Bibliography

Books

  • Patricia Bovey, Western Voices in Canadian Art (University of Manitoba Press, 2022), 100, 346–347
  • Joseph Hartman, The Artist’s Studio (London: Black Dog Publishing, 2017).
  • Jen Townsend and Renée Zettle-Sterling, CAST: Art and Objects Made Using Humanity’s Most Transformational Process (Atglen, Pennsylvania: Schiffer, 2017).
  • Rosette Gault, Paperclay: Art and Practice (Philadelphia: University of Pennsylvania Press, 2013), 134. First published London: G+B Arts International, 1998, 44 & 66.
  • Stephen Borys, ed., Winnipeg Art Gallery: Guide to the Collections (Winnipeg Art Gallery, 2010), 212.
  • Anderson Turner, ed., Ceramic Art: Innovative Techniques, Ceramic Arts Handbook Series (Westerville, Ohio: American Ceramic Society, 2009), 47–52.
  • Patricia Bovey, “Grace Nickel,” in Encyclopedia of Manitoba, ed. Ingeborg Boyens (Winnipeg: Great Plains Publications, 2007), 498–499.
  • Janet Mansfield, Ceramics in the Environment: An International Review (Westerville, Ohio: American Ceramic Society, 2005), 58–60.
  • Gail Crawford, Studio Ceramics in Canada 1920 to 2005 (Fredericton NB: Goose Lane Editions & Gardiner Museum of Ceramic Art, 2005), 161, 170.
  • Robin Hopper, Making Marks: Discovering the Ceramic Surface (Iola WI: KP Books, 2004), 123.
  • Robin Hopper, The Ceramic Spectrum: A Simplified Approach to Glaze and Color Development, 2nd ed. (Iola WI: Krause Publications, 2001), 229.
  • Focus One: Contemporary Studio Ceramics, Collection of the Winnipeg Art Gallery, essays by Robin Hopper (Winnipeg Art Gallery, 1997).

Periodicals

  • Sigrid Dahle, “Ruminating on Dignity In the Presence of Arbor Vitae: what has ceramics got to do with it?,” in Ceramics Art and Perception, NSW, Australia, no. 118, 2022, 30–35.
  • Mariianne Mays Wiebe, “Trees for the Forest: Ceramic Artist Explores Life of Trees,” in University of Manitoba ResearchLIFE (summer 2016): essay and front cover, 2, 18–21.
  • Sarah Swan, “Breaking Barriers, Western Artists Push the Boundaries of Clay,” in Galleries West 14, no. 2 (summer 2015): 42–45.
  •  Portfolio: “Feminine/Masculine/Feminine: Grace Nickel, Clint Neufeld, and Gathie Falk,” in Rhubarb: A Magazine of New Mennonite Art and Writing no. 32 (spring 2013): 29–34.
  • Ellyn Walker, “Distributary,” in Studio Magazine: Craft and Design in Canada 8, no. 1 (spring/summer 2013): 9.
  • Mary Ann Steggles, “The Dancing Ash,” in Ornamentum (Spring/Summer 2011): 13–15.
  • David Walker, “Northern Lights – Southern Exposure: A meeting of minds halfway,” in Cahiers métiers d’art – Craft Journal 3, no. 2 (spring 2010): 116–120.
  • Portfolio of 2010 NCECA Invitational Earth Matters in Dao Clayform, Fuping, China, no. 1 2010, 36–38.
  • Stacey Abramson, “Grace Nickel, Devastatus Rememorari” in Galleries West, Spring 2010: 34, 36.
