The Journal of Australian Ceramics Vol 51 No 2 July 2012

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Editorial ------- ----- If flexibility drives your decision-making when seeking to broaden your ceramics skills, there are many possibilities to consider away from formal educational institutions, I recently attended a woodfiring workshop with Barbara Campbell-Allen at Gaya Ceramic Art Centre in Bali. Here we are at the end of the firing in May 2012 _ Although we know that change is inevitable, most of us remain challenged by the fact that almost every aspect of current ceramic practice is different to that of a decade or two ago_ Despite stand-alone ceramics courses being absorbed into visual arts curriculum in TAFEs around the country, and other ceramic facilities closing down, there are also new opportunities opening up for those with creative and proactive approaches_ The new Art and Craft Department of Batchelor Institute of Indigenous Tertiary Education (BIITE) is one such example and we wish them every success! Karen Weiss' article on several innovative and resourceful ceramics departments may get you thinking; as well as working energetically within their institutions, they are also interacting more broadly in their local communities_ Creative problem solving and a positive, flexible attitude are pushing people into areas which they may have previously rejected_ RMIT University and their bold new hybrid object-based courses are one such example. In our annual survey of graduate ceramic work, it's also stimulating to see such variety in the work being made. I think we underestimate the achievements made as we adapt to the changes happening in the education sector. And, despite ceramics not being part of traditional Indigenous craft practice, the diversity of ceramic forms and surfaces shown in this issue illustrate that Indigenous artists are finding the ceramic medium well suited to the translation of their stories_ Our coverage of the biennial Indigenous Ceramic Art Award (offered by Shepparton Art Museum) illustrates the benefits of such encouragement and acknowledgement in this growing sector of ceramic art practice. And talking of change _.. we will soon be introducing a digital version of The Journal of Australian Ceramics (JAC). Digital JAC will soon be available wherever you are in the world, together with a few added interactive features_ Look out for its release on our website, wwwaustralianceramics.com, and via our networks. I hope to see you in Adelaide for Subversive Clay, the 2012 Australian Ceramics Triennale _ The gang down south have been working really hard to make Adelaide the city of ceramics during 4 action-packed days in late September. There'll be a plethora of opportunities for everyone to overdose on ceramics, so come along and enjoy! PS A meeting will be chaired by The Australian Ceramics Association in Adelaide at ACT 2012 to discuss future Australian Ceramics Triennales. ~. 2 THE JOURNAL Of AUSTRALIAN CERAMICS JULV 2012
Contributors Roy Ananda is a South Australian artist and writer. Since 2001 he has exhibited widely, holding solo exhibitions in Adelaide, Sydney, Melbourne and regional Victoria as well as participating in dozens of group exhibitions around Australia. He is currently Head of Sculpture at Adelaide Central School of Art. Roy Ananda is represented by Dianne Tanzer Gallery + Projects, Melbourne, and can be contacted through the gallery. http://diannetanzergallery.net,au Elisa Bartels I am a maker, writer and dreamer (not always in that order), so it is a pleasure when I get a chance to do any of these activities. Still early in my career, the prospect of exhibiting and selling looms, so it's heartening to see so many artistrun initiatives operating in this wide brown land. www.elisabartels.com Kari After making stuff since she was a kid, Kari now holds an Advanced Diploma of Ceramics. Her artwork has won awards and been exhibited in Victoria, Queensland and Japan. Kari's ceramic installations have appeared in dance concerts, environmental festivals and galleries. She shares a leafy green art studio with potter husband Stephen Roberts. www.karicelebrations.com www.stephenrobertsceramics.com.au Sophia Phillips is a practising artist and writer who lives in Adelaide. After a long fascination with intentionally flopping pots on the wheel, dropping, squeezing and prodding them, and generally just torturing the poor things, she has moved onto handbuilding sculptures in porcelain that are a little bit dangerous themselves. Sophia enjoys critical as well as descriptive writing, and has a penchant for the weird and wonderful things you can do with clay. www.sophiaphillips.net THE JOURNAL OF AUSTRALIAN CERAMICS JULY 2012 3
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Promotion Hybrid Practice: A (brave
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Focus: Education Brisbane No 1h Ins
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View Beverly Hand telling the story
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Ceramics + Honor Freeman, When Life
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Up th e Yoga Path In general, when
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5. Thrower's Twist L I 7. Knees Up
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Helen Fu ller in her JamFactory stu
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Helen Fuller, Urn-shaped Vessel wit
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Prue Venables speaks about Helen Fu
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Project Jasmine Targett. Crumbling
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Project I @ Jasmine largett, Weathe
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Join the Pots Current production wa
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69 Smith Street Gallery, Fitzroy ww
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Christopher Headley, Revealed , 201
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Potters Marks Potters Marks Janet D
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Australia Wide act The nights are d
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Australia Wid e Nicole Greenslade,
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Stockists An canberra potters socie
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Become a member The AUSTRALIAN CERA
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Classifieds CERAMIC SUPPLIES CUSTOM
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woodrow kilns Helping you produce B
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Specialist ceramics training facili
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-- BARBARA CAUVIN TASMANIAN TRACES
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PORT HACKING POTTERS GROUP A Divisi
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NEW No.3 full-sized er2onomic actio
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'.' ." '. '. Learning About Oneself
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Feeneys Clays WALKER ~ Clays Glazes
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The Journal of Australian Ceramics Vol 51 No 2 July 2012

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