Beth Cavener Stichter

Cavener was born in 1972 in Pasadena, California. Her father is a molecular biologist and inspired Cavener to study science up until college. She would work in his lab in the summers and says that she aspired to a career as an academic scientist. Her mother, Nancy Jacobsohn, a sculptor and an art teacher, taught Cavener how to work with clay starting at an early age and also did some painting.[3] Cavener went on to pursue her studies in physics and astronomy at Haverford College in Pennsylvania. In her 3rd year, she traveled to Florence, Italy, where she attended the Cecil Academy of Art. Upon returning, Cavener suspended her studies in astrophysics in order to focus on incorporating her diverse interests with a major Fine Art. She received her BA in Sculpture in 1995.

Title: "The Question That Devours" Year: 2012 Dimensions: H 64 x W 35 x D 25 in. Materials: Stoneware, paint Installation: Wall Piece

Cavener would spend the next few years honing her artistic style and research through a series of apprenticeships and fellowships in Nashville, Tennessee, and at the Charles H. Cecil Studios in Florence, Italy. Trained in the classical atelier style throughout her studies, Cavener became restless with the more traditional methods of sculpting and casting, focused exclusively on the human form. Returning to the raw material of clay, Cavener began developing a method of working solid on increasingly complex armatures that allowed her to explore more complex gestures. Cavener spent four years in Columbus, Ohio, independently developing her work and searching for a conceptual link to her interest human psychology and social structures. Cavener enrolled in graduate school at The Ohio State University, where she received her Master's in Fine Arts degree in ceramics between 2000 and 2002. Her thesis exhibition, "tremble shiver," made the transition from working with the human figure to using human-scaled portrayals of the animal body to express human emotion and psychological portraits.

After receiving her MFA, Cavener spent two years as a resident artist at the Archie Bray Foundation for the Ceramic Arts from 2000-2002, and then completed a brief Guest Artist residency at The Clay Studio in Philadelphia, Pennsylvania, in 2004. She then traveled for residencies in Jingdezhen, China (2008), La Meridiana, Certaldo, Italy (2012), and at the Shigaraki Ceramic Cultural Park in Shigaraki, Japan (2013).[4] Cavener opened the exhibition, "The Other", in November 2017, with 5 new major pieces.

In addition to her full-time studio practice, Cavener opened a group professional studio space in 2014 under the name Studio 740 in Helena, MT, in order to mentor and support young emerging artists. She is vocal about the lack of funding for young artists and has completed two successful crowd-funding initiatives, one in partnership with United States Artists (USA) in 2011 and another self-directed initiative using Patreon, to support the artists in residence of Studio 740.[5]

"Limerence" 2017 from the exhibition "The Other" 44 in. length, 22 in. height, 16 in. width Stoneware, Paint

Title: "Trapped" Year: 2015 Dimensions: Figure: H 21 x L 37 x D 22 in. Materials: Stoneware, paint, 18 k gold, rope, wood

Cavener's sculptures are large and dynamic, evoking fear and anxiety that is distinctly human even though it is presented through animal forms. The body language of these animal forms are metaphors for how humans think and feel, and they act as a psychological portrait more than a physical representation. In 2008, Cavener joined the Claire Oliver Gallery, where she opened a show called "On Tender Hooks" on October 22, 2009. In 2010, she had a show entitled "The Four Humors," inspired by the ancient Greek notion of being able to characterize one's personality by which "humor" they possessed in excess. Her last show with Claire Oliver, "Come Undone," was displayed in the fall of 2012.

Her work is owned by many public collections, including the Honolulu Museum of Art, the Arizona State University Art Museum (Tempe), the Chazen Museum of Art (Madison, Wisconsin), the Museum of Fine Arts, Houston, the Northwest Museum of Arts and Culture (Spokane, Washington), the Racine Art Museum (Racine, Wisconsin), the Smithsonian American Art Museum (Washington DC), and the Tennessee State Museum (Nashville). She has promised gifts to the Metropolitan Museum of Art and the Museum of Art and Design, both in New York City, New York.

