Joe Molinaro
Richard Notkin is best known for his reinterpretations of traditional Chinese Yixing teapots that comment on the human condition. His porcelain pieces deal with the environmental, political, and economic impacts of contemporary ...
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Typical Marks
About
- Biography
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Richard Notkin is best known for his reinterpretations of traditional Chinese Yixing teapots that comment on the human condition. His porcelain pieces deal with the environmental, political, and economic impacts of contemporary human civilization on the ecological and spiritual condition of our planet.
Notkin has been influenced by his teachers, Ken Ferguson and Robert Arneson. Notkin combines a respect for form with sharp social commentary.
Yixing teapots, dating from 1526, were among the first teapot forms made in China. They were also among the first made by craftsmen known to have signed their work with a chop. Notkin replaced the Chinese lexicon of symbols with his own, demonstrating the possibility of relaying powerful truths through this simple form.
While finishing his MFA, Notkin was a teaching assistant for Robert Arneson at UC Davis. He continued teaching in programs across the United States as a visiting lecturer or artist, although he primarily identifies as a full-time studio artist (see CV).
" - Apprenticeships & Residencies
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1974-1975
Apprenticeship, Bethel Pike Pottery, Albany, Illinois
- Primary Work Experience
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2016—
Professor Emeritus, Eastern Kentucky University, Richmond, Kentucky
1975-1976Director, Arts and Crafts Program,
1979Assistant Technician, Craftwork Gallery, London, England
1981-1989Instructor of Art, Broward Community College, Fort Lauderdale, Florida
1991Visiting Professor, Universidad del Azuay, Cuenca, Ecuador
1994Fulbright Research Award, Amazon Region of Ecuador
1994-1995Director, Ecuador Summer Study Program, Kentucky Institute for International Studies
2001Fulbright Teaching Scholar, Universidad Central, Quito, Ecuador
2003-2005Editor, Studio Potter Network News
2005-2009Programs Director, National Council on Education for the Ceramic Arts
1989-2016Professor, Eastern Kentucky University, Richmond, Kentucky
Other
- Public Collections
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Anderson Fine Arts Center, Anderson, Illinois
Arizona State University Art Museum, Tempe, Arizona
Ball State University, Fine Arts Gallery, Muncie, Illinois
The Capital, Tallahassee, Florida
Indiana State Museum, Krannert Art Gallery, Evansville, Illinois
James Wallace Arts Trust, Auckland, New Zealand
Jingdezhen Ceramics Institute, Jingdezhen, China
Millikin University, Decatur, Illinois
Museo de la Ceramica, Fundacion Paul Rivet, Cuenca, Ecuador
National Gallery of Art, Kingston, Jamaica
Northern Arizona University, Flagstaff, Arizona
Owensboro Museum of Fine Art Owensboro, Kentucky
Purdue University, Lafayette, Illinois
San Angelo Museum of Art, San Angelo, Texas
South Bend Regional Art Center, South Bend, Illinois
Southern Illinois University, University Art Gallery, Carbondale, Illinois
Trans-Financial Bank Corporation, Bowling Green, Kentucky
- Bibliography
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Bronner, Nancy. “Ecuadorian Ceramics Remain Joe Molinaro’s Passion.” Arts Across Kentucky (Spring 2007).
Lane, Peter. Studio Porcelain. Radnor, PA: Chilton Book Co., 1980.
Lawton, Jim, Suzanne J E Tourtillott, and Linda Koop. 500 Teapots: Contemporary Exploratons of a Timeless Design. New York, NY: Lark Books, 2013.
Molinaro, Joe and Richard Burkett. Mythical Figures and Mucawas. Raleigh, NC: Lulu Press, 2014.
Molinaro, Joe, “Figurative Incongruity.” Ceramics Art & Perception 96 (2014).
___________. “Sustainable Ceramics” Ceramics Technical 38 (2014).
___________. “Preserving Culture: Evolving Traditions and Outside Influences Facing the Ecuadorian Amazon.” Studio Potter Magazine (Summer/Fall 2013).
___________. “An Evolving Tradition.” Ceramics Monthly (May 2008).
___________. “The Pots of Jatumpamba.” Ceramics Monthly (October 2001).
___________. A Pottery Tour of Kentucky. Lexington KY: Crystal Communications Publication, 2000.
___________. “Porcelain.” Arts Across Kentucky (March/ April 2000).
___________. “Cups of Utility and Concept.” Ceramics: Art & Perception 34 (1998).
___________. “Cyberclay: An Electronic Pottery Village.” Ceramics Monthly (November 1998).
___________. “Coffee and Tea: Interpretations in Maiolica.” Ceramics Monthly (September 1998).
___________. “Linda Arbuckle.” Clay Times 2 (May/June 1997).
___________. “Jatun Molino: A Pottery Village in the Ecuadorian Amazon Basin.” Ceramics Monthly (May 1995).
___________. “Function on Function: An Interactive Pottery Exhibit.” Ceramics: Art & Perception (1993).
___________. “How to Join Clayart,” Ceramics Monthly (November 1993).
___________. “Ecuadorian Potters.” Studio Potter 21, no. 2 (1993)
___________. “Fantastic Figures of Ocumicho.” Ceramic Review (January/ February 1990).
___________. “Lucy ‘Ma Lou’ Jones-Jamaican Potter.” Ceramic Review (May/June 1987).
___________. “Cecil Baugh, Ma Lou in Florida.” Daily Gleaner Sunday Magazine (June 1984).
___________. “Jamaica’s Ma Lou,” Ceramics Monthly (April 1984).
Nelson, Glenn C. and Richard Burkett. Ceramics: A Potter’s Handbook. Belmont, CA: Wadsworth Publishing, 2002.
Zakin, Richard. Ceramics: Mastering the Craft. Iola, WI: Krause Publications, 2001.
___________. Electric Kiln Ceramics: A Guide to Clays and Glazes. Iola, WI: Krause Publications, 2004.
- CV or Resume
- Website(s)
Citation: Joe Molinaro, "The Marks Project."
Last modified April 29, 2026. https://www.themarksproject.org/artists/joe-molinaro
