Wednesday, 22 February 2017

call for entry: Telstra Natsiaa

The Museum and Art Gallery of the Northern Territory has hosted the National Aboriginal & Torres Strait Islander Art Awards (NATSIAA) since 1984.

The aim is to recognise the important contribution made by Indigenous artists from regional and urban areas throughout Australia, working in both traditional and contemporary media. It is an important showcase for both established and emerging artists and has come to be regarded as one of the premier national events in the Australian Indigenous art calendar.

The 2017 Awards ceremony will be held on Friday 11 August.

All awards are non acquisitive.

The Telstra Art Award of $50,000 is awarded to the work considered by judges to be the most outstanding work across all categories.

The Telstra Emerging Artist Award of $5,000 is awarded from any category to an artist working within their first five years of practice who has not exhibited in a major institution.

Prizes of $5,000 each are awarded in each of the following categories: 
  • Telstra Bark Painting Award 
  • Telstra General Painting Award 
  • Telstra Works on Paper Award 
  • Wandjuk Marika Memorial Three-Dimensional Award (sponsored by Telstra) 
  • Telstra Multimedia Award

movie day: Gerry Wedd

Gerry from Mickey Mason on Vimeo.

'Pot Culture' by Gerry Wedd from Craft on Vimeo.

Summer workshops @ Medalta with Sarah Pike, Rob Froese and Noriko Masuda

Registration for our summer workshops opens Friday, February 24th at 10am. Sarah Pike, Rob Froese, and Noriko Masuda will be teaching these amazing week-long sessions. Descriptions, dates, costs, and registration details are all listed here:

Tuesday, 21 February 2017

call for entry: The Salt Spring National Art Prize

The Salt Spring National Art Prize (SSNAP) Announces the 2017 Call For Artist Submissions

Offering $30,000 Worth Of Awards The Salt Spring National Art Prize is pleased to launch its second biennial juried competition of Canadian 2D and 3D visual art. The intent of the Salt Spring National Art Prize is to encourage artists whose practice demonstrates originality, quality, integrity and creativity, resulting in significant work with a real visual impact and depth of meaning. Canadian citizens and permanent residents of Canada who are eighteen years and older (as of January 1, 2016) are are invited to submit their two-dimensional and three-dimensional work for consideration.

Approximately 50 finalists will be chosen by an independent jury from across Canada. All artists' submissions will be anonymous to the jury.

SSNAP Awards Totaling $30,000:
THE JOAN McCONNELL AWARD FOR OUTSTANDING WORK; $17,000 ($12,000 and a $5,000 Salt Spring Island artist residency)
THE JUROR'S CHOICE AWARDS; three awards of $2,000 selected by each juror
THE ROSEMARIE BEHNCKE PEOPLE'S CHOICE AWARDS; three awards determined by a vote of visitors to the exhibition; 1st prize - $3,000 2nd prize - $2,000 3rd prize - $1,000
THE ASA (Alliance of Salt Spring Artists)
AWARD FOR OUTSTANDING SALT SPRING ARTIST; $1,000 Guidelines and submission details to be found on our website

Calendar of Events: The call for artist submissions opens January 12, 2017 and closes May 31, 2017 The list of finalists will be announced by July 15th

 Original works will be exhibited and presented for sale at the Finalist Exhibition at historic Mahon Hall on Salt Spring Island, from September 22 to October 22, 2017 (Open daily from Saturday, September 23) Gala Opening, Friday, September, 22 2017

Winners announced at the Gala Awards on Saturday, October 21, 2017

This exciting endeavour is an initiative of the Salt Spring Arts Council (SSAC), which represents the arts for Salt Spring Island, British Columbia, known as one of Canada's premier arts communities. Please may you share this announcement and join our social media for updates! To easily share on Facebook click to share! We look forward to celebrating the talent of Canadian artists!

