Molly Hatch Teaching Philosophy

My approach to teaching is rooted in my experience as a lifelong student. I look forward to the development and enrichment of my own studio practice each term that I teach. I have found that both student and teacher are activated by the exploration of new concepts, images, forms and functions through involvement with one another. It is in this way that I understand the practice of art as rooted in discovery.

In the process of learning the visual language of art, students engage in daily activities and studies with new and deepened perspective. The physical and intellectual challenges of making art leads students to a more fulfilling engagement with the world around them. Art courses often challenge us to see our surroundings from a new vantage point. This

Each classroom has its own unique community. I approach each class as a collective experience. I feel that my courses should reflect the needs of each student as an individual as well as the needs of the entire group. The most exciting moment for me as a teacher of art is when a student realizes their potential as through the artistic process. The effects of the discovery of one’s voice through art making is far-reaching in all studies. The validation of the individual that comes from an art course is unique and important in encouraging students to problem solve elsewhere with creativity and personality.

I am dedicated to the development and actualization of the creative potential of my students. My studio courses at all levels include readings, research, slide and image presentations, technical demonstrations and discussions. I aim to guide students in the development of their individual studio practice through the completion of specific projects. Field trips, readings, presentations and research provide both art historical and theoretical groundwork for the development of class projects or individual projects. Demonstrations and discussions provide students with the knowledge to improve both technically and formally.

Molly Hatch References

Kim Dickey

Assistant Professor Ceramics/Chair of Ceramics

University of Colorado,

318 UCB

Boulder CO 80301

kim.dickey@colorado.edu

303.492.7032

Jeanne Quinn

Assistant Professor Ceramics

University of Colorado,

318 UCB

Boulder CO 80301

jeanne.quinn@colorado.edu

303.492.5588

***Please note that Jeanne Quinn is out of the country doing a residency during the spring term, please try to reach her via email***

Cynthia Consentino

Adjunct Faculty Ceramics

Department of Arts and Humanities

Holyoke Community College

303 Homestead Ave

Holyoke MA, 01040

cnconsentino7@hotmail.com

413.584.2803

Bonnie Seeman

Instructor 3-D Ceramics

Florida Atlantic University

Department of Visual Arts and Art History
Dorothy F. Schmidt College of Arts and Letters
777 Glades Road
Boca Raton, FL 33431

bseeman@fau.edu

305.926.7530

Molly Hatch 6 Ceramics Project Descriptions

1. Slab Construction: ALPHABET SOUP

Assignment:

For this project we will work as a class to reconstructing type to form a large portion of the alphabet, or a phrase that the class decides on as a group. While each letter will be created individually, all the letters will be displayed together as an installation when the project is complete. These letters will be highly decorative, personalized, and imbued with meanings generated by words that start with the letter on which you are working.In order for this project to work out in the end there are some very specific parameters all of us must go by.

Your Letter:

• must be literal enough to be able to be ‘read’

• must be at least 2 inches deep

• must be 10 inches tall (when green—before it is fired)

• must be highly decorative (i.e. every inch should be covered; they must be visually engaging and rich at multiple levels)

• must be able to be hung on the wall and be able to stand on its own on a flat surface. THERE IS NO COMPROMISE ON THIS ASPECT OF THE ASSIGNMENT.

HOMEWORK:

A: The letter you choose is imbued with meanings generated by words associated with that letter. Make a list of at least 30 words that

might be interesting to you that start with the letter you are working with. From this list of 30, you will rank your favorite 10

.

B: DEVELOP AN IDEA! . Use the top 10 words to generate 3 ideas/3 sketches for making your letter. This is to be put in your sketchbook by NEXT CLASS Include details of the letter might look like.

C: The type that letters are written in (FONT) also can mean different things. Fonts are generated for particular time periods, can reflect certain ideas of wealth and culture and so much more. When thinking about your project the kind of type that it refers to will have a direct impact upon its meaning. Thus, the final part of your research is to know what type of Font you are using or referencing to make

your letter.

