The Journal of Australian Ceramics Vol 50 no 1 April 2011

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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
Process + Mean ing BOTTLED Above: Kim Brockett (left) and Anita Cummins (right) at Bottled, Pan GaileI)', 2009: photo: Richard Brockett Below: Bottled, Pan Gallel)', 2009: photo: Sophie Milne THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011 77
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Australian Ceramics Directory Austr
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Tribute Vale Paul Soldner 1921 - 20
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Terence Bogue, On the Wings of a Di
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1 Michael Doolan, For now and forev
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Perspective 1 Greg Payee, Passion s
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----- -- Perspective Westfield Donc
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Focus: Ce ra mics + Body ;";' (..,-
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Juz Kitson, What did you expect? 20
Page 28 and 29: Focus: Ceramics + Body Left and opp
Page 30 and 31: Focus: Ce rami cs + Body ------- De
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Page 34 and 35: Focus: Ceramics + Body Stephen Benw
Page 36 and 37: Focus: Ceramics + Body Technical no
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Page 40 and 41: Focus: Ceramics + Body hangs in (of
Page 42 and 43: Focus: Ceram ics + Body Kris Coad.
Page 44 and 45: left: Kris (oad. ten thous.md thing
Page 46 and 47: Focus: Ceramics + Body Photos: Rach
Page 48 and 49: Focus: Ceramics + Body ------- Make
Page 50 and 51: I ~ Arrernte widow covered with pip
Page 52 and 53: Focus: Ceramics + Body Q & A: Think
Page 54 and 55: Focus: Ceramics + Body Prue Venable
Page 56 and 57: Focus: Ceramics + Body .:....-.---
Page 58 and 59: In October and November 2010, I tra
Page 60 and 61: Promotion Visit by Unident;fied Lad
Page 62 and 63: , Jane Wa lton, Honours, 2010 Beetl
Page 64 and 65: View Helen Fuller, Three Pots, terr
Page 66 and 67: View Francisca Tyssen, Ochre Point,
Page 68 and 69: View The Enigma of the Humble Teapo
Page 70 and 71: Workshop Getting a Handle on Findin
Page 72 and 73: Worksho p When makers engage produc
Page 74 and 75: Pro cess + Mea ning From One Place
Page 76 and 77: Fiona Fell and lyndall Adam" Call,
Page 80 and 81: Process + Meaning Nutz Luk Mel Fel.
Page 82: Inside My Studio Klaus Gutowski at
Page 85 and 86: Inside My Studio VG: What do you do
Page 87 and 88: Cera mic Spaces Right: Christopher
Page 89 and 90: Ceramic Spaces Alan Constable, Unti
Page 91 and 92: Events 1 Inside the Dome Hall, FPAV
Page 93 and 94: Events Chen lu pottery village: pho
Page 95 and 96: Events 1 John Tuckwell demonstratin
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Page 99 and 100: Potters Marks Potters Marks Klaus G
Page 101 and 102: Archive: Pottery in Australi a, Vo
Page 103 and 104: Well Read The leach Pottery 1952 -
Page 105 and 106: Au st ralia Wide act Form, Fire & F
Page 107 and 108: Australia Wide Committee is working
Page 109 and 110: Become a subscriber aJuNg'tralian c
Page 111 and 112: Stockists ACT canberra potters soci
Page 113 and 114: Books & DVDs Onthe Shelf NEW! , NEW
Page 115 and 116: Classifieds GREG PIPER IMAGING SOLU
Page 117 and 118: To work creatively with clay is to
Page 119 and 120: Studio-based courses Full and part-
Page 122 and 123: www.gregpiper.com .au ceramic fine
Page 124 and 125: loo/($ differenF ? clever design pr
Page 126 and 127: Ceramics Photograph'y all Images to
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woodrow kilns Australian Made Woodr
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Trudie Alfred (1922 - 2010)" was a
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