The Journal of Australian Ceramics Vol 48 No 3 November 2009

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Archive: Pottery in Australia, Vo l 5, No 1, May 1966 Development of Ceramics at the National Art School, Sydney 17 ,...9 ' w In Australia, pottery, as a highly developed craft in the studio sense or as 8D industry in the commercial sphere, still has an enormous way to go to reach world '!aDdards. There will always be. exceptions in the work of the outstaDdinl Australian potter who has fostered native skill throuab creativity and experiment, but a very great part of the problem will be one of ~tion . Sipificant in Ibis matter of education has been the inception in 1964 of the Certificate Course in Ceramics at East Sydney Technical College. Back in the nineteen twenties educational policy makers with some promptings from industry, envisaged a kind of Stoke-on-Trent tYPe of trainina' &lip cast!ng, mould malcing and the liIce which would ~t would-be operatives for 'jobs. Design as such usually took the form of decoration on aesthetically weak pots conceived in a decadent art nouveau tradition. (One of course should be teticcnt about such judgments since we are about to witness a fashionable revival of art nouveau collecting with its attendant assault on the junIc shops.) A slumping industry in the 'thirties saw some curtailment of Ibis dream in the pottery course, which restricted its activities to china painting and &lip casting ornaments. Revolutions in the crafts of East and West had gone unnoticed in Ibis country. However, part-time teachers who had been trained 0YCne8S tried to re-orient the course to a wider viewpoint-firstly, Neville BVDDina who left to join the R.A.A.F., his place being taken by I. Landa1e Beetson. These teacbers were able to introduce earthenware with raw and imported glazes. As yet there was no high temperature ware and little or DO expIoitatioa of 10caI materials. Reviving industrial activity, talcing advantage of tbe difIicult situatioo in Europe, meant a flood of third grade pottery in the iD1mediate post war years. Training was an internal, rather rudimentary matter in a dozen or more unaII time businesses destined to be quickly eliminated once ~ returned to normal. Slip casting and jolleying were quickly teamed with old bands doing the throwing. No demands were made on tecImicaI educatioa. Most designs were "adapted" and on the whole execrable. Solidly traditiooal firms OIl tbe other band continued to produce efficient industrial wares. At the same time the appeal of the handmade as against the anonymous, often repellant mass produced objects, began to spread. Leach's quiet revolution bad not gone UDDoticed and tbings began to change witbin the coUege. As ~ studio potters exhibited their worle it was proved that 8D eager market existed for band-made pots. In particular, Mollie Douglas, an~ Pete~ ~usbfortb, lID!' Head Teacher of Ceramics demonstrated throuab tbell exhibitiODS and their teaching just what could be' done. Both bad been associa~ with the CeraJDic:s Department since the war years, both envisaged a new ~ of course •. Tbell developing interest has been accompanied with a ~ t1Dprovement m the equipment and facilities; new Idlos, wheels, clay macbiDery, ~y booths, etc., finally an efficient aas Idlo enabling an easier procIuction of hip temperature ware. . ODe of tbe f"ndamental coocepta that bad ~ from the ~ of previous yean W8I the recopition of tbe CIIIbryoDic IICate of IlUdio ~ in Auatralia aDd tbe Deed to bop • IuidItJ ofldoallo the '-of future ueodL U ItUdeota __ to readllIIIDdaida reaIiIeiJ outside tbe -..try, • tnIoiaa ~ parable to tbat of oveneM ICbooII would ha91 to be ialdtuted. Malter appno- 98 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2009
Archive: Pottery in Australia, Vol 5, No 1, May 1966 .1 IicabipI could oaJy be oIIered iD a IIIOf'e mature iDduIUy Ibm OlIn, ad - poaen bad iD (8Cl received tbeir iDitiaI lnIiDiDJ iD a ICbool. E_ ia J -~ very much doter .Iiaitoa \w been kepi betweco WIivenity, ICbooI, ~ ... worttbop, ooc wbicb c:aa oaJy be .,aduaI1y reacbed bere. Wbeo \be CcrtitiI;ate ColIne __ iotroduc:ed iD 1963, it .... cIeuty _ mated thai, for \be lime beiD" a uaiJUD, for IbIdio poaen be &iftD far • abIolucc minimum cl twO years with \be poGibiJity that Ibis mi&ht be "......., to four at some time io \be future. 10 additioo to lCdIoical subjects, cIcsip ill jll various form ..... strened skiD plus breadth 01 idea. Repctitioaa may not be luUy npJoiccd iD this time, but a suitab\e cduutioa c:aa be whereby \be IWdeu.t c:aa move with iDcclliaa- ioto ~ fidd be ~bifity exists too that poUet1 miahl ba~ a revoIutioDary idllCOC£ 00 iDdUJlry as they ba~ succeeded io doio, ~ Far from petcrio, out, \be full-time COOtie bas been a sua:e:u, with IbIdeota from other St.aIes enroIIio&. With a waitio, list DOW exisQq (or this coane, the part.time day coone bas &ceo CtimiollCd. It is boped that \be rqioaaJ coIe8ca wiD replace this tniDiog, for it bas been (rom \be part-time coane 81 ~ Sydney that maoy promisio, poUet1 bave emer&ed. 10 f8Cl it bas been tbeir enthusiasm wbic;b bas been taraely rcspoosiblc for \be commUDity iDteraI ia ,tudio pottery io this State. More impot1lllltly, the c:ourse providea an iutimacc two-way re1lfloashjp between teacher IUId student without dopnatic formalism. Benwd Sahm