D: WORKING! We will start this piece in our next class period, so it is important that you are prepared start working!

E: Miscellaneous
You do not have to make the piece fully 3 dimensional (i.e. with a back) Many of you will choose to make the back hollow this is fine! We are choosing to have a front side that is our focus here. This makes for easier hanging and display. All pieces must use the white slip in some way to help make colors brighter and more crisp the white will help a lot

2.Fierce Feast

ASSIGNMENT:

This project focuses on making pots for a specific function/specific food. Using bisque molds and/or drape molds in conjunction with coil building, each of you will create 4 bowls and 4 cups/mugs. At the end of the project we will have a class dinner where we will feast with the wares that we have made in class. Everyone will bring food that they made specifically for the objects that they are making.

Homework for next class:

1) One picture/photocopy & drawing of an industrially/factory produced mug.

2) One picture/photocopy & drawing of a mug, cup or tea bowl that is at least 100 years old (with citation and date... these will not be accepted without a bibliographic reference.)

3) Two pictures/photocopies of bowls (at least 100 yrs. old) from two different cultures.

4) Two pictures/photocopies of cup and saucers (at least 100 yrs. old).

In making the 4 cups and 4 bowls you will choose one cup to “update” and one bowl form to “update.” How can you make a set of 4 cups and bowls that reference the historical pieces you have chosen but are still contemporary objects? Change in scale of the form or change in scale of the pattern can help. Change in color palette often changes the piece dramatically as well. Please include notes on these changes when you make your sketches of the cups and bowls for this project. Challenge yourself to make sets of 4!

Centerpieces:

There are always a few students who are much more drawn to sculpture than pots. These students will also be making objects for the table, but yours will be ‘centerpieces’. Each of you will choose from (and/or combine from) the following list of (historically relevant) objects. If you choose this project, you will have to provide the same historical information as you would for bowls and cups. Also make your piece a contemporary version of the historical piece you choose to reference.

Soup Tureen:

Tulipierre:

Platter:

Large Serving Bowl:

Candelabra:

Flower brick:

Baskets:

Jugs/Pitchers

Jars:
Dessert servers/Trays/Stands

3. REPLICATING HISTORY

The Project:

You will make an 18” tall replica of a historical vessel. This replica will push you to make a large object as well as develop surface decoration skills.

· In the Library, find an image of a historical vessel FROM A BOOK that has

a narrative or strong imagery on it. Greek vases, some Chinese porcelains and many Native American vessels will work well for this project. Specifically look for work that has a strong decorative element to it: icons, narratives, stories, symbols, etc. You will be making two ‘copies’ of this vessel, so find a vessel you really like, because you will be spending a lot of time with it over the next few weeks!

· Then go to your favorite photocopy store and make two enlargements.

Make one copy that is 9” tall and the other 18” tall. Grid both of these photocopies out in one inch squares with a pencil and a straight edge ruler.

IN CLASS:

· Make a 9” mock up of the object: this is your test piece

· Next, you will double the size! Remake the vessel at 18” tall this time. You

Will replace the narrative on the 18” vessel with a narrative structure of your own. This can be an event in your life, a story you know, something that is happening in the world, etc. These narratives can be highly personal or comic, political or crass, poignant or creepy, specific or symbolic. Plan

to use slip, terra sig, or underglazes to decorate the outside. Sgraffitto, paper resist, wax resist or underglaze pencil drawing on bisque are all options. The imagery needs to be integrated into the form of the pot—you really need to plan out the surface and challenge yourself to make it work!

4. NAUGHTY/NICE

Part I: Dualities

THE ASSIGNMENT:

For this project, you will be making a pair of small sculptural objects. These objects will be opposites, somehow based on a duality. This could be from word play or puns like: ‘bark/bark’ (the dog bark, the tree bark) or ‘beetle/beetle' (a bug, a member of the band or even the VW car). “Duality” implies "two", and these two things are usually thought of as opposing ideas or images. A

common duality is the one between good and evil—naughty and nice. A dualism can also be a theoretical division of the world into two categories; for example man vs. nature.

