Wednesday, 28 October 2015

movie day: Garth Clark Interviews Beth Cavener on her Newest Sculpture Series

Garth Clark Interviews Ceramic Sculptor Beth Cavener from CFile on Vimeo.

Read more here:

Wrapping up the ‘Beyond Limitations’ workshop... By Kim Seungtaek, Curator of Clayarch Gimhae Museum

With the August 21st opening of the ‘Beyond Limitations’ exhibition, the journey of this five-week workshop came to a conclusion. The workshop started from a proposal made by Australian artist Vipoo Srivilasa two years ago. The workshop’s successful implementation was then facilitated by Cho Hyeyoung (director of the 2015 Cheongju International Craft Biennale), who has helped to bridge Australia and Korea through both material and moral support over the past year. In Australia, meanwhile, Srivilasa prepared zealously to ensure the program’s success. In my own preparations for this project, I could sense their fiery passion.

After a year and a half of preparations, the workshop began on July 20th, and we worked without stopping all the way till its final day. Despite the sultry weather, the 21 artists and the support staff were totally immersed in the workshop from morning to evening, not even noticing the time passing. For a ceramicist, five weeks is not long enough to follow a project through to its completion. That is owing to the nature of ceramics, in which each stage requires a lot of handwork and waiting; it is only in the final stage of firing that the work can be completed. For that reason, I was dubious about the amount of artwork those 21 artists could complete over the course of the workshop, and I suggested that the artists each bring one piece with them. My thinking was that the pieces they brought along could be exhibited together with the artwork produced during the workshop, even if those works were
not finished...

But such concerns evaporated completely. From morning to evening, the artists were fully engaged in their work. As a result, within five weeks, we started to worry about whether the galleries could accommodate display space for all the pieces, which numbered beyond expectations. The initial plan had been to use two galleries, but to exhibit all those works invested with the artists’ passion, we ended up needing all three galleries. Seeing the level of completion and refinement of the works produced during the workshop, notwithstanding its short duration, gave me an indescribable feeling of pride as a curator. With every artist working all the way to the very end to help display the works and complete the exhibition set-up, and with its successful opening, we all felt as if we were one.

We also had a number of successful projects that had seemed impossible to fit into five weeks’ time. There were two cultural tours, and every evening there was time for artists and staff to gain greater understanding of one another, as they took part in presentations on each other’s artwork and stories and held discussions. Special guest ceramic artists were invited, too, including Kang Hyo Lee, whose dynamic performance we enjoyed, and HunChung Lee, who shared stories of the art world and his life as an artist. Besides these activities, members of the public also were invited to take part. For instance, local residents had hands-on experience in making book holders patterned with Australian aboriginal art, and at a ‘performance’ (artist lunch), museum visitors were served food by Korean and Australian artists. All these projects were a great experience for the artists, the museum, and the

Just as the theme of the workshop suggests, I think the entire process contributed to the artists going beyond their own limitations. By sharing diverse techniques and ideas in contemporary ceramics, while also going beyond national borders, and beyond the boundary lines of ‘mentor’/‘mentee’ and ‘artist’/‘staff’, the workshop was an opportunity for everyone to go beyond their limitations. I truly hope that this workshop offered a chance for forward progress to artists facing a creative block, and for new impetus to artists seeking fresh ideas. I would like to express my gratitude to the exhibition planning team and the museum assistants who enabled the successful completion of the workshop through their support; to the project team that provided five weeks’ worth of delicious meals; and to all the artists who took part in the workshop.
-By Kim Seungtaek, Curator of Clayarch Gimhae Museum 

For more information about the program and the participating artists please visit

The Beyond Limitations project has been funded with supported from Clayarch Gimhae Museum, Australia - Korea Foundation and The Australian Embassy Seoul

Wednesday, 21 October 2015

movie day: Janet DeBoos: An Interview by Jan Howlin

Janet DeBoos: An Interview by Jan Howlin from Australian Ceramics on Vimeo.

Hear Janet DeBoos talk about her experiences in China. Jan Howlin visited Janet at her home and pottery in the Brindabella Ranges west of Canberra and in this interview excerpt, accompanied by a slideshow, Janet describes how she became the designer of factory-produced ceramics, and how this involvement has radically changed the work she makes. The interview is accompanied by images of Janet's home, studio, office and work taken by photographer Anthony Browell.

