by Carole Epp | Aug 24, 2010 | call for entry, emerging artist, job posting, monday morning eye candy, movie day, residency opportunity, show us your influences, technical tuesday
Sturt Craft Centre invites applications from experienced craft practitioners to the Sturt Artist-in-Residence program. Residencies occur in the disciplines of ceramics, jewellery, textiles, wood, photography and writing. Four to six residencies occur at Sturt each year.
From late 2009, Sturt widened the focus of its residency program to encourage small scale production and individually designed work which will be promoted through Sturt Gallery. Each year, four professional residencies will be awarded to applicants specifically to develop a body of work which can be produced and made at Sturt, during the Residency time. Sturt sees the residency program as an important adjunct to its overall aim of support for Australian contemporary craft and design through a program of teaching, retail, exhibition and residencies. The emphasis of the residency program will be to support craftspeople and designer-makers who are sympathetic to this philosophy. All Residency Programs are assisted financially from Friends of Sturt, a volunteer support group which meets regularly to help with events at Sturt, produces a newsletter and raises money through its membership fees. Three categories of residency are available:
Deadline Oct 31st
For all the details please visit their site here.
Contact details:
Mark Viner Head of Sturt
PO Box 34 Mittagong 2575 NSW Australia
[email protected]
Ph +61 2 4860 2080 Fax +61 2 4860 2081 www.sturt.nsw.edu.au
by Carole Epp | Aug 23, 2010 | Uncategorized
“according to the designers, easterners commonly believe that small changes
of an individual person or object can make big impact on the larger society, thus,
leading to a modest and totalitarian culture. this social tendency described as a
‘ripple effect’ was translated here into tea ceremony table.”
via Designboom
by Carole Epp | Aug 23, 2010 | Uncategorized
Learn to make gorgeous handmade brushes that are works of art and functional tools. Each day, several types of brushes will be introduced using different hair and construction methods. Demonstrations will include knot-tying, epoxy mixing, cutting and wrapping hairs, and making brush handles. Students will work with buck tail hair, moose hair, horse hair, rooster hackle, broom corn straw, and other fibers. The brushes we make may be used to decorate ceramics or for sumi ink, calligraphy, and watercolor, acrylic, or oil painting. The class will also include demonstrations on how handmade brushes can be used to make dynamic marks on a variety of surfaces.Want more info? Check out the website here.
Studio potter since 1984, producing utilitarian stoneware, handmade brushes and decorative pit fired and rakued vessels; publisher of on-line ClayArtWeb Guide.com and ArtistsinTexas.com.
by Carole Epp | Aug 21, 2010 | Uncategorized
The Northerners:
Does Canadian ceramics have a unified identity, or does the immense physical and cultural geographies make the question of identity much more intricate and diverse? This current show is an endeavor to find common threads if any by exploring works of six Canadian artists, unified by their excellence in craft and individuality in art. There are nuances of calmness and serenity; simplicity and under-stated references to nature in the collected works. Is that the collective Canadian approach? This show is designed, not to offer conclusive answers but to stir up the original question. Robert Archambeau, Manitoba
Sheila Clennell, Ontario
Tony Clennell, Ontario
Bruce Cochrane, Ontario
Harlan House, Ontario
Cathi Jefferson, British ColumbiaShow runs August 20th to September 10th
Via AKAR DESIGN
So it would be much easier for me to simply post this exhibition information and remain quiet…maybe I should. I have an enormous respect for the work of AKAR and it’s staff. I truly believe that they show amazing ceramic art and are a force within the art community and the maker community which is creating value and presence for handmade craft in contemporary culture and marketplace. I also have a large amount of respect for the artists represented in this Northerners exhibition. That being said, I feel that there is a conversation presented by AKAR within this exhibition that should be addressed and discussed by Canadian ceramic artists and international artists as well. What is our identity? Do we have one? Do we need one? Do other countries have one? Did we not get the memo that we needed one?
Personally I feel that this is a question/comment that has been put forth in the past regarding the Canadian scene as a manner in which to attempt at understanding Canadian ceramics, which have potentially been neglected a bit due to their proximity to America. Even a shallow look at the contemporary Canadian ceramic scene shows a wealth of skill, approach and perspectives towards craft. So much so that could never be summed up simply. Could any other country’s ceramic craft production be summed up similarly?
I do not even begin to suggest that AKAR is attempting to find a conclusion to this question, nor do I believe that they should. Great in fact that they asked the question, i guess. But I do have to wonder about an exhibition which posses the question while exhibiting solely functional based works by a limited geographical region, (4 out of 6 from Ontario? We do have 10 provinces and 3 territories), and without much variety in generational perspectives. While there are many Canadian ceramic artists engaging with what makes Canada, well Canada, gorgeous nature, diversity, tradition, etc. There are also many who engage critically and conceptually with other diverse and more universal subject matter. I’m not trying to upset with these comments, and admittedly i’m likely coming across defensively. I guess I just wanted to put my 2 cents out there, even if they are late at night 2 cents, and therefore maybe only worth a penny (a canadian penny no less) in an attempt to get some discussion happening, here on the blog or elsewhere about exactly what AKAR is questioning with this exhibition – What is Canadian Ceramics? Thoughts?