Examples: Good/Evil, Man/Nature, Mind/Matter, Subject/Object, or even Masculine/Feminine.

Your 2 pieces will be small--around 4 to 6 inches tall each and made the hollow form pinch pot method that I will demonstrate in class. Each piece should contain an empty interior volumetric space. This is important for the 2nd part of the assignment, which will be revealed next class.

HOMEWORK: Research the dualities you are choosing from our in class brainstorming session. Use your sketchbook to draft ideas for making these mini sculptures in class next week. Please try to include color in your sketches or at least notes about color. You must have 2 sketches for each opposing object/idea, one of the front view and one of the back. These will help inform how you make the pieces in class. Also feel free to print out source images off of the web and put them into your sketch book to reference.

Handbuilding: Assignment #1: Part II: Salt & Pepper

Make your dualities sculptural objects into salt and pepper shakers! Some of you might have to shift scale slightly. How will they work as shakers: do you need to make a cradle for them? A basket or a stand of some kind? Where will the salt & pepper come out? I will supply the stoppers for the bottom of the pieces. Please keep in mind that the bottom will need to have an INSET hole so that the stoppers will work.

5. SLIPCASTING: The Still Life

Objective

To understand how multiples and grouping of objects can unify an idea or even a person in a work of art
To refer to a traditional way of grouping objects in art—the still life, allowing for a greater understanding of the way art history can inform contemporary art ideas.
To learn how to cast objects
To encourage exploration of form through alteration and change.

The Assignment

In class, we will look at both historical and contemporary artists using the still-life as a visual narrative tool. How can a still life depict evidence of a life? What kind of person is described by the objects shown a still life? How is a moment stopped in time characteristic of someone, some culture, a particular place or time?

For this project you will have to do some research. Here is an opportunity for you to play with an obsession or learn about someone you have always wanted to know more about. The research will help you decide which objects will best describe your subject. For Wednesday please be ready to begin making your prototype for your mold with sketches of the object you will be casting. Simple shapes work best for casting. You will be using this one form and altering it to make 8-10 forms which will ultimately create your still life. On Wednesday please have sketches of at least five objects you will make for your still life. For ONE object you are allowed to trade with another student in class.

Please consider how you will present this still life to the class. What will the objects sit on? Consider how we view them—is it from one vantage point or many? Are the objects left over from an event? Are they of an event about to happen? Who do they describe? What do they describe? Are they an exploration of the vase—or a certain kind of function? An exploration of color and how it differs as it is applied to different forms?

6. REDEFINE THE CUP

The Assignment:

After an in-class brainstorming session and a quick slide lecture, you will choose 5 cups to make from our long list of great ideas for cups to make (some possibilities below—this is what YOUR list might look like). You will throw at least 3 of the 5 cups, or you can throw all of the cups if you are up to the challenge. You must have at least 3 thrown cups out of the five total.

SOME IDEAS:

1. A cup for a specific time of day

2. A cup with multiple functions

A cup with a surprise
A cup with a home
A cup you always wanted
A cup for a specific purpose
A cup that is not a cup
A cup that gives directions
A cup that is actually two cups
A cup incognito

The Homework: For this project you will benefit from making multiple sketches of how these cups will be made. How will you execute these ideas? What colors will you choose? Please have 2-3 sketches for each cup in our next class period. That means you will be showing me 10-15 sketches…

Molly Hatch CV

Education

2008 Master of Fine Arts, University of Colorado at Boulder

2000 Bachelor of Fine Arts, School of the Museum of Fine Arts, Boston MA

1996 Dartmouth College, Hanover, NH (Two trimesters of study while in high school)

Solo Exhibitions/Two Person Exhibitions

2011 “New Work” Greenwich House Pottery NYC (Fall 2011)

