Books and Catalogues

Bonnie Kemske
The Teabowl: East and West

Cavin-Morris Gallery, Catalogue for exhibition
"Earth Skin"
New York, NY

Hiram Butler Gallery, Catalogue for exhibition
"Prints and Pots"
Houston, TX

Erskine, Hall & Coe Gallery, Catalogue for exhibition
"Matthew Harris & Tim Rowan"
London, UK

Randall Morris, Catalogue for solo exhibition
"New Works" at Cavin-Morris Gallery
New York, NY

Edmund De Waal,
The Pot Book
2011 [PDF]

Articles and Reviews

Roger Whittaker, "Portfolio: Tim Rowan"
Works & Conversations
No. 33, 2017

Randall Morris, "New Works by TIM ROWAN"
NEW CERAMICS - The European Ceramics Magazine
Issue 3, 2014 [PDF]

"Speciale - 2013 ICMEA Conference"
la Ceramica Moderna & Antica- Italy
No. 283-284, 2014 [PDF]

Tony Birks
"Classic and Contemporary | Erskine, Hall, & Coe"
Ceramics: Art & Perception
No. 93, 2013 [PDF]

"4th International Ceramic Magazine
Editors Symposium 2013,"
Monthly Ceramic Magazine - Korea,
No. 211, Vol. 18, 2013 [PDF]

"The Inaugural Janet Mansfield Award
To Tim Rowan (USA)"
D'A - Italy,
No. 92, May-August 2013 [PDF]

"The First Janet Mansfield Ceramic Award"
No. 2, 2013 [PDF]

Sharbani Das Gupta, "Tim Rowan: An Artists Way,"
Ceramics Ireland
Issue 32, 2013 [PDF]

Janet Koplos, "Tim Rowan: Time Again,"
Ceramics: Art & Perception,
No. 90, 2012 [PDF]

Ann Hutton, "In mineral time: Vly artist Tim Rowan's stone sculptures" Hudson Valley Almanac

Shawn Hill, "Reviews: Massachusetts, Tim Rowan"
Art New England
Sept/Oct 2011 [PDF]

Susan Hodara, "18 Very Different Pieces of Clay"
New York Times
Oct 2010 [PDF]

Scott Norris, "Tim Rowan: Patience and Surprise"
Ceramics: Art and Perception
No. 77, 2009 [PDF]

Eri Irisawa, "Anagama no Tougeikatachi"
Tojiro- Japan
Nov. 16, 2006 [PDF]

"Portfolio, Tim Rowan"
American Craft
Oct/Nov 2004 [PDF]

Jeff Shapiro, "Tim Rowan"
Ceramics Monthly
Feb. 2002 [PDF]

Chris Staley, "A Potter Taking a Stand,"
Ceramics: Art and Perception
No. 47, 2002 [PDF]

Selected Website Listings

"Exhibition | Tim Rowan 'Transitions' at Lacoste Gallery, Concord"
C-File online

Paula Kupfer
Photo by Christian Hansen
"Photographer and Filmmaker Andrew Zuckerman Curates a Show Featuring 'In-Betweenness'"
Surface Magazine

Cover Profile "Tim Rowan"
Ceramics Now

Lauren Streib,
"The Artists Of The House Of Waris Rare -Tim Rowan"
Lifestyle Mirror

Sara Japanese Pottery
"Top#1 in New York : Tim Rowan Polished Sculptural Box"
Yareah Magazine

Kristin Tice Studeman,
"10 NYC Influencers, Endless Gift Ideas, - Celebrity Wish Lists"
Refinery 29

The American sculptor Tim Rowan’s personal quietude belies the depth and activity of his process. He allows his work to be his voice but sometimes this leaves much to the perceptions of the viewer. The work often depends on the viewer not only to intellectually grasp it but to intuit it as well. The Japanese aesthetic of Yugen or mysterious essence is an important part of his presentation. This work not only occupies gallery space but it also has a placement in the context of his studio and land. When you see his work in its birthplace you realize you are standing in the presence of one of the world’s great Poets of Place.

Tim Rowan’s work does not refer directly to the history of traditional Western ceramics. Of course aspects of all ceramic sculpture processes are universal but his work does not travel to us out of an evolution of Western form and surface techniques. By this token they barely travel out of Japanese form either, though there are parts of the process that refer to it obliquely; firing technique and flame markings for example. But his cups are not chawan, and his sculpture does not quote Bizen form. His urns are not mizusashi. If there are any references at all to the work of his teacher, Ryuichi Kakurezaki, they come from Rowan’s responding to that work despite the Japanese legacy that work comes from. When you look closely at Tim Rowan’s abstract pieces the implications of his freeform place in history come home to roost. You can compare his colors perhaps, his textures perhaps, his melted ash perhaps, but his forms are his alone. They are not utilitarian objects trying to break free from tradition. They are however, utilitarian to the eye and the soul, used in aesthetic contemplation and the cerebral and ephemeral pleasures therein. He is saying new things in an ancient language.

I am not sure I would label Rowan as anything but a Contemporary Artist. His expansion to found and shaped stone forms extend his ceramic vocabulary. He is a Minimalist but that is more a description of his affect than of any philosophical viewpoint. The tension in his pieces is not minimal. His work covers power with a veneer of control and calm; a dangerous directed power. It seethes. The spikes on his cups or in his bowls, the cracking and splitting of his geode-like forms whether ceramic or metal, reveal mineral turmoil and convey a universe that can be ominous and/or aggressive even in its quietest moments. He creates a geological ethnography with objects that have resonances beyond the membrane of our ordinary aesthetic recognition.

Tim Rowan’s work is made in Nature yet it willingly acknowledges what is manmade. Rust, iron stains on concrete, granite and marble walls all resonate throughout the work yet they are twisted and owned by the artist. Landscape art is about the land. This is art that is land, a natural landscape of its own. Cavin-Morris is pleased to present these new works by an important sculptor.

Randall Morris, Catalogue for solo exhibition
"New Works" at Cavin-Morris Gallery
New York, NY