Artist of the day

Thursday, October 15, 2026

Artist of the Day, October 15, 2026 : Bari Ziperstein, an American ceramist (#2658)

Bari Ziperstein (1978) is a highly regarded American contemporary artist and designer who has significantly advanced the field of contemporary ceramics. Born in Chicago, Illinois, she currently operates her primary studio practice in Los Angeles, California. Her educational credentials include a Bachelor of Fine Arts in painting with a certificate in Women's Studies from Ohio University in 2000, followed by a Master of Fine Arts from the California Institute of the Arts (CalArts) in 2004. Under the mentorship of conceptual artist Michael Asher, she developed a rigorous framework that challenges traditional structural boundaries within art and commerce.

Professionally, Ziperstein operates a unique hybrid model, working seamlessly as a fine artist and a commercial entrepreneur. Her professional accomplishments are distinguished by her ability to scale a creative enterprise sustainably while maintaining a dedicated fine art practice. Her work has been showcased in institutional solo exhibitions across the United States, including at the Wende Museum and the Museum of Art, Architecture, and Design, Santa Barbara. Furthermore, she successfully launched BZIPPY, an internationally recognized design brand specializing in brutalist-inspired ceramic furniture and architectural housewares. Through this company, she champions corporate responsibility by ensuring equitable labor practices and a fair-wage framework for her fabrication team.

Ziperstein will be remembered for redefining the modern ceramic medium by blending conceptual fine art with functional industrial design. Her legacy remains anchored in her politically charged, slab-built sculptures that critically examine historical propaganda, consumerism, and gender dynamics. By translating Soviet visual culture and Cold War aesthetics into complex, textured clay objects, she has established a benchmark for how intersectional feminist principles and commercial viability can successfully coexist in a modern creative enterprise.

© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by Bari Ziperstein or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only

Ms. Bari Ziperstein

2013 Bust

2013 Security Curtain

2013 Untitled (White Shield)

2015 Primitive Futurist

2015 Blue Klein Series

2015 Primitive Futurist Collection

2016

2017 Be a man! No, we didn't reap or plough—we just had a picnic in the field

2017 Fair Trade

2017 Rich Inner Content

2017 With the Mother's Milk. Alcohol and Children is a Terrifying Mix

2018 Alone We Are Powerless, Together We Are Strong

2018 Fruit for our devoted Labor

2019 Aquatic Sports

2019 Tube Chair

2019 Women Harvesting

2021 Stages for Flowers

2022 Flowers for Ashes (Kiev)

2022 Stacked Horizons

2023 Framework for Gridded Gears

2023 Gothic Weathervane

2023 Long Stemmed Vines

2023 Three Graces

2024 Double Layered Waterfall Basket

2024 Fantasy Pieces

2024 Four Headed Vessel

2024 Large Basket Building

2024 Star Vessel

2024 Twisted Arms

2024 Winds of Change

Wednesday, October 14, 2026

Artist of the Day, October 14, 2026 : Phyllida Barlow, a British sculptor (#2657)

For almost 60 years, British artist Phyllida Barlow took inspiration from her surroundings to create imposing installations that can be at once menacing and playful. She created large-scale yet anti-monumental sculptures from inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim, plaster and cement. These constructions were often painted in industrial or vibrant colors, the seams of their construction left at times visible, revealing the means of their making.

Barlow’s restless invented forms stretch the limits of mass, volume and height as they block, straddle and balance precariously. The audience is challenged into a new relationship with the sculptural object, the gallery environment and the world beyond.

‘There’s something about walking around sculpture that has the possibility of being reflective, like walking through a landscape,’ Barlow has said. ‘The largeness of sculpture has that infinite possibility to make one engage beyond just the object itself and into other realms of experience.’

Barlow exhibited extensively across institutions internationally and in 2017 represented Britain at the Venice Biennale.

© 2026. All content on this blog is protected by international copyright laws All images are copyrighted © by Phyllida Barlow or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only