  • Sandra Black, “Getting Some Distance: Sandra Black on her Canadian Residencies,” in The Journal of Australian Ceramics 48, no. 1 (April 2009): 70–73.
  • Kristen den Hartog, “Canadians in China: Kristen den Hartog writes on the Canadian experience in Fuping,” in Ceramics Technical, Australia, no. 27 (2008): 83-88.
  • Glen R. Brown, “Fire and Light: Grace Nickel’s Metaphorical Lamps,” in Ceramics Monthly (January 2007): cover, 40–43.
  • Les Manning and I Chi Hsu, “2007 Canada Museum Opening,” Chinese Potters Newsletter Quarterly (FLICAM Official Museum Newsletter), nos. 36–37 (Autumn and Winter 2007): 20–25.
  • Mei-Yueh Hsu, “Grace Nickel,” in ArTop, Tainan University of the Arts, no. 25, Taiwan (2005): 85–88.
  • Anne Coroneos, “A Ceramic Festival in Taiwan,” in Ceramics Technical, Australia, no. 19 (2004): 65–70.
  • Helen Delacretaz, “A Quiet Passage,” in Ceramics: Art and Perception, Australia, no. 52 (2003): 87–90.
  • Gordon Filewych, “The Back Page: Forms of Growth,” in Canadian Architect (May 2002): 62.
  • “Grace Nickel: Sanctuary,” Rhubarb, Silence Issue, no. 8 (winter 2002): 22–27.
  • Marnie Butvin, “Grace Nickel: A Quiet Passage,” in Tableau: A Publication of the Winnipeg Art Gallery 2002–2 (March/April 2002): cover, 6.
  • Heather Mousseau, “Nickel Strive(s) to Create Beautiful Things,” in Tableau: A Publication of the Winnipeg Art Gallery 2002–2 (March/April 2002).
  • Murray Gibbs, “Demonstrators at the 1999 National Ceramics Conference,” in Pottery in Australia 38, no. 1 (March 1999): 40–42.
  • Trudy Ellen Golley, “Full Circle: The Story of a Commission,” in Contact Magazine: Ceramics From a Canadian Perspective, no. 111 (winter 1997/98): 32–35.
  • Amy Gogarty, “Ground/Connection,” in Ceramics: Art and Perception, Australia, no. 26 (1997): 46–52.
  • “Ground/Connection,” in Contact Magazine: Ceramics From A Canadian Perspective, no. 105 (Summer 1996): 12–15.
  • Amy Gogarty, “Ground/Connection” in NCECA 1995 Journal – Borderline Clay 16 (1995): 103–105.
  • “Fletcher Challenge: Takomori’s Choice,” in Ceramics Monthly (May 1993): 45.
  • “National Biennial of Ceramics, Québec,” in Ceramics: Art and Perception, Australia, no. 2 (1990): 83.
  • “Profile: Grace Nickel,” in Contact Magazine: A Publication of the Alberta Potters’ Association, no. 83 (winter 1990): cover, 4-6.
  • “Grace Nickel: Award At Mino,” in Fusion Magazine: A Publication of Fusion: The Ontario Clay and Glass Association 14, no. 4 (Autumn 1990): cover, 13.
  • “Nickel Wins Award in Ceramic Olympics,” in Tableau: A Publication of the Winnipeg Art Gallery 3, no. 1 (January–February 1990): 7.
  • “Canadians Receive Honours: 2nd International Ceramics Competition ’89, Mino, Japan,” in Contact Magazine: A Publication of the Alberta Potters’ Association, no. 79 (winter 1989): 9–11.

