surface\u201d, Pittsburgh, Pennsylvania. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cL\u2019Excellence en C\u00e9ramique au Canada #1\u201d, G.B.S., Montreal. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>American Ceramics Now, Syracuse, N.Y. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cBeyond the Object\u201d, Saskatchewan Craft Council. **
\n1986 \u00a0\u00a0 2nd National Ceramics Biennial, Trois-Rivi\u00e8res. **
\n1985 \u00a0\u00a0 Concorso Intl. della Ceramica d\u2019Arte, Faenza, Italy. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>Grand Prix des M\u00e9tiers d\u2019Art, Montr\u00e9al. **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>International Ceramics Exhibition 1985, Taipei, Taiwan. **
\nTo 1974\u00a0 many more\u2026<\/p>\n

SOLO SHOWS<\/span><\/strong>
\n2020\u00a0 \u00a0\u201cThe Archive 1972-2020\u201d, permanent installation on the family farm, ongoing indefinitely
\n2019\u00a0\u00a0\u00a0 \u201cTile Panels\u201d, Faculty Space, ECUAD
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cPhotos and Pots (after J.W.)\u201d, the Commons, ECUAD
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cNarcissus (stacks)\u201d, Faculty Space, ECUAD
\n2018\u00a0\u00a0\u00a0 \u201cNude Pastels after Degas\u201d, No Name Gallery, ECUAD
\n2017\u00a0\u00a0\u00a0 \u201cFlower Vases with Flowers in a Vase\u201d, No Name Gallery, ECUAD
\n2016 \u00a0\u00a0 \u201cChina Syndrome\u201d, Burlington Art Gallery, Burlington, ON **
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>\u201cRightSideUP\u201d, with Landon Mackenzie, Headbones Gallery, Vernon, BC **
\n2012 \u00a0\u00a0 \u201cFlower Vases with Flowers in a Vase\u201d, Ottawa School of Art
\n2006 \u00a0\u00a0 \u201cMaking China in China\u201d, Richmond Art Gallery, B.C. **
\n2003 \u00a0\u00a0 East Hawaii Cultural Center, Hilo, Hawaii
\n2002 \u00a0\u00a0 Prime Gallery, Toronto 1999 Stride Gallery, Calgary **
\n1998 \u00a0\u00a0 10 Years Survey, Burlington Art Centre, Ontario.**
\n1995 \u00a0\u00a0 Prime Gallery, Toronto.
\n1993 \u00a0\u00a0 Nancy Margolis Gallery, New York.
\n1991 \u00a0\u00a0 Galerie Barbara Silverberg, Montreal.
\n1990 \u00a0\u00a0 Martha Schneider Gallery, Chicago.
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>Prime Canadian Crafts, Toronto.
\n2019\u00a0\u00a0\u00a0\u00a0<\/span>Michel T\u00e9treault Art Contemporain, Montreal.
\n1988 \u00a0\u00a0 Garth Clark Gallery, New York.
\n1987 \u00a0\u00a0 Garth Clark Gallery, Los Angeles.
\n1985-87\u00a0 \u201cLe Souci de Soi\u201d, Travelling: Banff, Vancouver, Montreal. **
\n1982-84\u00a0 Interaction, Montreal.
\n1981 \u00a0\u00a0 Prime Canadian Crafts, Toronto.
\n1976-81\u00a0 Centre des Arts Visuels, Montreal.<\/p>\n

