The Journal of Australian Ceramics Vol 48 No 3 November 2009

More documents

Recommendations

Info

Cera mic Spaces Tim Clarkson, Gama Series - Dove " 2009, hand-built, glazed, Chinese transfer; photo: artist OR: Any advice for anyone starting a new gallery? AM: You have to enjoy people. If you don't, keep the door shut. Your work is your lifestyle. Time is not an issue. The gallery is never closed; sometimes it's just not open. OR: Most galleries seem to be run by partnerships. How do you manage alone? AM: I'm not alone; I have many behind-the-scenes people. My sister Kathi is the force behind me and chooses to stay out of the limelight. She has been with me since the very beginning, since the conception of Skepsi, always either challenging or supporting my crazy ideas. She volunteers her time around her young family, and is sometimes here with me 'til midnight. Several artists and collectors and my husband help with setting up, taking down exhibitions and openings. I could not do it w ithout them. 670 Swanston Street Carlton VIC 3053 T: 03 9348 2002; F: 03 9348 1877 E: skepsi@iprimus.com.au www.skepsionswanston.com.au 92 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2009
Wedge Jan Guy In terms of ceramics education, the discipline has received a real beating in the last decade w ith the closure of many institutional ceramics studios. There are few that would disagree but, rather than work together to find solutions to this, much of the response has been blame and unsubstantiated statements about the value of what is left standing. This seems to me a damn shame because one of the most valuable qualities of the ceramics discipline in Australia is inclusivity - the specific nature of ceramics means that it includes the spectrum of its manifestations, be that through the hobbyist, the studio potter, the artist and/or the academic. These all playa part in how this discipline develops and how it is perceived. Assumptions made by some about the supposed loss of tradition because of its perceived neglect within the education sector, are also unfounded. What is tradition but the subtle unfolding of innovations' We need to remember that our experience of time has changed dramatically in the last century. When we look at the ceramic objects of the Anglo-Oriental tradition or the Greco-Roman tradition, we are looking back through time; we are witness to the changes in surface and form that came about with political, religious and social upheavals and which brought changes in consciousness to the people who made these objects. Yes. that's right; I'm suggesting that no ceramics exist without thought and ideas, even if it is as simple (or complex) as to make an object from which one eats or drinks. God forbid if one should think and make simultaneously! If one thinks about the position of such traditions today. we also need to recognise that the speed of change is, in some cases. beyond the comprehension of our predecessors. Life changes dramatically and constantly: one is aware of what has happened on the other side of the world yesterday; I can view a new exh ibition in New York as it opens; I can discuss the results of a kiln firing with most anyone, anywhere. I am exposed continually to cultural differences, political nuances and the collapse of boundaries of disciplines - I am influenced as much by the discoveries of science as I am by art or the specificities of clay. Tradition is similarly changing and because of the contemporary avalanche of influences. sometimes quite abruptly. It is time we stop expecting that the young want to follow traditions blindly. Some will see the value in emulating the aesthetics and praxis of a thousand-year-old tradition; others will say thank you very much I have learnt a lot, now how can I use it to bring meaning to my life or even question its relevance altogether. This attitude is not a rejection of tradition, but its nourishment, its refreshment. If one can accept this and not see it as a threat, and stop howling about the lack of skills when really it is just taking the rules and bending or breaking them a little, then ceramics as a discipline can survive. And not only survive, but flourish in its diversity. To those who can only criticise the education sector, I make two suggestions; firstly, remember that ceramics is a life 's journey and a three-year diploma or degree can only be a beginning; and secondly, put your worldly experience where your disapproving mouth is and offer to collaborate w ith the education sector to give graduates some real 'ceramics world' opportunities through mentorship or studio work experience. Jan Guy lectures in ceramics at Sydney College of the Arts; E: j.guy@.usyd.edu.au THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2009 93
Page 2 and 3:
Clean Efficient Electric & Gas Kiln
Page 4 and 5:
Editoria l Members of the China Cha
Page 6 and 7:
Now & Then Looking for a great list
Page 9:
3
Page 13 and 14:
Profile left: The Edge of a Day (de
Page 15 and 16:
Decoration of the surface comes aft
Page 17 and 18:
Profi le and reflects the scenic co
Page 19 and 20:
Profile Working Fire Jo Mcintyre re
Page 21 and 22:
Profile Passionately concerned abou
Page 23 and 24:
Profile Michael Stephan, Eared Form
Page 25 and 26:
Profile: Technical Foliage Vase, To
Page 27 and 28:
Perspective As a young man, William
Page 29 and 30:
Perspective During this period the
Page 31 and 32:
Perspective Another reason David an
Page 33 and 34:
Education Barrier Reef Institute of
Page 35 and 36:
Ed ucation Holmesglen Institute of
Page 37 and 38:
Education La Trobe University T: 03
Page 39 and 40:
~~ ~-~~- -~------- Ed ucatio n Nati
Page 41 and 42:
--- -------------------------------
Page 43 and 44: Education Sydney Institute of TAFE
Page 45 and 46: ! -- Education University of Sydney
Page 47 and 48: 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 96 and 97: ----------~- Community The Use of D
Page 98 and 99: Community Michael Keighery, Points
Page 100 and 101: Archive: Pottery in Australia, Vo l
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
show all

The Journal of Australian Ceramics Vol 48 No 3 November 2009

Create successful ePaper yourself

Delete template?

Save as template?