Tuesday, 20 October 2015

job posting: Art Studio Manager Wichita State University

Brief overview:
Manage day-to-day operations of the School of Art, Design and Creative Industries studio arts (Ceramics, Sculpture, 3D Design, etc.) work spaces, and equipment including but not limited to:
•Maintain an organized inventory of materials, tools, and equipment coordinating supply ordering and expenditures with program area faculty.
•Ensure safe use of equipment and proper handling/storage of materials; maintain updated Material Safety Data Sheets (MSDS).
•Support faculty and student learning and research through technical assistance and training.
•Train and supervise undergraduate students and graduate student assistants.
•Work periodic evenings and/or weekends to accommodate operations requiring technical support.
•Teach practicum-level courses in best practices in equipment use, materials handling/storage, health and safety for the studio arts.
•Other duties as assigned.
Communicate and collaborate closely with School of Art Design and Creative Industries faculty, students, and staff within an energetic learning environment.

Full details:

technical tuesday: Creating Lively Surfaces with Wax Resist Brush Decoration | NICK JOERLING

Wednesday, 14 October 2015

call for entry: Eighth Annual Cup Show - Form and Function

Gulf Coast State College Amelia Center Gallery is hosting a juried exhibition that explores the idea of the drinking vessel. The exhibition will focus on the function and concept of the drinking vessel – including its relation to history, politics, craft, technology, utility, and narrative. The exhibition will be a survey of the wide variety of approaches to contemporary ceramics through the lens of the most intimate and accessible vessel – the cup.

Born in Montreal, Canada, Martina Lantin received her Bachelor of Art from Earlham College (1996) and her Master of Fine Art from NSCAD University (2009). She has completed residencies at Baltimore Clayworks and Arrowmont School of Art and Craft, and the Watershed Center for Ceramic Arts and taught workshops throughout the United States. Currently, Martina teaches at the Alberta College of Art and Design. Selected as an Emerging Artist by Ceramics Monthly her work has been recognized in numerous juried and invitational exhibitions. Martina has also published articles in both Studio Potter and Pottery Making Illustrated and was the subject of a feature article in Ceramics Monthly in February, 2014. Committed to the joys of working in earthenware, Martina creates functional ceramics through thrown and altered forms. The thin layer of white slip serves to accentuate the construction methods and to invite an exploration of the making process.
The exhibition is open to both functional and sculptural work that addresses the idea of “the cup”. Please submit only original work that has been completed in the last three (3) years. Amelia Center Gallery reserves the right to reject any work that is not suitably prepared for exhibition or that differs from the original submission.
Entries and Fees
Please submit your entries online via Smarter Entry at Each artist may submit up to three (3) images with the following specifications. Images must be saved as JPG, TIF, or PNG files not greater than 2MB. The longest side should be 1,280 pixels or greater. The files should be titled with the artist’s first and last name and entry number (example: SteveSmith1.jpg). All in one word, file names cannot have special characters. Please do not submit any other materials (CV, resume, statement, etc.). Description Please select your clay body from the drop down menu and include a detailed description of firing and decoration techniques in the Additional Notes window.
Entry Fee there is a non-refundable entry fee of $25 for up to three (3) entries. You may submit additional entries for an extra fee of $5 per image. All fees are paid online via Smarter Entry
Email notification will begin on October 26.
Shipment of Work
All artwork must arrive at the Amelia Center Gallery no later than November 10. All shipping and insurance fees to the exhibition will be the responsibility of the artist. Please pack cups in a well-secured package (double boxed), with any special handling/packaging instructions clearly visible. Packaging will be reused for return shipment. The Amelia Center Gallery will pay for return shipping and insurance of all unsold work. 
Our mailing address is
Gulf Coast State College, 
Visual and Performing Arts, 
Attn: Pavel Amromin, 
5230 West U.S. Hwy 98, 
Panama City,
FL 32401-1041
Amelia Center Gallery will receive commission of 30% on all sales.
Amelia Center Gallery reserves the right to photograph works, and use submitted photo materials of accepted pieces for the purposes of documentation, education, publicity, promotion and future grant proposals.
Every precaution will be taken in handling the work. The gallery reserves the right not to exhibit work that is deemed too fragile or not suitably prepared for presentation. Amelia Center Gallery will insure all works for the duration of the show, and return shipping. Artists will be responsible for insuring work in transit to the galley. Submission of work to this exhibition shall constitute an agreement to conditions set forth in this prospectus and permission to reproduce work for the purposes of documentation, education, publicity and promotion.
Application Due October 19 Show Opens November 20
Notification Begins October 26 Show Closes December 17
Accepted Work Due November 10 Unsold Work Shipped January 8

CAREER OPPORTUNITY: Communications & Marketing Coordinator


This is a leadership position responsible for planning, developing and implementing communications, marketing and public relations strategies for all aspects of Medalta – in the Historic Clay District. This is a fast-paced position that requires management of multiple projects and the ability to make quick, well-informed decisions within a team environment.
Reports to: Executive Director