SELECTED PUBLICATIONS on my work (catalogues listed with group exhibitions **)<\/span><\/strong>
\n2017 \u00a0\u00a0 \u201cAnother China: Experimental Design Practices in Bone China Factories in China\u201d,
\n2019\u00a0\u00a0\u00a0<\/span>NCECA Journal, Yanze Jiang, March 2017
\n2016 \u00a0\u00a0 \u201cPaul Mathieu: The China Syndrome\u201d, Janna Hiemstra and Jonathan Smith, Art Gallery of Burlington
\n2019\u00a0\u00a0\u00a0<\/span>\u201cRightSideUp\u201d, Julie Oakes, Headbones Gallery, Vernon, BC
\n2014 \u00a0\u00a0 \u201cCamp Fires: The Queer Baroque of L\u00e9opold L. Foulem, Richard Milette and Paul Mathieu, Gardiner Museum, Toronto, ON
\n2009 \u00a0\u00a0 \u201cContemporary Ceramics; An International Perspective\u201d, Thames and Hudson
\n2008 \u00a0\u00a0 \u201cPorcelain: The Masters\u201d, Lark Books
\n2007 \u00a0\u00a0 \u201cGovernor General\u2019s Awards 2007\u201d, Paul Bourassa, catalogue essay
\n2019\u00a0\u00a0\u00a0<\/span>\u201cAncient Affections\u201d, Liz Magor, in Craft: Perception and Practice 3
\n2019\u00a0\u00a0<\/span>\u00a0\u201cConfrontational Ceramics\u201d, Judith Schwartz, A&C Black, London
\n2006 \u00a0\u00a0 \u201cAncient Affections\u201d in \u201cMaking China in China\u201d, Liz Magor, catalogue essay
\n2019\u00a0\u00a0\u00a0<\/span>\u201cPaul Mathieu in San Bao\u201d, Elaine Hardman, Ceramics: Art and Perception
\n2019\u00a0\u00a0<\/span>\u00a0\u201cNarrative Ceramics\u201d, Matthias Ostermann, A&C Black, London
\n2019\u00a0\u00a0\u00a0<\/span>\u201cPaul Mathieu in China\u201d, Ceramics: Art and Perception, Australia
\n2005 \u00a0\u00a0 \u201cCultural Interaction\u201d, Keramik Magazin, Germany, Barbara Kaiser
\n2019\u00a0\u00a0\u00a0<\/span>\u201cPaul Mathieu\u201d, Ceramic Art Magazine, China, Shen Min
\n2004 \u00a0\u00a0 \u201c20th Century Ceramics\u201d, Edmund de Waal, Thames and Hudson, UK
\n2019\u00a0\u00a0\u00a0<\/span>\u201cThe Persistence of Crafts\u201d, Paul Greenhalgh ed., Rutgers U. Press
\n2019\u00a0\u00a0\u00a0<\/span>\u201cUne Histoire de l\u2019Art du Qu\u00e9bec\u201d, Mus\u00e9e du Qu\u00e9bec
\n2019\u00a0\u00a0\u00a0<\/span>\u201cCraft: Perception and Practice, a Canadian Discourse\u201d #2
\n2003 \u00a0\u00a0 \u201c20th Century Disasters (+ 1) and 20th Century Sculptures\u201d, Anna Marie Larsen, Artichoke Magazine
\n2001 \u00a0\u00a0 \u201cPost Modern Ceramics\u201d, Mark del Vecchio, Thames and Hudson, USA
\n2000 \u00a0\u00a0 \u201cColor and Fire\u201d, Los Angeles County Museum
\n2019\u00a0\u00a0\u00a0<\/span>\u201cPainted Clay\u201d, Paul Scott, Watson-Guptill, New-York
\n2019\u00a0\u00a0\u00a0<\/span>\u201cThe Inquiring Mind of Paul Mathieu\u201d, Paula Gustafson, Ontario Craft 1999
\n2019\u00a0\u00a0\u00a0<\/span>\u201c10000 years of Pottery\u201d, Emmanuel Cooper, British Museum
\n1996 \u00a0\u00a0 \u201cThe Best of Pottery\u201d, Angela Fina and Jonathan Fairbanks, Rockport, USA
\n1995 \u00a0\u00a0 \u201cGetting to the Heart of the Matter\u201d, Gloria Lesser, Ceramics: Art&Perception, Australia
\n1990 \u00a0\u00a0 \u201cClay Today\u201d, L.A. County Museum of Art, Los Angeles, CA.
\n2019\u00a0\u00a0\u00a0<\/span>\u201cThe Book of Cups\u201d, Garth Clark, Abbeville Press
\n2019\u00a0\u00a0\u00a0<\/span>\u201cThe Eccentric Teapot\u201d, Garth Clark, Abbeville Press
\n1989 \u00a0\u00a0 Vie des Arts Magazine, Summer, p.21
\n1986 \u00a0\u00a0 American Ceramics Magazine, Vol.5, No.1
\n1985 \u00a0\u00a0 \u201cLe Souci de Soi\u201d, Lorne Falke and Marie Perreault, The Banff Centre<\/p>\n