Solo Show at MudFire, Decatur GA

2010 “Bloom” Molly Hatch and Bonnie Seeman at Red Star Studios, Kansas City, MO

“Mimesis” The Clay Studio, Philadelphia PA

“Molly Hatch at Lola” Lola Home, Berkeley CA

2009 “Transference” Bennington Art Museum, Bennington VT

2008 “New Work” Vertigo Gallery, Denver CO

2007 Miami International University of Art and Design, Miami FL

Group Exhibitions

2011 TBA “SOFA NYC” Ferrin Gallery, NYC NY April 2010

“Guess Who’s Coming to Dinner?” Clay Art Center, Port Chester, NY

“Floral” Hosted by Molly Hatch, Red Lodge Studio, Red Lodge MT

“Art of the Pot” Group Show and Sale Invited Artist, Lisa Orr, Austin TX

“In the Ceramics Studio” Lyons Wier Gallery, NYC NY

2010 “Small Works” Ferrin Gallery, Pittsfield MA

“NUDE” SOFA Chicago, Perimeter Gallery/Ferrin Gallery

“Gifted” The Clay Studio, Philadelphia

“Table Manners” Lark and Key Gallery, Charlotte NC

“Flora” Schaller Gallery, Red Lodge, MT

Artisan Gallery 4^th Annual Cup and Mug Invitational, Northampton MA

“La Mesa” at Santa Fe Clay December 2010, Santa Fe NM

AVPG Dinnerware Show, Pinch Gallery, Northampton MA

“Best Foot Forward” Benefit Sale and Auction for Drew Johnson, Charlie Cummings Gallery, Online

“Sip” TRAX Gallery, Berkeley, CA

“Small Favors V” The Clay Studio, Philadelphia, PA

“La Mesa” at NCECA, Santa Fe Clay

“American Story” John Michael Kohler Arts Center, Sheboygan WI

“Form Follows Food” Made in Clay at Greenwich House Pottery, NYC NY

“Cups” Santa Fe Clay, Santa Fe NM

2009 “”2009 Studio Pottery Invitational” Ferrin Gallery, Pittsfield MA

“Night of 100 Plates” Ferrin Gallery, Pittsfield MA

“Paper or Pottery-Not Plastic” Ferrin Gallery, Pittsfield MA

“3rd Annual Cup and Mug Invitational” Artisan Gallery, Northampton, MA

“The Clay Ball”, Baltimore Clayworks, Baltimore MD

“Studio Pots” Freehand Gallery, Los Angeles CA

“Winterfest” Baltimore Clayworks, Baltimore MD

“Gifted: Part I” The Clay Studio Philadelphia

“Art of Entertaining” NAVIO Artisans Collective, New Bedford MA

“Salad Days Invitational” Watershed Center for the Ceramic Arts, Newcastle, ME

“La Mesa at NCECA” Santa Fe Clay, Phoenix AZ

“Artstream 2009 NCECA Tour” Harvey/Meadows Gallery, Phoenix AZ

“American Story” John Michael Kohler Arts Center, Sheboygan WI

“Small Favors IV”, The Clay Studio Philadelphia, PA

“Summer of Love” Dow Studio, Deer Isle ME

“Made in Clay”, Greenwich House Pottery, NYC NY

Exhibitions Continued

‘The Animal Within” Brenau University, Gainesville, GA (Upcoming, Fall 2009)

“DinnerWorks” Louisville Center for the Arts, Louisville KY (Invitational, January 2009)

2008 “16 Stokers” California State University, Sacramento “Creative Spaces” The Lincoln Center, Ft Collins CO

“Floral Explorations” Santa Fe Clay, Santa Fe NM (Invitational)

“Ten+Ten” TRAX Gallery, Berkeley CA (Invitational)

“Cast: Tableware” The Clay Studio, Philadelphia (Invitational)

