The Terracotta Warriors: The Immortal Body

Altair Roelants discovers the terracotta army brought to life at the Art Gallery of NSW’s exhibition The First Emperor:
China’s Entombed Warriors. I originally encountered the might of the First Emperor, Qin Shihuang, and his terracotta warriors, among the books of the British Museum’s domed Reading Room in 2007, during the London installment of this record-breaking international traveling exhibition.

Woodfire Tasmania 2011

One of the important and contemporary practices in ceramic art is the growing interest in woodfiring for the beauty of the effects and the individual expression that can be achieved. Australia is an ideal country for such a practice with its plentiful supply of wood of different varieties, its raw materials, open spaces and, above all, the pioneering character of its people who are prepared to work hard and experiment with the technology. This growing interest has led to regular specialised conferences (the first in Gippsland in 1986) where like-minded potters can gather, discuss new ideas, learn from each other and view advances made in their field through exhibitions, lectures, discussions and demonstrations.

A Korean Tour Refined My Table Manners

Suvira McDonald on curating a tableware installation In August 2010, as part of the Gangjin International Celadon Festival* tour I visited several Korean ceramics museums. Amongst those was the Korea Ceramics Foundation (KOCEF) which, at the time, was showing Ceramic Dining, a memorable and inspiring exhibition that brought together ceramic artists and stylists.

 

Resonating Ceramics

Sally Cleary reviews a recent exhibition in Melbourne

In 2010, four Honours students, Rosanna Caldwell, Natasha Hosny, Robyn Phelan and Jane Walton, decided to have an exhibition at First Site, the RMIT University Union Arts gallery. They called it Resonate, inspired by the meaning of the word: to re-sound or reverberate.

 

Crosshatched Projects 2011: a workshop, a collaborative work and an

Crosshatched Projects 2011: a workshop, a collaborative work and an exhibition

Part 1: The Workshop at Tallarook by Sandra Bowkett, potter and coordinator of Crosshatched Projects

Under the Surface – creativity and mark making

A two-day workshop with Shannon Garson
www.shannongarson.com
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Saturday 4 + Sunday 5 August 2012
 

Maleny Arts & Crafts Group
38 Maple St, Maleny QLD 4552
TACA is offering a winter workshop with Shannon Garson in her beautiful hometown of Maleny on the Sunshine Coast hinterland. Participants will use drawing and surface techniques to explore ceramics as a form of self expression.

$290 per person ($270 members of TACA)
Fee includes a delicious lunch at Shannon’s home

Payment for workshop:
• Cheque (made out to The Australian Ceramics Association)
• Direct deposit (Account: The Australian Ceramics Association; BSB 032298; AC no. 760550)
• Credit card (Visa, Mastercard) – phone /mail / fax
• Money Order (made out to The Australian Ceramics Association)

NOTE RE. CANCELLATIONS:
• Payment is required to ensure a place in the workshop.
• Payment is refunded in full if TACA cancels the workshop.
• 90% of your payment is refunded if you cancel up to 2 weeks before the workshop date.
• * There is no refund if you cancel within 2 weeks of the workshop, unless we can fill your place from a waiting list and then 90% of your payment is refunded.

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Please contact The Australian Ceramics Association if you have any questions.
The Australian Ceramics Association, P O Box 274, Waverley NSW 2024
E: mail@australianceramics.com; T: 1300 720 124; F: 02 9369 3742

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Material – Does it really matter?

A report by Janet DeBoos on the Material Matters conference at ANU

In a world where there is an increasing reliance on mediated experience, there is a case for materiality; but what does it mean, particularly with respect to ceramics? Material Matters, an event (or more accurately, a series of events) in Canberra that took place over four weeks in August this year, sought to examine this question as well as provide a forum for speakers who told stories of their relationship to their material.

Crosshatched Projects 2011: a workshop, a collaborative work and an exhibition

Part 1: The Workshop at Tallarook by Sandra Bowkett, potter and coordinator of Crosshatched Projects

In early 2011, Ann Ferguson and Rajasthani potters, Manohar Lal and Dharmveer, came to stay on my property in central Victoria. I valued the opportunity to work beside them observing, in particular, Manohar Lal’s depth of knowledge gained from a heritage of generations and his lifetime of working with clay. The experience has made me aware of where the parameters of my ceramic practice lie. From the making to the firing, the journey through fundamentals of the ceramic process has been refreshing.

Love, Loss, Masculinity and the Absurdity of the Human Condition

A brief overview of the personal narratives of Todd Fuller by Megan Fizell

Utility: fitness for some purpose or worth to some end

Dee Taylor Graham discusses utility: fitness for some purpose or worth to some end
My initial intention in writing this paper and considering the idea of utility, noun yü-ˈti-lə-tē

1. fitness for some purpose or worth to some end, was to wax lyrical on one of my favourite themes – the lunacy of displaying functional pots on plinths. Or to phrase it more gently, the potential role of functional ceramics in a relational art practice.