TEXTS I PUBLISHED<\/span><\/strong>
\n2022\u00a0\u00a0\u00a0\u00a0 \u201cCeramics! The Art of the Future? A History and A Theory\u201d
\n2022\u00a0\u00a0\u00a0\u00a0<\/span>\u00a0\u201cMaking china in China, A Potter\u2019s Memoir\u201d, both on my website
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201cCeramics!…\u201d 24 visual audio lectures, on Youtube
\n2019\u00a0\u00a0 \u00a0(all at www.paulmathieu.ca<\/a>):
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201c The usurpers have no clothes\u201d,
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201cThe little P\u2026..\u201d,
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201cCrafts Hangzhou 2016\u201d and \u201cCrafts, 2018\u201d,
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201cArcheological Expedition, Field Journal\u201d,
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201cAlison Britton: Words and Things,
\n2022\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u201cSuzanne Wolfe: Ubiquity and Quiddity\u201d, Ceramics Monthly, Fall 2020
\n2017 \u00a0\u00a0 \u201cReflections on Edmund deWaal\u2019s Phaidon Monograph\u201d, Ceramics: Art & Perception, Australia,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cWhat do we talk about when we talk about Crafts?\u201d, proceedings of Hangzhou International Conference on Contemporary Crafts, Hangzhou, China, Spring 2017,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cShelter: Ceramics and Architecture\u201d, Studio Potter Magazine, Spring issue.
\n2016 \u00a0\u00a0 \u201cObject Theory\u201d in \u201cThe Ceramics Reader\u201d anthology, Kevin Petrie and Andrew Livingstone, ed., Bloomsbury Academic, UK,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cA Visit to the V&A\u201d, Ceramics: Art&Perception (online), May 2016,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cFab Lab or Fib Lab\u201d, The Journal of Australian Ceramics, vol. 55, No. 3, pp. 30-35.
\n2015 \u00a0\u00a0 \u201cThe Influence of Chinese Porcelain on Contemporary Ceramics\u201d, DAO Magazine, China.
\n2014 \u00a0\u00a0 \u201cMultiplicities\u201d, Craft Journal,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cThe Influence of Sancai on Contemporary Ceramics\u201d, DAO Magazine, China.
\n2012 \u00a0\u00a0 \u201cPortage and Main(tenance) Rory MacDonald\u201d, Ceramics: Art&Perception.
\n2011 \u00a0\u00a0 \u201cThe Dirt on Dirt on Delight\u201d, Ceramics: Art&Perception,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cGo Figure\u201d, NCECA Journal,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cBeyond the Brickyard\u201d,Archie Bray Foundation.
\n2010 \u00a0\u00a0 \u201cL\u00e9opold L. Foulem in Vallauris\u201d, New Ceramics, 6\/10 (Germany), Takeshi Yasuda, Kilmog Press, NZ,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cComment: How to write critically about Ceramics\u201d, Ceramics Monthly, Sept.
