Author: bsadceramics

A reflection on the word ‘contemporary’, as it relates to ceramic practice, by Kate Lyons-Miller, for our intro to Analysis of Contemporary Context on Tuesday:

In line with current thinking and discourse

Not reproducing previous ideas, unless with new angles

But nevertheless working within certain, perhaps unwritten parameters, without which, in art, work could be classified as ‘outsider’

Cognisant of current interests regarding material, colour, purpose, message

As defined by popular cultural norms, (which shift), and is seen to do so by means of papers published, mainstream media comment, social media presence, ie new, but not too new…

The word can be contextualised to mean culturally valuable, as in Hauser and Wirth’s ‘Make’, or tired, as in ‘contemporary interior styling’, estate agent shorthand for neutral and appealing to largest population possible, inoffensive and bland

Contemporaneous with —  eg Cardew and Leach were working within the same European cultural context as Coper and Rie during the 1930s, but not necessarily producing similar work, indicates that the word does not mean ‘the same as’

For ceramics made now to be classed as ‘contemporary’ they would be selected for show by certain galleries, and into certain shows, these are in turn selected, by themselves and their peers

Is there a crossover between contemporary and studio?

Congratulations to two of our MA Ceramics Alumni – Jo Taylor and Alison Shanks – who have been selected for the Gyeongii International Ceramic Biennale in Korea. Jo is one of 302 artists selected from 1600 applicants and Ali one of only 42 exhibiting on site in Korea.

And to Dan Allen, Assistant Dean of the School, who is also one of the 302.

Full list of exhibitors and more info here.

…the whole audit culture rests on a superstition about numbers. As soon as numbers come into play, we are all liable to fall into what Oscar Wilde called ‘careless habits of accuracy’. A number holds out the promise of definiteness, exactness and objectivity. But a number is a signifier like any other, a way of representing something. We appeal to numbers as a way of replacing imprecise, subjective human judgment with precise, objective measurement, but in fact we are just swapping one language system for another. (And in fact not a whole ‘language’, just a limited vocabulary: almost any use of numbers, outside certain areas of mathematics and science, will be embedded in words that specify what the numbers are supposed to stand for.) The existence of any statistic is the outcome of a process of human judgment. The digital revolution has brought with it a huge increase in quantifiable information, the very existence of which provides a constant temptation to metric misbehaviour. If there are numbers to be had, we come to feel that we must have them, even though they may mislead us into thinking we have solid information about something important when in reality all we have is the precise and selective misrepresentation of something insignificant. Muller again has some wise words: ‘Measurement is not an alternative to judgment; measurement demands judgment: judgment about whether to measure, what to measure, how to evaluate the significance of what’s been measured, whether rewards and penalties will be attached to the results, and to whom to make the measurements available.’ Some people speak numbers better than others and, as always, knowledge is power.

From: Stefan Collini, ‘Kept Alive for Thirty Days’, London Review of Books, Vol. 40 No. 21, 8 November, 2018, pp. 35-38

Two of our alumni – Alice Shields and Steve Sales – who had their final degree show with us in September, have set up a new ceramics facility in Bristol. We wish them great success…

https://www.clayshed.co.uk

We are Clay Shed, a new purpose built ceramic studio soon to be opening in Redfield Bristol.

Our ethos is largely centred on developing the practice of emerging makers, or makers wishing to engage critically with their practice. Founded by recent MA Ceramic graduates from Bath Spa university, we recognise the significance of a supportive and critically dynamic environment established during a student’s time on their course. But what happens after graduation when that network disappears? Clay Shed aims to bridge the gap between university and setting up your own studio. Developing a community of like minded, enthusiastic and enquiring makers to help challenge and progress each other’s practices.

We will offer full time studio space to professional makers. Facilities will include a desk and shelving unit for each space, shared shelving and access to kilns, glaze and plaster area as well as wheels. Wifi and electric (excluding kiln firings) will be included in the rent. There will be a small kitchen with microwave, kettle and toaster as well as WC facilities. Clay Shed management will also be running classes from our workshop/teaching space. Studio holders will able to rent this space at a reduced fee to run their own workshops subject to timetable availability.
We are currently looking for tenants to join us. Studio spaces start from £135 and will be ready from early Jan 2019.  Please do share amongst recent graduates who may be interested in joining Clay Shed. You can follow our progress on our website www.clayshed.co.uk and on social media (Facebook and instagram)

We have also launched a crowdfunder to help raise a few extra funds. If you are interested in supporting our cause we wouldn’t say no!

MA Ceramics at Bath School of Art and Design is delighted to present a new film by the Joanna Bird Foundation:

Richard Batterham, Master Potter

Monday 22 October | 5:30 – 7:00 pm

BSAD, Sion Hill Lecture Theatre

A discussion between Joanna Bird and filmmaker Alex J. Wright will be chaired by Dr. Conor Wilson, after the screening.

The screening is free to all and there is no need to book.

We felt it was imperative to make a film about Richard Batterham – the last of a line; a potter of great distinction. He is a prime example of how one man with due talent, diligence and discipline can achieve a remarkable and successful lifetime’s work making pots which truly enhance life. Our aim for the film was to record Batterham’s philosophy as a legacy which we hope will inform and inspire those who see it.

We think this documentary will be of interest to practicing potters, teachers, collectors, journalists and enthusiasts. We are deeply grateful to Richard and to Alex J. Wright for all the time they have dedicated to the film, as we are to both Sir David Attenborough and Nigel Slater.

Joanna Bird

“This fine documentary is a deep dive into one man’s world of making, and the philosophy behind a life in pottery. The sense of accumulation – of time, of clay, of conviction – is palpable in every shot. We also hear from the magnificent David Attenborough and master chef Nigel Slater (who begins every day with his Batterham breakfast bowl). Their voices remind us that often, the most meaningful things in life are rooted in the everyday, indeed, in the dirt beneath our feet.” 

Glenn Adamson. Senior Research Scholar, Yale Centre of British Art