Posted: 2016-12-02
Location: Salt Spring Island, BC
Phone: 2509311141

call for submissions -Okotoks Art Gallery

The Okotoks Art Gallery is now accepting submissions for consideration for the 2018 exhibition season. The deadline for submission of proposals is April 28th, 2017 at 11:59pm (MST). As per standard art gallery practice, the gallery’s exhibition schedule is programmed a full year in advance. This enables the gallery to fulfill provincial and federal government funding requirements and provide adequate planning time to mount significant exhibitions that are supported through educational programs and public relations. Selection of exhibits for 2018 will be finalized by July 31st, 2017. A selection committee reviews the submissions and final selection occurs through studio visits and correspondence with artists and curators in whom the gallery has an interest. Complete submission guidelines can be found here: Questions can be directed to or 403-938-3204.

Location: Okotoks, AB
Phone: 403-938-3204

job posting: Northern Clay Center

Title: Exhibitions Manager
Reports To: Director
Hours: Full-time, exempt salaried position; work on some evenings and weekends will be required.
Application Deadline: Applications being accepted immediately with interviews to commence beginning mid-March, 2017.
This is a permanent, salaried position, responsible for the management of Northern Clay Center's exhibition program. The Exhibitions Manager reports to the Director and supports other NCC activities as requested. This position is responsible for planning, organizing, and installing eight to ten exhibitions each year in two gallery spaces at NCC. Exhibitions include a range of work by regional and national artists, one of which travels to an additional 3 – 5 venues around the state each year. The Exhibitions Manager jointly manages, with the Sales Gallery Manager, the installation of the American Pottery Festival and the annual Holiday Exhibition. The Exhibitions Manager also works closely with the Sales Gallery Manager to ensure NCC’s presence at the annual NCECA conference. Additionally, this position oversees the work of a part-time program assistant, whose primary responsibilities include assisting with installation and de-installation, shipping, and general administration.  Finally, this position is a member of NCC’s senior team, which helps to support all general operations of the Center, in addition to exhibition-specific duties.
Major Responsibilities
Plan and curate, with the Director and the Exhibition Committee, the annual schedule of exhibitions, both on-site and elsewhere as special opportunities arise. This includes, but is not limited to the following tasks related to each exhibition:
  • Designing, installing, and deconstructing each exhibition 
  • Packing and unpacking of artwork
  • Managing of inventory and registration of incoming artwork
  • Maintaining integrity of exhibition galleries (painting, lighting, etc.)
  • Managing special display construction
  • Production of labels, price lists, other exhibition signage, and didactic material
  • Arranging for documentation of each exhibition
  • Coordinating catalog production (an average of 3 – 4 catalogues annually)
  • Ensuring exhibition wares are photographed and listed for sale on NCC’s website in a timely fashion following the exhibition opening
Additional administrative duties include:
  • Corresponding with artists, dealers and collectors, and other institutions to obtain work
  • Sending and maintaining letters of agreement, contracts, loan forms, condition reports, insurance, renewal, filings, and records
  • Arranging for transportation of works for exhibitions, including coordinating storage of shipping crates and materials, preparing outgoing work for shipping, and packing and unpacking artwork
  • Ensuring artists receive payment (their commission) for sold exhibition works
  • Preparing, with advisement from Director, annual budget for program, and working within constraints of that budget
  • Assisting Director in fundraising for the exhibitions program
  • Coordinating and preparing for Exhibition Committee meetings, including scheduling and planning, and preparing minutes
  • Preparing galleries for exhibition openings, including refreshment set-up and clean-up with assistance from Sales Gallery and Special Events Manager, as well as representing the Center at exhibition openings and exhibition-related workshops and lectures.
  • Overseeing work of Exhibitions Program Assistant
Work with NCC’s Exhibitions Committee:
  • To review and present RFPs for the Emily Galusha Gallery
  • To secure a roster of exhibitions that showcases the full spectrum of ceramic art
  • To enable the exhibitions program to serve as an educational tool, introducing the viewer to the range of possibilities within the medium—from historical pots to contemporary studio ceramics, from decorative vessels to unfired clay installations, from thematic multi-person shows to emerging artists
Plan and implement annual tour of McKnight Artists Exhibition (to up to four venues in greater Minnesota):
  • Solicit and contract interested venues; communicate schedule and related necessary details
  • Collaborate with artists on selection of artworks from exhibition to tour
  • Coordinate design and distribution of show card
  • Coordinate delivery to and retrieval of artwork from sites; coordinate return shipping of artwork to artists
  • Work with Director of Learning and Engagement to design program content in conjunction with traveling exhibition.
Work with Digital and Marketing Manager to ensure appropriate exhibition publicity, including:
  • Gathering information (resumes, check lists, artists' statements, images)
  • Writing newsletter text and exhibition postcard copy
  • Coordinating exhibition invitation design/print/mailing timeline and execution
  • Supplying Digital and Marketing Manager with social media and website content
Assist with the management and implementation of the installation of the American Pottery Festival and Holiday Exhibition, including:
  • Assist in provision of storage of work
  • Assist in design of exhibition and installation of wares for APF
  • Assist with packing and shipping of unsold work after APF (including APF work left after the Holiday Exhibition)
Work with Director of Learning and Engagement to plan and coordinate artist workshops, residencies, and lectures in conjunction with exhibitions.
Other tasks as assigned.
This is a permanent, full-time salaried exempt position.  Salary is commensurate with experience, and qualifications, performance, and NCC budget. Benefits include vacation and sick time and a benefits allowance, along with a 403(b).
Applicants should have a strong knowledge of and experience in a gallery or museum. The ideal applicant should have at least a Bachelor of Arts or Bachelor of Fine Arts degree; a Masters degree is preferred, with a focus in ceramics. A minimum of five years of management and administrative experience is recommended; excellent written, oral communication, and people skills are a must. Proficiency with Macintosh-based programs (Microsoft Office) is required; proficiency with database, online sales, and point of sale software is preferred. Applicants must have demonstrated ability to work well with artists, collectors, gallerists, staff and volunteers. Applicants must be able to lift and move substantial weight for the exhibition installation portion of this position. Additionally, this position requires a flexible schedule and strong time management skills.
To apply:
Please send a cover letter describing your interests and experience, a résumé, and the names, addresses, and telephone numbers of three professional references to: Sarah Millfelt, Director, at
Northern Clay Center is an equal opportunity employer.