\n2009-2010;\u00a0 \u201cCeramic Excellence\u201d, Archie Bray Foundation.
\n2009 \u00a0\u00a0 \u201cThe Art of the Future: 14 Essays on Ceramics\u201d, at www.paulmathieu.ca<\/a>
\n2007 \u00a0\u00a0 \u201cThrown\u201d, Craft: Perception and Practice 3.
\n2007 \u00a0\u00a0 \u201cObject Theory\u201d, Utopic Impulses anthology.
\n2005 \u00a0\u00a0 \u201cTowards a Unified Theory of Crafts\u201d, in Crafts: Perception and Practice 2: A Canadian Perspective, anthology edited by Paula Gustafson.
\n2004 \u00a0\u00a0 \u201cThe Influence of Chinese Porcelain on Contemporary Ceramics\u201d, Jingdezhen, China.
\n2003 \u00a0\u00a0 \u201cSEXPOTS: Eroticism in Ceramics\u201d, book published by A&C Black, London U.K., and Rutgers University Press (U.S.A.); and Haupt (Switzerland) in a German translation.
\n2002 \u00a0\u00a0 \u201cL\u00e9opold L. Foulem: Abstractions Tr\u00e8s Singuli\u00e8res\u201d, \u00e9ditions Materia, Qu\u00e9bec.
\n2001 \u00a0\u00a0 \u201cMichael Frimkess: A Reappraisal\u201d, Ceramics Art&Perception (Australia),
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cLeopold L. Foulem\u2019s Singular Abstractions\u201d, Keramieki Techni (Greece),
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cTowards a Unified Theory of Crafts\u201d, Artichoke Magazine, Canada.
\n2000 \u00a0\u00a0 \u201cTowards a Unified Theory of Crafts\u201d, Studio Potter (USA),
\n2017 \u00a0\u00a0<\/span>\u00a0\u201cLeopold L. Foulem\u2019s Monochrome Abstractions\u201d, Artichoke Magazine,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cLes Abstractions Monochromes de L\u00e9opold L. Foulem\u201d, La Revue de la C\u00e9ramique et du Verre (France),
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cJulia Galloway: The Pottery of Extremes\u201d, Ceramics: Art&Perception (Australia).
\n1999 \u00a0\u00a0 \u201cThe Depreciated Legacy\u201d (conference), on CD-ROM and Website for Australian Ceramics Conference, Perth, Australia.
\n1998 \u00a0\u00a0 \u201cSpeaking Volume: Ceramics and Text\u201d (conference), NCECA Journal,
\n2017 \u00a0\u00a0\u00a0<\/span>\u201cThe Politics of Exclusion\u201d, Contact Magazine.
\n1997 \u00a0\u00a0 \u201cPushing Boundaries: The Pottery of Takeshi Yasuda\u201d, Ceramics: Art&Perception.
\n1996 \u00a0\u00a0 \u201cErotics and Aesthetics: Ceramics and Sexualities\u201d (conference), NCECA Minneapolis.
\n1995 \u00a0\u00a0 \u201cThe Space of Pottery: an Investigation of the Nature of Crafts\u201d, in Making and Metaphor, edited by Gloria A. Hickey.
\n1994 \u00a0\u00a0 \u201cThe Space of Pottery\u201d, ESPACE Sculpture (Canada).
\n1993 \u00a0\u00a0 \u201cThe Sculpture of Georges Jeanclos\u201d, Ontario Craft.
\n1992 \u00a0\u00a0 \u201cRoseline Delisle: an Appreciation\u201d, Contact magazine.
\n1991 \u00a0\u00a0 \u201cThe Space of Pottery\u201d, Studio Potter (USA), vol. 19, #2.<\/p>\n