“Salad Days Invitational” Watershed Center for the Ceramic Arts, Newcastle, ME

“You Can Never Go Home” 2008 MFA Graduate Student Exhibition, University of Colorado, Boulder CO

“Clay in The Barn” Fundraiser for “Barro Sin Plomo” at Sculpture Fest 2008, Woodstock VT (Invitational)

“One and Only: Gifts Made by Hand” John Michael Kohler Arts Center (Invitational)

“Gifted:Part I” Annual Holiday Exhibition, The Clay Studio, Philadelphia (Invitational)

“Beaux-Arts Auction” University of Colorado, Boulder (Invitational)

“Sip, Slurp, Gulp” Santa Fe Clay, Santa Fe NM, (Invitational)

Water Street Artists at Stable Gallery, Watershed Center for the Arts, ME (Invitational)

“The Artful Tabletop” The Lyndhurst Museum, Curator Julia Galloway (Invitational)

“La Mesa” at NCECA, Santa Fe Clay, Westin Hotel, Pittsburgh PA (Invitational)

“16 Stokers” TRAX Gallery, Berkeley CA (Invitational)

Graduate Exchange Exhibit, Colorado State University, Fort Collins, CO (Invitational)

2007 “By The Ounce”, Juried Exhibition, Louisville Stoneware, Louisville KY, NCECA 2007

“Gifted Too” The Clay Studio, Philadelphia, PA (Invitational)

“Bolder Clay” Vertigo Gallery, Denver CO (Invitational)

“A One Nightstand”, The Factory on 5^thAlbuqurque NM (Invitational)

“COllaboratiONE” UMC Gallery, University of Colorado at Boulder (Graduate Exchange Exhibit of ceramics from University of Nebraska, Lincoln and University of Colorado, Boulder)

“Plates and Platters: Salon Style”, The Clay Studio, Philadelphia PA (Invitational)

2006 “Exchange: A Critical Discourse”, University of Nebraska, Lincoln (Graduate Exchange Exhibit of ceramics from University of Nebraska, Lincoln and University of Colorado, Boulder)

“Mastery in Clay 2006”, The Clay Studio, Philadelphia, PA (Invitational)

“Borders: Visualizations Without Sin,” Esculela Nacional de Artes Plasticas, Mexico City, Mexico (Invitational)

2005 “Gifted”, The Clay Studio, Philadelphia, PA (Invitational)

2004 “Gifted”, The Clay Studio, Philadelphia, PA (Invitational)

“Bowled Palate” The Guild Studio School, Easthampton, MA (Invitational)

“Spring Exhibition”, The Clay Studio, Philadelphia, PA (Invitational)

“30^th Annual Benefit Auction”, The Clay Studio, Philadelphia, PA (Invitational)

2003 “kups: Six Ceramic Artists”, Exploding Head Gallery Sacramento CA (Invitational)

“Rage into Beauty: A Tiny Arts Event”, Clara Wainright Studio Allston, MA (Invitational)

“3^rd Annual National Juried Cup Show”, Kent State University Gallery 138, Kent OH

“Affinity for the Cup”, Exploding Head Gallery, Sacramento CA (Juried)2002 “Functional Review”, The Clay Studio of Missoula, Missoula MT (Juried)

“Feats of Clay XVI”, Lincoln Arts and Culture Foundation, Lincoln CA (Juried)

“The Camilla Line”, Hooker-Dunham Gallery, Brattleboro VT (Invitational)

Teaching Experience

2011 Adjunct Faculty Ceramics I Section 2, Holyoke Community College, Holyoke MA

2010 Adjunct Faculty Ceramics I Section 2, Holyoke Community College, Holyoke MA

Adjunct Faculty Ceramics I Section 3, Holyoke Community College, Holyoke MA

2008 Instructor, Davidson Ceramic Studio, Dartmouth College, Hanover NH

Instructor, New Hampshire League of Craftsmen, Hanover NH

Graduate Part Time Instructor: Ceramics for Non-Majors, University of Colorado Boulder