technical tuesday: Myanmar's Traditions and Culture Myanmar Pottery

Saturday, 18 February 2017

emerging artist: Seth Charles

I respond to the challenge that comes from making utilitarian work that will become an intimate part of the daily lives of others. My work is rooted in functional pottery, but I also understand the contemplative role a pot can play in people's daily lives, viewing the work in much same way that one might view a painting or a sculpture. My work is not highly decorated or ornate, but my forms and surfaces are very intentional. Driven by traditional pottery forms, my primary concern is the complex relationships between the form of the pot, the surfaces, and the firing. I am very interested in the subtle differences that make two very similar pots very different. I believe in making work that is well made, but not precise so that no two pieces are ever the same.

My primary inspirations are the Japanese concepts of wabi and sabi that view imperfection and irregularity as forms of beauty. Shiho Kanzaki, in the History of Shigiraki Pottery, defines wabi and sabi as “the fulfillment of sensibility beyond the incompleteness of material things.” Wabi may be defined with words like: asymmetry, simplicity, wizened austerity, naturalness, profound subtly, and unconditional freedom. Sabi may be defined with words like: restrained refinement and luster.

My work is inspired by the irregular beauty of the natural world. It is easy to find geological analogies in my work: rock fissures, lichen, moss, eroding wood, and dry lake beds to name a few. Much of what happens in nature evolves slowly over time, as does my making process. My pottery begins as wheel thrown and hand-built forms that are altered in various ways allowing the natural development of gesture and asymmetry. While I may have a preconceived notion of the form, I give myself the freedom to stop and reflect along the way, often times stopping before creating what I conceived, discovering the form during the making process. It is this process that preserves the natural, inherent, plastic quality of the clay without it being over worked. I embrace the craft skills and procedures every potter needs to control and manipulate wet clay, while allowing myself the freedom to keep each piece fresh and different. It is through an understanding of form, function, and the vocabulary of pottery that the vessels created can be viewed as abstract sculptural objects while retaining their function. 

