POMONA, CA.- The American Museum of Ceramic Art presents Ohr Rising: The Emergence of An American Master, on view December 8th, 2007 – February 23rd, 2008. Opening Reception: Saturday, December 8th, 6-9 pm. Ohr Rising: The Emergence of An American Master is an exhibition of 48 key works by the art potter, George E. Ohr (1857-1918), of Biloxi , Mississippi . George E. Ohr, a ceramic artist decades ahead of his time, became dissatisfied with the limits of round, wheel-thrown pots. He experimented with altering his wheel-thrown shapes by using the centrifugal force of his potter’s wheel to cause the pots to twist and buckle. Unappreciated during his lifetime, his unorthodox techniques and bombastic personality earned him the title, “The Mad Potter of Biloxi.”

This exhibition was organized by the Ohr-O’Keefe Museum of Art, Biloxi , Mississippi

Other Mad Potters, a corollary exhibition, will show Ohr-like work from four contemporary potters, Steve Horn, Lisa Orr, Don Pilcher, and Mary Roehm.

Ohr Rising: The Emergence of An American Master is an exhibition of 48 key works by the art potter, George E. Ohr (1857-1918), of Biloxi , Mississippi . In terms of his aesthetic choices, George E. Ohr was a ceramic artist decades ahead of his time. Early on, having mastered the potter’s wheel for production of utilitarian ware and popular souvenir items, Ohr became dissatisfied with the limits of round pots and began to experiment by altering his wheel-thrown shapes. On occasion he used the centrifugal force of his potter’s wheel to cause the pot to twist or buckle. At other times he manipulated the form with his fingers, using folding, indenting or ruffling techniques to change the contour or rim of the piece.

An important turning point of Ohr’s career was the 1894 destruction of his studio in an all-consuming fire. After construction of his new studio, Ohr seemed to be more committed than ever to pursuing his novel approach to form. Thin walled, asymmetric shapes, often with elaborate, ribboned handles or ruffled edges became his trademark. The unconventional work was not understood nor well received. Critics denounced Ohr’s work as bizarre or ugly, and with negligible sales his “art” remained virtually unrecognized during his lifetime.

George E. Ohr’s life story holds as many fascinating twists and turns as does his pottery. His persona was the epitome of today’s phrase, “inventing oneself.” Ohr’s flamboyant physical appearance, his massive mustache, his wild eyes, his outrageous claims of infamy, and crazy billboard signs earned him the title, “The Mad Potter of Biloxi.” Today George Ohr pieces are highly valued for their inventiveness and prized as precursors of the 1950’s abstract expressionist attitude toward clay.

The word “Rising,” in the exhibition title refers to the “rise from destruction” theme taken on by Mississippi ’s Gulf Coast in its valiant recovery effort from Hurricane Katrina, 2005. The Ohr-O’Keefe Museum of Art, which suffered major damage during the storm, is likened to Ohr’s Biloxi studio which was destroyed by fire in 1894. Interestingly, the museum which bears his name has adopted “Ohr Rising” as its mantra for rebuilding, which will begin about the time this exhibit opens.

Currated by Anna Stanfield Harris, a few of the works in the Ohr Rising exhibit are owned by private collectors in Mississippi, but most are from the Ohr-O’Keefe Museum’s permanent collection. Underwriting for the exhibit is provided by grants from the Gulf Coast Community Foundation and the National Endowment for the Arts.

Organized by AMOCA, Other Mad Potters, is separate exhibit with strong relational ties to Ohr Rising. It features the work of Steve Horn, a Southern California ceramic artist who executes Ohr-like pieces almost better than the master himself. Three other ceramic artists whose creative output connects in some way to the work of George Ohr will also be showcased. Mary Roehm’s work, with its very thin walls and delicate forms, has a certain resemblance to Ohr’s pieces; Lisa Orr's glazing is evocative of Ohr's more brightly colored pieces, and Don Pilcher exudes the same freedom of experimentation practiced by Ohr. Pilcher’s “Rascal Ware,” a tale laced with edgy humor, double-entendres, potter’s pseudo wisdom and references to Ohr will also be presented.