Process

Cavener's usual working method is building solid sculptures on metal armatures, often with 2,000 or more pounds of clay at a time, then cutting the piece into 30-160 sections, hollowing out each section out to 1/4" thickness, and reassembling the pieces before firing. In order to work on a larger scale, the reassembled hollow pieces are then cut again to fit inside the kiln, fired, and then reassembled with glues and epoxies. (A slideshow of this process can be seen on her website under the Materials and Techniques section). She usually paints the surface with flat interior latex paint. This allows her to fill in seams after reassembly and maintain the look and feel of clay. She has also uses the technique terra sigillata , or "sealed earth," a process in which clay is burnished to a glossy texture, which is how she achieves the luminous surface of her sculptures.[6]

"A Second Kind of Loneliness" 2009 from the exhibititon "On Tender Hooks" Dimensions: H 64 x W 117 x D 22 in. Materials: Stoneware, paint, paper pinwheel, internal mechanical breathing device

Cavener shapes her stoneware animals in unexpected, and human-like, poses. Her "A Second Kind of Loneliness" from 2009, in the collection of the Honolulu Museum of Art, is an example of this. The hollow sculpture contains an internal mechanical breathing device that animates the pinwheel. By using this pinwheel mechanism, Cavener is able create an illusion of animation, which is why her sculptures seem to be suspended in a burst of activity. For "Come Undone," her 2012 show at the Claire Oliver Gallery, she explored mixed media, including handmade doilies for "The White Hind" and sugar crystals for "The Adoration." "Each piece in the show is a self-portrait representing different aspects of the artist's femininity."[7] Stichter was quoted saying "I wanted to explore the idea of feminine sexuality and how difficult it is to express desire-passion in a woman without it being a taboo, or without it being seen as wanton."[8]

PreviousNext Title: "Tangled Up In You" Year: 2014 Dimensions: Figures: 65 inches height, 42 inches length and 24 inches wide. Installation: 15 feet from the top rope knot to the floor. Materials: Stoneware, ink, paint, rope Japanese style tattoo designed with and painted by Alessandro Gallo

• 2009 Artist Trust Individual Art Fellowship
• 2006 Jean Griffith Fellowship
• 2005 Virginia A. Groot Award, First Prize
• 2005 Individual Artist Fellowship, Ohio Arts Council
• 2003 Emerging Artist Grant, American Craft Council

Title: "Obariyon" Year: 2013 Dimensions: H 17 x L 46 x D 30 in. Materials: Stoneware, antique hooks

• Garth Clark, Human, The Art of Beth Cavener, Fresco Books/ SF Design, llc., 2019
• "Beth Cavener: Subliminal" by Kathleen Whitney, Ceramics Monthly Volume 63, 2015
• "Come Undone: The Sculptures of Beth Cavener Stichter" by Jen Pappas, Hi-Fructose Volume 26, 2013
• "Veiled Lures: The Sculptures of Beth Cavener Stichter" by J.L. Shnabel, Hi-Fructose Volume 16, 2012
• "Innovation & Change: Ceramics from the Arizona State University Art Museum" by Peter Held, Arizona State University Art Museum, 2009, ISBN 0-9817957-3-0
• "Confrontational Ceramics" by Judith Schwartz, University of Pennsylvania Press, August 2008, ISBN 978-0-8122-4139-6
• "Clay in Art International Yearbook 06/07" by Kostas Tarkasis (ed.), Clay Art International, 2008
• "A Human Impulse: Figuration from the Diane and Sandy Besser Collection" by Peter Held, Arizona State University Art Museum, 2008, ISBN 0-9777624-7-5
• "From the Ground Up: Renwick Craft Invitational 2007" by Jane Milosch and Suzanne Frantz, Smithsonian American Art Museum, 2007, ISBN 0-9790678-1-2
• "Beth Cavener Stichter" by Garth Clark, New York: Garth Clark Gallery, 2006
• 500 Animals in Clay: Contemporary Expressions of the Animal Form by Joe Bova, Lark Books, November 2006, ISBN 978-1-57990-757-0
• 500 Figures in Clay: Ceramic Artists Celebrate the Human Form by Veronika Alice Gunter, Lark Books, September 2004, ISBN 978-1-57990-547-7

• Cavener's website
• Jason Jacques Gallery - representing Beth Cavener
• ArtNet page on Cavener Stichter
• The Archie Bray Foundation
• Cavener Stichter Entry on AccessCeramics