Exhibition Reviews

  • Heidi McKenzie, “Constructed Landscapes,” review of NCECA Concurrent Exhibition 2022 curated by Eliza Au, Constructed Landscapes: Brick, Tile and Pillar at Blue Line Arts, Sacramento, California, Ceramics Monthly (November 2022): 50–54.
  • Regina Haggo, “Art Rooted in Nature,” exhibition review of Eruptions at the Art Gallery of Burlington, Hamilton Spectator, September 14, 2019, Hamilton, Ontario.
  • Steven Leyden Cochrane, “Fragile Ecosystem: Winnipeg artist’s inventive porcelain works invite contemplation of nature, technology and impermanence,” review of Arbor Vitae at Actual Contemporary in Winnipeg Free Press, March 3, 2016, Uptown (Winnipeg):15.
  • Thomas Pashko, “Arbor Vitae,” exhibition review in The Uniter (University of Winnipeg) 70, no. 21 (February 25, 2016): 5.
  • Steven Leyden Cochrane, “HEAT at Actual Contemporary, Winnipeg,” exhibition review in Akimblog, October 6, 2015: https://gracenickel.ca/wp-content/uploads/2015/12/Akimbo-Akimblog-HEAT-at-Actual-Contemporary-Winnipeg.pdf.
  • Robert Reid, “Exquisite Woods exhibition examines ecological concerns” in The Record.com, January 26, 2015: therecord.com/whatson-story/5276327-exquisite-woods-exhibition-examines-ecological-concerns/ (accessed June 2, 2015).
  • Mary Reid, “Prairie Excellence,” in Cahiers métiers d’art – Craft Journal 5, no. 2 (spring 2013): 123–128.
  • Steven Leyden Cochrane, “Like clay in the hands of the potter” in Uptown (Winnipeg), August 23, 2012: 11.
  • Alison Gillmor, “Manitoba Craft Council presents eye-catching ceramics in ‘Distributary’,” in CBC Manitoba Scene, August 3, 2012: cbc.ca/manitoba/scene/other/2012/08/03/distributary/#igImgId_47287.
  • Glen R. Brown, “Earth Matters,” in Ceramics Art and Perception no. 82 (2011): 86–88.
  • Alison Gillmor, “Traditional crafts explore complex questions,” in Winnipeg Free Press, May 5, 2011: D3.
  • Stacey Abramson, “Artists explore ideas of change, memory,” review of Grace Nickel and William Pura at Gallery One One One, University of Manitoba, in Winnipeg Free Press, August 27, 2009: D5.
  • Sarah Petz, “(Re)Manufactured Landscapes: Local artists see devastation as a starting point for creation,” review of Grace Nickel and William Pura at Gallery One One One, University of Manitoba, in The Manitoban 97, no. 4 (September 9, 2009): 24.
  • Lori Penner, “When nature and culture collide,” review of Grace Nickel at Gallery in the Park, Altona, in The Red River Valley Echo, Friday, April 24, 2009: 14.
  • Elissa Barnard, “Seeing the forest for the trees: Nickel’s elegy of ceramics, salt, text, reflects on ruin of Juan, reconstruction,” review of Devastatus Rememorari at the Mary E. Black Gallery, Halifax, in The Chronicle Herald, Halifax, May 22, 2008: E6.
  • Dean Lisk, “Remembering destruction,” review of Devastatus Rememorari at the Mary E. Black Gallery, Halifax, in Metro Halifax, April 25–27 (weekend), 2008: 22.
  • Amy Karlinsky, “In Site, Recent Work by New Faculty at the School of Art,” in Winnipeg Free Press, January 16, 2003.
  • Scott Barham, “Clay renaissance captured,” review of Clay at the Crossroads, in Winnipeg Free Press, December 18, 1999: B9.
  • Garth Buchholz, “Ceramic artists join mentors in exhibit,” review of Ground/Connection, in Winnipeg Free Press, January 6, 1996: B4.
  • Allison Gillmor, “The First Decade Show: Ace Art,” in Winnipeg Free Press, September 11, 1993: B5.
  • Terry Weber, “Mentors help emerging artists,” preview of Myriad, Mentoring Artists for Women’s Art Advisory Program exhibition, in Winnipeg Free Press, January 12, 1993: B8.
  • “Rooms to Let: Decorated/Undecorated,” in Winnipeg Free Press, September 5, 1992: B4.
  • “Marriage of Minds: Second Edition,” in Winnipeg Free Press, August 1, 1992: B22.
  • “Contemporary Studio Collections in Ceramics, Glass and Silver,” in Winnipeg Free Press, May 9, 1992: C28.
  • Randal McIlroy, “Mennonite Artist: Insider as Outsider,” in Winnipeg Free Press, July 21, 1990: 30.
  • Randal McIlroy, “Manitoba Artists Honored in Japan,” in Winnipeg Free Press, November 25, 1989: 32.
  • Randal McIlroy, “Overlay,” in Winnipeg Free Press, December 19, 1987: 20.

Solo Exhibition Catalogues and Pamphlets

  • Eruptions: Reworking and Reimagining, essay by Heidi McKenzie, exhibition catalogue, Gallery 1C03, University of Winnipeg, Winnipeg, Manitoba, 2022. Hard cover and digital version: https://www.uwinnipeg.ca/art-gallery/docs/eruptions-e-book-low-res.pdf.
  • Eruptions, essay by Suzanne Carte (interview with Grace Nickel), exhibition pamphlet, Art Gallery of Burlington, Burlington, Ontario, 2019.
  • Grace Nickel: Arbor Vitae, essay by Sheila McMath (curator at Canadian Clay and Glass Gallery, Waterloo, Ontario), 2015, exhibition pamphlet for Arbor Vitae exhibition at Actual Contemporary Gallery, Winnipeg, Manitoba, 2016.
  • Devastatus Rememorari, essay by Sandra Alfoldy, exhibition pamphlet, Mary E. Black Gallery, Halifax, Nova Scotia, 2008.
  • Grace Nickel: A Quiet Passage, essay by Helen Delacretaz, catalogue, Winnipeg Art Gallery, 2002.