BOOKS I PUBLISHED<\/span><\/strong>
\n2022 \u00a0\u00a0\u00a0\u201cMaking china in China, A Potter\u2019s Memoir\u201d, at www.paulmathieu.ca
\n2010 \u00a0\u00a0 \u201cCeramics! The Art of the Future? A History and A Theory\u201d, at\u00a0www.paulmathieu.ca\/theartofthefuture<\/a>.
\n2003 \u00a0\u00a0 \u201cSexpots; Eroticism in Ceramics\u201d, A&C Black, London, UK, Rutgers University Press, USA and in a German translation by Haupt, Switzerland.<\/p>\n

FUNDED RESEARCH<\/span><\/strong>
\nCeramics and the Archive Partnership Development Grant 2013 ($136,000), SSHRC.
\nCeramics and the Archive, SSHRC Insight Grant 2007 ($96,000).<\/p>\n

SELECTED PUBLIC COLLECTIONS<\/span><\/strong>
\nLe Mus\u00e9e des Arts D\u00e9coratifs, Paris, France
\nThe Vancouver Art Gallery, Vancouver, B.C.
\nThe Victoria and Albert Museum, London, England
\nThe Museum of Fine Arts, Houston, Texas
\nThe Montreal Museum of Fine Arts
\nThe Museum for Contemporary Ceramic Art, Shigaraki, Japan
\nThe Montreal Museum of Decorative Arts, Montreal
\nLos Angeles County Museum of Art, L.A.
\nMus\u00e9e du Qu\u00e9bec, Quebec, Canada
\nCanada Council Art Bank, Ottawa
\nMus\u00e9e d\u2019Art Contemporain, Montreal, Collection Lavalin
\nArt Gallery of Burlington, Ontario
\nThe Art Gallery of Nova Scotia
\nThe Greater Victoria Art Gallery
\nArizona State University Art Museum, Tempe, AZ
\nNelson Fine Arts Center, Kansas City, Missouri
\nThe Canadian Clay and Glass Gallery, Waterloo, Ontario
\nThe Gardiner Museum of Ceramic Art, Toronto
\nInternational Ceramics Museum, Kecskemet, Hungary
\nMuseum of Arts and Design MAD, New-York<\/p>\n

INVITED AND FEATURED CONFERENCE SPEAKER<\/span><\/strong>
\n2017 \u00a0\u00a0 NCECA Portland, \u201cAnother China\u201d, panel with Yanze Jiang, China and Janet deBoos, Australia,
\n2017 \u00a0\u00a0\u00a0<\/span>ECUAD Vancouver, Symposium with Yanze Jiang and Janet deBoos, March 21, 2017.
\n2016 \u00a0\u00a0 International Conference on Contemporary Crafts, Hangzhou, China, December, Bellevue Art Museum, Bellevue WA,
\n2017 \u00a0\u00a0<\/span>\u00a0California Conference for the Advancement of Ceramic Art CCACA, Davis, CA, \u201cDrinking the Kool-Aid\u201d, April 2016.
\n2015 \u00a0\u00a0 NCECA Providence, RI, \u201cPicture This! Ceramics and Pictorial Spaces\u201d.
\n2013 \u00a0\u00a0 Oregon College of Art and Craft.
\n2012 \u00a0\u00a0 Hindsight\/Foresight, Ottawa.
\n2010 \u00a0\u00a0 Critical Santa Fe, Symposium Bellevue Art Museum.
\n2009 \u00a0\u00a0 Australian National Conference, Sydney.
\n2008 \u00a0\u00a0 NCECA Conference, Pittsburgh.
\n2007 \u00a0\u00a0 Neo-Craft Symposium, Halifax, Nova Scotia Gardiner Museum of Ceramic Arts, Toronto.
\n2005 \u00a0\u00a0 Canadian Art College Association, Victoria, B.C.
\n2017\u00a0 \u00a0 \u00a0<\/span>Potter\u2019s Guild of BC conference, keynote speaker, Ladysmith, BC.
\n2004 \u00a0\u00a0 Porcelain Millennium International Conference, Jingdezhen, China,
\n2017\u00a0 \u00a0 \u00a0<\/span>Tangents: Ceramics and Beyond, University of Indiana, Bloomington.
\n2002 \u00a0\u00a0 East\/West Exchange Conference, Hawaii, USA.
\n2000 \u00a0\u00a0 Art College Association, Toronto, Ontario,
\n2017\u00a0 \u00a0 \u00a0<\/span>East\/West Craft Conference, Harbourfront, Toronto.
\n1999 \u00a0\u00a0 Keynote Speaker, Australian Ceramics Annual Conference, Perth.
\n1998 \u00a0\u00a0 National Conference on Education in the Ceramic Arts, Kansas City,
\n2017\u00a0 \u00a0 \u00a0<\/span>Canadian Art College Association, Waterloo, Ontario.
\n1996 \u00a0\u00a0 National Conference on Education in the Ceramic Arts, Minneapolis.
\n1994 \u00a0\u00a0 Making and Metaphor, Canadian Museum of Civilization.
\n1986 \u00a0\u00a0 Emerging Talent, NCECA St-Louis.<\/p>\n

RESEARCH TRIPS<\/span><\/strong>
\n2001\u00a0 \u00a0Peru
\n1997\u00a0 \u00a0England and France
\n1996\u00a0 \u00a0China<\/p>\n

