The Journal of Australian Ceramics Vol 50 no 1 April 2011

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Process + Meaning Nutz Luk Mel Fel. Cheers. 2010 Winner of the Pan Gallery Ceramic Art Award 2010; photo: courtesy artist produce the work. But in the end. it always comes down to the actual object. It is disappointing when you don't get a strong artist statement or the work and the statement don't match uP. but we are aware that these are two very different mediums. written and visual. K: Of course it is nice when you can just look at the object and appreciate it for what it is without having to go further. S: I agree. In this circumstance though. we have asked artists to address a particular subject. A clear artist statement directly about the submitted work is of great value. not just to the selection committee but also to the audience, many of whom may not be familiar with the language of ceramics. Another issue we face is the representation of artworks in images. It is often quite different seeing the work when it arrives! How do you respond to this, as curators? K: You just kind of roll with it! A : It really needs to be a fluid process. We don't come to the shows with a set idea, rather we respond to the collection of works once they have arrived . The work and ideas on how to exhibit it need to work in conjunction with each other. S: And in regard to installation requirements, what are your thoughts? K: There is a very fine line here. It is the artist's work and they have every right to be specific, but there also needs to be understanding that this is not just their show and their work will be seen in relation to everyone else's. A: This is where understanding the curator's role is important and artists need to have trust in the curator's ability to best represent their work. S: So when entering a show of this nature it is important artists are aware that some 'handing over' will be required? A: That's right. A large part of the cu ratorial process is in arranging the work and being given the opportunity to present works in a way the artists may not have thought of themselves . Of COULSe you want the artists to be happy and you have their best interests at heart. s: Would you say then, in this situation, providing installation requirements is only important when it impacts on the meaning of the work? A: Yes, and this is something that hopefully is addressed in the artist statement. Discussion, critique and emotional response are major components of any art competition. Annual incarnations of the Pan Gallery Ceramic Art Award promise to be varied, with different themes, forms, curators and exhibitors. What will remain consistent is the drive to provide a unique opportunity for curatorial exploration and to present and promote conceptual, contemporary, ceramic art of the highest quality. Pan Gallery accepts curatorial proposals on an ongoing basis. For more information: www.northcotepottery.com.au; http://pangallery.blogspot.com 78 THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011
Process + Meaning 1 Table Manners, Pan Gallery, 2010 2 Tara ShackeR Tea Cups for Me and a Friend, 2010 3 Gerry Wedd, China , 2010 Photos: Kim Brockett THE JOURNAL OF AUSTRALIAN CERAMICS APRIL 2011 79
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HE JOURNAL OF ustr • nceramlcs 50
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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
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Focus: Ceramics + Body Left and opp
Page 30 and 31: Focus: Ce rami cs + Body ------- De
Page 32 and 33: Focus: Ceramics + Body ------------
Page 34 and 35: Focus: Ceramics + Body Stephen Benw
Page 36 and 37: Focus: Ceramics + Body Technical no
Page 38 and 39: Focus: Ceramics + Body ------------
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 78 and 79: Process + Meaning Concept and Compe
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
Page 128 and 129: woodrow kilns Australian Made Woodr
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Trudie Alfred (1922 - 2010)" was a
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The Journal of Australian Ceramics Vol 50 no 1 April 2011

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