III!d Derek Smith complecc a hiably accomplisbed quaJtet 01. distiDpiJbed teacben who have made a very biS professional cootributioa to AustraJiao pow:ry. Tbdr livelyprofessiOllal activity bas been the mainsprin, for vitallCldliD& IIIapec! ." their continuous renewal of COUt1e cooleD!. Aima are wide aod sweepia& m tbeir implications: StaF I. Staae u. The ( 1) The c:uJturaI, thenpeutic aod prac;ticaJ vaJue of panicipatioa iD \be whole proce$S cl the cnft. (2) The esaential bumao value 01 cnativity. (3) The concetJtratiq 011 broad eacntiala plus skill io the IittiD& 01 students for professional life that they may IICbieve the peaIat adaptability iii their growth as pocten. ( ") The Focn1 contributioa to aesthetic vaJues iD \be procesa 0I1iviaJ. The Iu1I-time c:ourse as it DOW exists is orpuised io \be folJowin& 1IIIIIIItr:- . :J . qua Hand buildio tcclmi R .......,...w.k S Throwio& tunlma .. 9 Glaze IUId clay technology 3 Kilns IIIId materials 1 Decontiq tedlDiques 2 Dnwin& .. " Ceramic Desip .. 2 Ceramic 3D " " Total 30 Hand ~ tecImiques " 'J'browiJJ& tIIIDiq . , 9 GJaze BDd clay IecImoIogy KilasIDd~ . , 1 0ec0r1lliDg . , . 2 GJaze cU:ulatim . . . . 2 IDdusIrial IUId wortsbop tedm. 2 DrawiD& 2 Ccnmic 3D ,. 2 TOIIII 30 " I , f ~ . . . THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2009 99
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Clean Efficient Electric & Gas Kiln
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Editoria l Members of the China Cha
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Now & Then Looking for a great list
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Profile left: The Edge of a Day (de
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Decoration of the surface comes aft
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Profi le and reflects the scenic co
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Profile Working Fire Jo Mcintyre re
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Profile Passionately concerned abou
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Profile Michael Stephan, Eared Form
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Profile: Technical Foliage Vase, To
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Perspective As a young man, William
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Perspective During this period the
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Perspective Another reason David an
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Education Barrier Reef Institute of
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Ed ucation Holmesglen Institute of
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Education La Trobe University T: 03
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~~ ~-~~- -~------- Ed ucatio n Nati
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Education Sydney Institute of TAFE
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! -- Education University of Sydney
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Education Sweet Tooth installation
Page 49 and 50: Education top: The clay/hay mix is
Page 51 and 52: Education No Where M en exhibition,
Page 53 and 54: Education 1 Aedan Harris, porcelain
Page 55 and 56: Education Margarita Echavarria, Bir
Page 57 and 58: Education Esther, Susan and Arabell
Page 60 and 61: Techn ical: Selling Ceramics Life I
Page 62 and 63: Technical: Selling Cera mics A Marr
Page 64 and 65: Technical: Selling Cera mics A life
Page 66 and 67: Tech nical: Selling Ceramics Yarra
Page 68 and 69: Technical: Selling Ceramics Buildin
Page 70 and 71: Pro motion KEANE CERAMICS Keane Cer
Page 72 and 73: Promotion KEANE ("RA .... es SIMONE
Page 74 and 75: View When in Drought Sarah Bond che
Page 76 and 77: Nyukana Baker working at the potter
Page 78 and 79: View Australian Ceramics Triennale
Page 80 and 81: The Paperclay Revolution with Graha
Page 82 and 83: Worksh o p • For delicate work, m
Page 84 and 85: Inside My Studio Artist at work, 20
Page 86 and 87: Inside My Studio above: Large Bowl,
Page 88 and 89: Amy Kennedy discussing her ceramics
Page 90 and 91: Ceramic Spaces Even if the work is
Page 92 and 93: Ceramic Spaces Philanthropist Rod f
Page 94 and 95: Cera mic Spaces Tim Clarkson, Gama
Page 96 and 97: ----------~- Community The Use of D
Page 98 and 99: Community Michael Keighery, Points
Page 102 and 103: Well read Angela Valamanesh: About
Page 104 and 105: Australia Wide act Ruth Byrne, Face
Page 106 and 107: Australia Wide sa Sharon Wessels wo
Page 108 and 109: Stockists ACT canberra potters soci
Page 110 and 111: Classifieds CERAMIC SUPPUES POTIERS
Page 112 and 113: Classifi eds TAFE NSW - HUNTER INST
Page 114 and 115: Clay Extruder -all stainless steel
Page 116 and 117: Become a member The Australian Cera
Page 118 and 119: woodrow kilns Woodrow Kilns - Produ
Page 121 and 122: SIDNEY MYER FUND AUSTRALIAN CERAMIC
Page 123 and 124: your imag e solution t. IJ fJ f tog
Page 125 and 126: join VlCTOR GREENAWAY on a great jo
Page 127 and 128: Studio-based courses Full and part-
Page 129 and 130: TAFE NSW - Western Sydney Institute
Page 131 and 132: CERAMICS Jt!J{eJII Uok' FUNCTIONAL
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The Journal of Australian Ceramics Vol 48 No 3 November 2009

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