Develop and implement a comprehensive marketing plan to ensure that the organization’s programming is delivered to the widest possible audience. All communication will be layered to address local, regional, national, and international audiences.
Develop a comprehensive integrated sales strategy for the organization’s various business units.
Plan and undertake cooperative communications and public relations projects, such that the various publics are kept informed about activities and developments at the various sites within the Historic Clay District.
Oversee the major annual fundraising event (Medalta’s Black & White Gala), including sponsorships, ticket sales, auctions and event coordination
Work with the Fundraising Team to ensure there is clear, efficient communication with the public about the donor programs. Continue to develop and manage the Medalta and Historic Clay District brands.
Plan and implement special events for the District in cooperation with other members of the Medalta team.
Develop metrics to adequately monitor the success of the programming. Establish and maintain partnerships and relationships with local media, organizations and business to meet approved communications and marketing goals.
Undertake related tasks and projects consistent with these responsibilities, as assigned.


Diploma or Degree in Public Relations, Marketing, or related discipline
At least five (5) years successful experience working in advertising, media relations, publicity or a related field
Experience in the not-for-profit and museum environments are considered an asset
Experience in developing community partnerships
An equivalent combination of training and experience may be considered


Excellent written, oral and presentation skills, along with strong interpersonal skills and the demonstrated ability to establish effective working relationships with the public and team members.
Excellent organizational skills and highly developed computer skills consistent with the position.
Knowledge of and experience in graphic arts or advertising design is considered an asset.
Knowledge of the ceramic arts process is considered an asset.
Ability to work comfortably in an environment that requires fast and high-quality output.


Commensurate with experience; negotiable; permanent staff position, following three month probationary period.


Interested applicants, please provide a detailed resume along with three professional references.
Resumes will be accepted until October 28, 2015 at 4:00pm MST
Attention: Laurie Switzer
Mail: 713 Medalta Ave SE • Medicine Hat, Alberta • T1A 3K9
Fax: 403.580.5868

movie day: The Successor of Kakiemon (trailer)

The Successor of Kakiemon from Submarine on Vimeo.

'The Story of the Kakiemon Porcelain Dynasty'
How does one take over a company that is four centuries old and has been run by one’s father, his father’s father and so on. Here is the unique story of such a time capsule where we witness how a modern-day Japanese family that has transformed everyday pottery into the world famous mythical Kakiemon porcelain and preserves its traditions, now passes on the leadership to their only son. Is he up to the task that lies ahead? What’s at stake if this successor does not succeed?

Kakiemon, one of the most refined types of porcelain, was developed in the 17th century by ceramist Sakaida Kakiemon. Today, the production, entirely handmade and handpainted is still owned by his direct descendants. Keeping this tradition alive is more than just reproducing craft. It is somewhat a statement against modernity end massproduction. After periods of isolation and expansion, wars, nuclear bombs and now a devastating earthquake, this Japanese family is clinging to tradition – no matter how fragile it is.

last few days to catch The Cup Collaboration online

Still a few lovely cups up for grabs! 

Participating Artists: 
Ayumi Horie USA & Sophie Moran AUS
Katherine Wheeler AUS & Marina Pribaz AUS
Sandra Bowkett AUS & Janetta Kerr Grant AUS
Kathryn Mitchell IoM & Niharika Hukku AUS
Ana Maria Jensen AUS & Adriana Christianson AUS
Shannon Garson AUS & Vanessa Lucas AUS
Diana Fayt USA & Linda Fahey USA
Carole Epp CAD & Jenna Stanton CAD
Jane Sawyer  AUS & Frida Birkic AUS
Bridget Bodenham AUS & Jo Ruchel AUS
Whitney Smith USA & Erinswindow AUS
Vicki Grima AUS  & Aleida Pullar AUS
Katie Jacobs AUS & Mariko Paterson AUS
Joey Burns AUS & Zak Chalmers AUS
Yen Yen Lo AUS & Vanessa Holle AUS
Angela Walford AUS & Sue McFarland AUS

For all enquiries
contact -
Adriana Christianson


Tuesday, 13 October 2015

Chandra Debuse exhibition - Fair Shares

#CollabColoringJar 2015
Wheel thrown midrange red stoneware, slips, sgraffito, colored pencils, crayons

Gallery goers are invited to collaborate by adding color to the jar.  Those who snap a photo of their contribution and post it to instagram with the hashtag #collabcoloringjar and tag @chandradebuse, are entered in a chance to win the jar at the end of the exhibition November 20th.

Dream Wreckers Platter, 2015
Handbuilt red stoneware, hand drawn illustration, slip, sgraffito, inlay, underglaze, glaze, various washes

Fair Shares Gallery View
Platters and Jars pictured
Wall Flowers, 2015
5.5 feet x 4 feet x 4 inches
Ceramic and mixed media