I attempt to make pots that reward examination and reflection. The wood firing process adds another dimension to the composition, producing surfaces that are rich with complexities. This firing method creates a varied palette of colors and textures not achievable in any other way. The work is loaded in the kiln either unglazed or with a simple glaze that is receptive to ash and flame. Similar to geologic actions, heat and pressure is exerted on the work. During the course of the firings, the draft created by the chimney pulls wood ash and alkaline vapors released by the heat of the fire through the kiln. The ash is deposited on the ware in the path of the flame, and records the thoughts and process of the maker and the kiln’s fire. I feel that wood fired pots have the ability to bring us closer to earth and to nature while creating a direct dialog between the user and the maker. - Seth Charles

Friday, 17 February 2017

new ceramic publication: The Ceramics Reader

"The Ceramics Reader is an impressive collection of essays and text extracts which covers all the key areas of ceramics – both past and present. It focuses on thoughts and discussions within ceramics from the last 20-30 years in particular, but also gives the reader a broad overview of the last 100 years. One aim of the book is to introduce contemporary debates, raise awareness and stimulate thought rather than to present a closed case for examination. Consequently the essays or extracts present different approaches to give a rounded viewpoint. Beginning with essential questions such as 'Why are ceramics important?' it also considers the field of ceramics from a range of perspectives – as a cultural activity, ceramics as metaphor, where it sits within arts and crafts, within gender discussions, ceramics as sculpture, the use of ceramics as a vehicle for propaganda, ceramics within industry, within museums, and most recently as part of the 'expanded field' as a Fine Art medium and vehicle for ideas.

The texts come from a wide variety of sources – books, magazines, journals, papers presented at conferences and online journals, as well as some newly commissioned material never before published, to present an international and comprehensive look at ceramics. The book is divided into three main sections and each has a short introduction by the editors to place the chosen texts in context and explain the selections, as well as pointing to any strong threads or issues within the section and offering a point of view.

This book is ideal for ceramic students, but will also appeal to anyone wishing to gain a broad overview and understanding of the world of ceramics." via Bloomsbury Website.

Wednesday, 15 February 2017

call for entry: Functional Relationships

Archie Bray Deadline March 1st!

Full details of all the awesome opportunities online here.

movie day: A love of Mud ~ Kolkata and the Durga Puja

The following words by The Source Project: 

"This is just the beginning, the build up to the Durga Puja in Kolkata. Every year, for for months throughout the rainy season, artists, workers and families prepare for the largest event of the year. By using local materials, clay from the river and straw from the rural communities, some of the most talented artists create some of the largest and most beautiful idols. Communities and families then purchase, worship then submerge them in the Hooghly River. This is just the first part of this devotional wonder...

Durga Puja festival marks the victory of Goddess Durga over the evil buffalo demon Mahishasura. Thus, Durga Puja festival epitomises the victory of Good over Evil.

Durga Puja is widely celebrated in the Indian states of Assam, Bihar, Jharkhand, Orissa, Tripura and West Bengal, where it is a five-day annual holiday. In West Bengal and Tripura, which has majority of Bengali Hindus it is the biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Maharashtra, Gujarat, Punjab, Kashmir, Andhra Pradesh, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.

The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.

Durga Puja also includes the worship of Shiva, who is Durga's consort (Durga is an aspect of Goddess Parvati), in addition to Lakshmi, Saraswati with Ganesha and Kartikeya, who are considered to be Durga's children. Worship of mother nature is also done, through nine types of plant (called "Kala Bou"), including a plantain (banana) tree, which represent nine divine forms of Goddess Durga. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Vijaya greetings and publication of Puja Annuals."
~ VIA Vimeo