Group Exhibition Catalogues

  • Canadian Exhibition, Ceramics Congress – Canadian Edition, curator Carol Epp, online catalogue (Ceramic School, Kärnten, Austria, 2021) https://artspaces.kunstmatrix.com/en/exhibition/6232291/catalog.
  • The Evocative Garden, 2017 NCECA Annual Exhibition, essay by Gail M. Brown (National Council on Education for the Ceramic Arts, 2017).
  • Distributary, essay by curatorial intern Chris Pancoe with mentor Sigrid Dahle (Winnipeg: Manitoba Craft Council and Ace Art, 2012).
  • Matter of Clay III, introduction by Jonathon Bancroft-Snell and forward by Helen Delacretaz (London, Ontario: Jonathon Bancroft-Snell Gallery, 2011).
  • Earth Matters, NCECA Invitational Exhibition, essays by Nicole Burisch and Glen R. Brown (National Council on Education for the Ceramic Arts, 2010).
  • Prairie Excellence, Helen Delacretaz, writing on behalf of the selection committee. Forward by Tom McFall, Mark Stobbe, and Tammy Sutherland (Alberta Craft Council, Saskatchewan Craft Council, and the Manitoba Craft Council, 2010).
  • Unity and Diversity, essay by Sandra Alfoldy (Korea: Cheongju International Craft Biennale, 2009).
  • Northern Lights/Southern Exposure, essay by David Walker (Australia: Perth Galleries, 2009).
  • Grace Nickel and William Pura, essay by Cliff Eyland (Winnipeg: Gallery One One One, University of Manitoba, 2009), web catalogue, umanitoba.ca/schools/art/content/galleryoneoneone/np02.html.
  • Subconscious City, essays by Sigrid Dahle, Guy Maddin, Molly Johnson and Richard Milgrom, Marvin Frances, John K. Sampson, Claudine Majzels, Jeanne Randolph, and Shawna Dempsey and Lorri Millan (Winnipeg Art Gallery, 2008).
  •  Robert Archambeau: Artist, Teacher, Collector, essay by Helen Delacretaz (Winnipeg Art Gallery, 2004).
  • The First Taiwan Ceramic Biennale 2004 (Taiwan: New Taipei City Yingge Ceramics Museum, 2004).
  • The Power of Design and Art: The International Ceramics Festival Mino, Japan: A
  • Retrospective 1986–2002, exhibition of the award winning pieces in the triennial Mino Competition, Seiichi Watanabe and Mieko Iwai eds., essays by Seiichi Watanabe (Gifu, Japan: Museum of Modern Ceramic Art, 2003).
  • The Sixth Taiwan Golden Ceramics Awards (Taiwan: New Taipei City Yingge Ceramics Museum, 2000).
  • Diverse: 9th National Ceramics Conference Delegates Exhibition (Perth, Australia: Western Australian School of Art, Design and Media Gallery, 1999).
  • Ground/Connection, essay by Amy Gogarty (Winnipeg: Mentoring Artists for Women’s Art, 1995).
  • Clay in Canada: North by Northwest (Winnipeg: Manitoba Craft Council, Winnipeg, 1993).
  • Selected Treasures (Taipei, Taiwan: Taipei Fine Arts Museum, 1993).
  • Taipei International Exhibition of Traditional Arts and Crafts 1993 (Taipei, Taiwan: Taipei Fine Arts Museum, 1993).
  • Rooms to Let (Winnipeg: St. Norbert Arts and Cultural Centre, 1992).
  • A Treasury of Canadian Craft (Vancouver: Canadian Craft Museum, 1992).
  • Claridge Collection (Gift for Charles Bronfman), (Montréal: Claridge, 1991).
  • Fourth National Biennial of Ceramics (Trois-Rivières QC: Biennale nationale de céramique, 1990).
  • Mennonite Artist: Insider as Outsider, essay by Priscilla Reimer (Winnipeg: Manitoba Mennonite Historical Society, 1990).
  • 2nd International Ceramics Competition ’89 (Mino, Japan: International Ceramics Festival, 1989).
  • In Praise of Crafts (Winnipeg Art Gallery, 1988).
  • 1987: Contemporary Art in Manitoba (Winnipeg Art Gallery, 1987).
  • Reflections on Three Plains (Winnipeg Art Gallery, 1984).

Group Exhibition Pamphlets

  • Arm’s Length: the Northwest Arm and the Artist, essay by Michèle H. Raymond (Halifax, Nova Scotia: Art Gallery of Nova Scotia, 2015).
  • West Meets East, essay by Ann Roberts (Waterloo, Ontario: Harbinger Gallery, 2010).
  • In the Margins: Canadian Women Working in Clay, essay by Alexandra McCurdy (Halifax: Mary E. Black Gallery, Nova Scotia Centre for Craft and Design, 2005).

Websites, Blogs, and Videos