The Ohio Artist Registry (OAR) is an exciting opportunity for artists to share their work, connect with the creative community, and establish an online presence—all on a free, virtual platform! The OAR encourages artists working in all art forms, throughout Ohio and beyond, to create a profile, which allows them to better promote themselves and their work. Being listed in the OAR provides artists with new opportunities to share their work with clients, galleries, patrons, and audiences. For more information, contact Kathy Signorino, artist programs director, at firstname.lastname@example.org or 614-728-6140.
William BrouillardProfessor Emeritus Cleveland Institute of ArtCeramics
Lakewood Ohio 44107 United StateshomeWork 2662 West 14th Street
Cleveland Ohio 44103 United Stateswork Cell Phone: 216 276 0482cell
Nationality: American, born in Madison Wisconsin
Education: BA, State University of Wisconsin, Stout, at Menomonie, WI.
Post Baccalaureate studies, University of Wisconsin, Madison WI.
M.F.A., Ceramic Art, SUNY, at Alfred, NY,
Studio Potter, Brouillard Studios, Cleveland, OH
Resident Craftsman at Penland School, Penland, NC, 1976-1978
Professor of Art, Ceramics, The Cleveland Institute of Art, Cleveland, Ohio, From 1980
I began my work in clay, studying with John Perri at the State University of Wisconsin, at Menomonie, Wisconsin. After serving in the armed forces I returned to Wisconsin to study with Don Reitz at The university of Wisconsin, Madison. I completed a MFA at Alfred University in 1976 and traveled to North Carolina and was a resident craftsman at the Penland School. After several years as a studio potter I taught ceramics at ETSU for a year and then returned to Penland School where I worked and taught till 1980. I currently live in Lakewood, Ohio and have a studio in the old steel-making district of Cleveland. I taught ceramics at The Cleveland Institute of Art with Judith Salomon for the last 36 years and am now Professor emeritus.
Creative Work Fellowship Award from The Cleveland Public Arts Commission, 2010-2011
Cleveland Arts Prize, 2009
Individual Excellence Award, Ohio Arts Council Grant, March, 2007-Dec.2007
Schreckengost Award for Teaching, Cleveland Institute of Art, 2006
McKnight Grant. Northern Clay Center, Minneapolis, MN 2003-2004
Best of 2001, Ohio Designer Craftsmen, Ceramics Monthly Magazine, purchase award, Apr. 2001
Ohio Designer Craftsmen, purchase award, Best of 92 exhibition, Columbus, OH. 1992
Excellence in Design Award Ohio Designer Craftsmen, Best of 92 Exhibition, 1992
American Craft Museum, Design Award, for Excellence in Design, in conjunction with the “Designed and Made for Use” Exhibition, at The American Craft Museum, NY 1986
COLLECTIONS REPRESENTED BY
The International Museum of Dinnerware Design,
Ann Arbor, MI
Hahn Loesser Collection, Cleveland/Akron
Richard Zellner, Cleveland, OH
Northern Clay Center, Minneapolis, MN
Nara National Museum, Nara Japan
Tokyo National Museum, Tokyo , Japan
Tom Judy Collection, Washington DC
The Detroit Museum of Art [DIA], Detroit MI.
The Cleveland Museum of Art, Cleveland OH.
The Millard Collection, St Louis, MO
The Sinker Collection, Detroit, MI.
The Vincent Lim Collection, Philadelphia, PA
The American Museum of Ceramic Arts Permanent collection, San Francisco, CA
The Pfannebecker Collection, Lancaster, PA
University of Southern Illinois
Ohio Designer Craftsman, Columbus, OH
Ceramics Monthly, Columbus, OH
The Cleveland Art Association, Cleveland, OH
Alfred University, Museum of Ceramics, Alfred, NY
The Crocker Museum, Sacramento,CA, Sidney Swidler Collection
The Charles Meyer Collection, Sandusky, OH
University Hospitals of Cleveland, Lerner Tower, Cleveland, OH
Kaiser Hospitals of Cleveland, Cleveland, OH
Dixon Long Collection, San Anselmo, CA
The Mark Basset Collection, Private collection, Cleveland, OH.
The David and Louise Rossenfield Collection, Private collection, Dallas, TX. http://www.Rosenfieldcollection.com
The most important things for artists to know are how, and with what, you like to work. All studio artists are unique in their psychological and physical traits and their experiences. Our minds and bodies change with the passage of time, as do our ideas about what constitutes interesting work.
I would argue that curiosity is the single most powerful psychological factor in the creation of artwork. Curiosity drives experimentation and discovery. Failure is an important part of the process of discovery. It is the left hand of the other great force, inertia. (Defined here as the tendency to continue doing what ever we have been doing in our work).
My finishing school was a long residency at Penland School in North Carolina. It was at Penland, where my clay work began to evolve. The area around the school was rich with craft based artists of all kinds and it was a great place to learn the studio end of the maker business. The talent and range of the local artists pushed me to develop in all areas of my craft and to constantly pursue new directs in my clay work. I work in a variety of ceramic and other craft studio related materials but use the local industrial background of my Cleveland Studio as a source of images and subject matter.
The variety of work keeps things interesting in the studio and allows me an outlet for ideas that might otherwise go unfulfilled. I have also started some large-scale installations and a new series of quasi-mystical wall Ikons. In an attempt to suggest that we now revere technology, I have replaced traditional religious and historical figures with technological counterparts. These new works speak to our complex interactions with technological change and its impact on our lives and spiritual values. The tsunami of the technological imperative promises everything but ignores the costs of its adoption. These new works are the most difficult and the most rewarding things that I have ever attempted.