The Journal of Australian Ceramics Vol 50 no 1 April 2011

Process + Meaning
Concept and Competition
Sophie Milne talks with Kim Brockett and An ita Cummins about the process
of curating
Katie Jacobs, Weeping Willows, 2009
Winner, Pan Gallery Ceramic An Award
2009; photo: Corey Sioap
The Pan Gallery Ceramic Art Award is unique to ceramics
competitions in that it has a theme, curatorial seledion, and
requires new work to be made specifically for the exhibition.
The advantages of this approach go beyond the chance of
securing the $ 1500 prize money. Supporting and promoting
ceramics pradice by encouraging the creation and presentation
of innovative artworks, this competition sets the stage for an
exchange of ideas between artists and a diverse audience.
The most engaging and successful exhibitions are those with a
clear, concise and innovative conceptual basis, providing context
for the work and opening avenues to contemplate and discuss
its merits. With this in mind, guest curators and Pan Gallery staff
collaborate to develop a theme for each award exhibition.
Kim Brockett and Anita Cummins (Craft Vidoria) were
guest curators of Bottled (2009) and Table Manners (2010).
Recognising that visual unity is of vital importance in a group
exhibition of diverse work, Kim and Anita introduced the
requirement that artists, while exploring the exhibition concept,
reference a specific ceramic form.
The following is a transcript of a conversation that took place
between Kim, Anita and me as we discussed the competition's
merits and complexities.
Sophie: What are the benefits to you, as curators, in having a
theme for the award?
Kim: The theme makes it easier to curate l Having a theme means
that, while skill levels will vary, both established and emerging artists have definite content to respond to
and as curators we can then present their work in a cohesive and innovative fashion .
Anita: In the curatorial process, a themed show aids in the representation of the work. We can present
works in a way that encompasses the theme - as we did for ##Table Manners##, using three dining
tables on which cups and saucers comfortably sit. From a curatorial perspedive, it is fun and you can do
something different. And a theme encourages artists to make new work.
S: It is no small task to make artwork specifically for a seleded exhibition but giving artists parameters
to work within provides a specific challenge and perhaps the opportunity to think beyond the
boundaries of their traditional pradice. The feedback I have received from many artists is that they enjoy
this process. Even if an application is unsuccessful, creating work for a specific purpose can kickstart
other ideas ...
A : It is challenging, as a lot of the artists may not have worked conceptually before. Some artists are
engaged in critical theory and find it important, and for others it is secondary.
S: So how important, in this case, is the artist statement?
K: Attaching a narrative can help us understand the work more, in some cases the objed is enriched by
the story behind it and it becomes more accessible, more engaging.
A: It's also interesting to see how an artist forms an idea, where this leads them and how they chose to
76 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011