2007 Graduate Part Time Instructor: Ceramics for Non-Majors, University of Colorado Boulder

Graduate Part Time Instructor: Introduction to Studio Art 2, University of Colorado Boulder

2006 Graduate Part Time Instructor: Introduction to Studio Art, University of Colorado Boulder

Artsbridge Scholar at Casey Middle School, Boulder CO (National Scholarship program bringing art processes to academic courses in Elementary and High Schools)

Graduate Teaching Assistant: Ceramics 2: Wheelthrowing, University of Colorado Boulder

2003 Instructor: Beginning Wheelthrowing, Continuing Education, School of the Museum of Fine Arts, Boston

Instructor: Clay At Night, Harvard University, Cambridge MA (Open Studio at Harvard)

Instructor: Ceramic Tiles, Boston Center for Adult Education, Boston MA

Instructor: Introduction to Clay, Boston Center for Adult Education, Boston MA

Instructor: Ceramics Workshop: A Summer Course, Continuing Education, School of the Museum of Fine Arts, Boston MA

2002 Instructor: Beginning Wheelthrowing, Continuing Education, School of the Museum of

Fine Arts, Boston MA

2001 Art Program Director, Tamarack Farm Summer Camp, Farm and Wilderness Summer Camps, Plymouth VT

Teachers Assistant, Mid to High Range Firing Techniques, School of

the Museum of Fine Arts, Boston MA

Teachers Assistant, Glaze Calculation, School of the Museum of Fine Arts,

Boston MA

Teachers Assistant, Foundation Ceramics, School of the Museum of Fine Arts, Boston MA

Teachers Assistant, Foundation Ceramics, School of the Museum of Fine Arts Boston MA

1999 Instructor: Beginning Wheelthrowing, The Clayroom South End Studio, Boston MA

Teachers Assistant, Narrative Ceramics, School of the Museum of Fine Arts Boston MA

Teachers Assistant, Low to Mid-Range Firing Techniques, School of the Museum of Fine Arts, Boston MA

Teachers Assistant, Foundation Ceramics, School of the Museum of Fine Arts, Boston MA

1998 Instructor: Beginning Wheelthrowing, The Clayroom South End Studio, Boston MA

Demonstrations, Workshops and Visiting Artist Lectures

2011 Visiting Artist Lecturer and Demonstrator, Bowling Green State University, Bowling Green, OH

2010 Presenter/Demonstrator, “Splendid Surfaces” Potters Council/AMACO Conference, Indianapolis, IN

Workshop Instructor: 4^th and Clay, Berkeley, CA

Visiting Artist Lecturer and Demonstrator, Green Mountain College, Poultney VT

Visiting Artist Lecturer and Demonstrator, Maine College of Art, Portland ME

Visiting Artist Lecturer and Demonstrator, Milton Academy, Milton MA

Demonstrations, Workshops and Visiting Artist Lectures Continued

2008 Visiting Artist Lecturer, Dartmouth College, Hanover NH

Visiting Artist Lecturer, Community College of Vermont, Norwich Campus, Norwich VT

Workshop Assistant to Josh DeWeese, Santa Fe Clay, Santa Fe NM

Invited Artist: Session II: “Artists Invite Artists” Bryan Hiveley Invites Artists, Watershed Center for the Ceramic Arts, Newcastle ME

Visiting Artist Lecturer and Demonstrator: Colorado State University, Ft. Collins CO

Visiting Artist Lecturer and Demonstrator: California State University, Sacramento CA

Visiting Artist Lecturer and Demonstrator: Kansas City Art Institute, Kansas City MO

2007 Demonstrator, “Artisans and Kings”, Denver Art Museum, Denver CO

Visiting Artist Lecturer and Demonstrator, Miami International University of Art and Design, Miami FL