INTERNATIONAL RESIDENCIES<\/span><\/strong>
\n2016 \u00a0\u00a0 Shangyu International Celadon Artists Residency, Shangyu, China, June 2016.
\n2014, 2013, 2011, and 2009\u00a0 Huaguang Zibo Bone China Factory, Shandong, China.
\n2012 \u00a0\u00a0 Kecskemet International Ceramics Studio, Hungary.
\n2010 \u00a0\u00a0 Voulkos Fellow, Archie Bray Foundation, Helena, Montana
\n2008-07 The Pottery Workshop Experimental Factory, Jingdezhen, China.
\n2005 \u00a0\u00a0 San Bao, Jingdezhen, China.
\n2004 \u00a0\u00a0 San Bao, Jingdezhen, China.
\n2003 \u00a0\u00a0 San Bao, Jingdezhen, China.
\n2001 \u00a0\u00a0 International Ceramics Studio, Kecskemet, Hungary.
\n1998 \u00a0\u00a0 East\/West International Exchange, University of Hawaii, Honolulu.
\n1996 \u00a0\u00a0 Pop\/Mass and Sub Cultures, Senior Artist, The Banff Centre.
\n1994 \u00a0\u00a0 Tama International Residency, Machida, Japan.<\/p>\n

GUEST ARTIST<\/span><\/strong><\/p>\n

over the years at the following institutions:<\/p>\n

Ohio State University, Columbus, Ohio
\nCAFA, Beijing, China, 2014
\nNanjing University of the Arts, Nanjing, China
\nOregon College of Art and Craft
\nPacific Northwest College of Art, Portland, OR
\nUniversity of Manitoba, Winnipeg
\nOttawa School of Art
\nUQAM, Montreal
\nUniversity of Lethbridge, Alberta
\nCeramics Institute, Jingdezhen, China
\nThe Pottery Workshop, Hong-Kong and Jingdezhen, China
\nTama Art University, Machida, Japan
\nRoyal College of Art, London
\nEcole Nationale Sup\u00e9rieure des Beaux-Arts, Paris
\nConcordia University, Montreal
\nUniversity of Waterloo, Ontario
\nUniversity of Indiana, Bloomington
\nUniversity of Regina, Saskatchewan
\nAlberta College of Art, Calgary
\nNova Scotia College of Art and Design, Halifax
\nGeorge Brown College,Toronto
\nThe Banff Centre, Banff
\nGardiner Museum of Ceramics, Toronto
\nUniversity of Washington, Seattle
\nPilchuck Glass School, Seattle
\nUniversity of Colorado, Boulder
\nSan Francisco State University
\nKansas City Art Institute
\nLos Angeles City College
\nCanadian Craft Museum, Vancouver
\nLangara College, Vancouver
\nKwantlen University College, Vancouver
\nCentre de C\u00e9ramique Bonsecours, Montr\u00e9al
\nLa Maison du Potier, Qu\u00e9bec
\nCentre des Arts Visuels, Montr\u00e9al<\/p>\n","protected":false},"excerpt":{"rendered":"

PAUL MATHIEU EDUCATION 1987 \u00a0\u00a0 MFA, UCLA, Los Angeles, 1984 \u00a0\u00a0 MA, SFSU, San Francisco, 1982 \u00a0\u00a0 The Banff Centre, Banff, Alberta, 1982 \u00a0\u00a0 UQAM, Montreal, Diploma in Printmaking, 1979 \u00a0\u00a0 North Staffordshire Polytechnic, Stoke-on Trent, UK, 1977 \u00a0\u00a0 Alberta College of Art, Calgary, 1975 \u00a0\u00a0 C\u00e9gep du Vieux-Montr\u00e9al. GRANTS, PRIZES AWARDS and BURSARIES 2013 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":5,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-22","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/pages\/22","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=22"}],"version-history":[{"count":32,"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/pages\/22\/revisions"}],"predecessor-version":[{"id":13168,"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/pages\/22\/revisions\/13168"}],"up":[{"embeddable":true,"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=\/wp\/v2\/pages\/5"}],"wp:attachment":[{"href":"https:\/\/www.paulmathieu.ca\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=22"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}