2006 Graduate Exchange, University of Nebraska, Lincoln NE

2005 Instructor: Decorating the Ceramic Surface: A Workshop, The Guild Studio

School, Easthampton, MA

2001 Visiting Artist Lecturer and Demonstrator: Nobles and Greenough School, Dedham MA

Authored Publications

American Craft Magazine “Ceramic Appropriations” Article about Stephanie DeArmond, by Molly

Hatch, October/November 2010 Issue

Ceramics Monthly “Text and Context”: the Ceramic Letterforms of Stephanie DeArmond” by Molly Hatch, June/July/August 2010 Issue

Ceramics Monthly “Relative Permanence: The Vessels of Karen Swyler” by Molly Hatch, April 2010, pages 34-37

Ceramics Monthly “Deborah Schwartzkopf: Full Circle” by Molly Hatch, February 2010, pages 48-51

American Craft Magazine October/November 2008, Cover Story, “A Life Made From Mud” page

80, Interview with Christa Assad, online interviews published with Ayumi Horie, Jeanne Quinn and Sanam Emami

Publications/Media

American Craft Magazine “Domestic Beauty” by Editor Shannon Sharpe, 2010 August/September

Holly Becker Review of solo show “Mimesis” on Décor8.blogspot.com and at Real Simple Magazine Blog on July 16, 2010

Magazine Golem Redace, “Keramika Molly Hatch” Interview with Molly Hatch published in Checkoslovakian ceramics magazine

American Story John Michael Kohler Arts Center, Catalog of Exhibition, June 2009 Essay written by Amy Chaloupka

Ceramics Monthly September 2008 Issue, Upfront Section, Review of “New Work” at Vertigo Art Space, Denver CO

Grace Bonney Design*Sponge review of “Salon Familiar” MFA Thesis Exhibition published online April 21, 2008, www.designspongeonline.com

Review on Design*Spionge of Solo Show at Lola Home, April 20, 2010

Review on Desing*Sponge of Solo Show “Mimesis” at the Clay Studio Philadelphia on June 15, 2010

Channel Nine News “News at Noon” Broadcast in Denver live in-studio painting demonstration, October 2007

Ceramics Monthly September 2008 Issue, Upfront Section, Review of Solo Exhibition “New Work” at Vertigo Art Space, Denver CO

Jessy Fofana “Mom on the Edge: An Etsty-Bitsy Obsession”, The Courier News, The Home News Tribune (two different publications) Review of my Etsy online shop, March 23, 2008

Publications/Media Continued

Linda Besen “Ceramics: Small Program with a Large Reputation,” Inside CU: The CU-Boulder Faculty/Staff E-Newsletter, Tuesday February 28, 2006 (Interview and photograph)

Dannible,Willow L. “Family Name Tied to Generations of Art”, Brattleboro

Reformer (Periodical Review of Exhibition “The Camilla Line”), January 31, 2002

University of Southern Maine “Words and Images 2003,” University of Southern Maine, Portland

(Juried Image of work published)

Collections

Terry Stewart, President and Chief Executive Officer of the Rock and Roll Hall of Fame, Cleveland OH Terry is well known as an avid collector of pop culture memorabilia. His extensive collection includes a world-class record collection, concert and movie posters, rock and roll memorabilia, and jukeboxes.

Asheville Art Museum, Permanent Collection, Asheville, NC

The John Michael Kohler Arts Center, Permanent Collection, Sheboygan WI

Colorado Collection, Permanent Collection of the University of Colorado Art Museum, Boulder CO

The Betty Woodman Collection, Teaching Collection at the University of Colorado at Boulder, CO

The Ken Ferguson Collection, Kansas City Art Institute, Kansas City MO

David and Annette Raddock, Collectors, Boulder CO

Mick Jagger, Musician

Kate Winslet, Actress

Molly Hatch Portfolio

Wednesday, December 22, 2010

Molly Hatch Personal Portfolio