Grete McNorton est la lauréate du prix Avenir céramique 2025.

Organisé conjointement par l'IEAC (Institut européen des arts céramiques) installé depuis vingt ans à Guebwiller, la Maison de la céramique de Dieulefit (Drôme), les Centres céramiques contemporains de La Borne (Cher), de Giroussens (Tarn) ainsi que de Saint-Quentin-La-Poterie dans le Gard, formant le « Réseau centres céramiques » national, le prix Avenir céramique s'adresse à des créateurs ayant au plus cinq années de pratique professionnelle.

Cinq créateurs

Après une première sélection sur dossiers, les travaux de cinq créateurs : Chiara BONATO, Chloé COURBET, François KAMOUN, Elsa LECOMTE et Grete MCNORTON ont été soumis à un jury composé du céramiste américain Patrick Loughran, de la Coréenne Yun Jung et de Thiébaut Chagué, de Sandrine Wymann, directrice de la Kunsthalle à Mulhouse et de Claire Antony, représentant la Drac Grand-Est.??

L’exposition Avenir céramique est visible au château de la Neuenbourg à

Guebwiller jusqu’au 25 mai, du mercredi au dimanche, de 10 h à 12 h 30 et de

13 h 30 à 17 h 30 ; entrée libre.

A new year of exploration : research, projects and artists in search of fresh approaches to drawing.

Une nouvelle année d'exploration : de la recherche, des projets et des artistes à la recherche de nouvelles approches à la pratique du dessin.

ANTHOLOGY 2017 at CHARLIE SMITH LONDON.
t is the seventh edition of this annual juried exhibition.

Selected and curated by internationally respected art world professionals, Anthology is a multi-disciplinary exhibition that reaches out democratically to artists worldwide. The 2017 jury is Kate Bryan (Art Historian, Curator, Broadcaster), Matthew Collings (Artist, Writer), Faye Dowling (Curator, Editor, Producer), Zavier Ellis (Gallery Director, Curator, Collector) and Bert Moore (Collector).

Tae Eun Ahn will be artist in residence at DRAWinternational in November 2017.

Tae Eun Ahn 

Untitled 

2017 Performance 1hours 30min 

This performance is a response to a question about where we come from and head to. Throughout the performance, a performer continues to build a structure with clay that has the same weight as her body. By using clay which is often referenced as earth or dirt—which we all are made out of(‘The Lord God formed a man from the dust of the ground and breathed into his nostrils the breath of life, and the man became a living being’ : Genesis, chapter2, verse 7) and where we naturally go back after our death when we are buried—the performance is to construct a shelter for one’s body which can only be achieved after laborious endeavour against its materiality. 

Also, the notion of the process is deeply rooted in this performance. Clay has a condition which needs certain amount of time to build a structure upwards, as it needs to be harden enough to support the loads. But as the performance is continued without stopping or waiting for the clay being dried, the clay structure keeps collapsing. Despite of the collapse, the performer continues to build the structure until she uses all the clay she prepared. By allowing collapsing of the clay and accepting the collapse as another way of building rather than a failure, the performance focuses the “process” of building rather than what is being made out of. 

A figure of frustration offset by a wine stain has won Ballarat artist Kim Anderson both the judge’s and people’s choice awards at Ballarat Arts Foundation’s Eureka Art Award. 

Her self portrait Fighting Inertia shows Anderson with her dress pulled part way over her head, covering her eyes and riding up the back of her thighs.

The lead pencil drawing took 200 hours to complete and finished with a flourish, Anderson said. 

“I wanted to take some risks with my work and loosen up a bit because I always do this really tightly controlled stuff and since the piece I have started to,” Anderson, who went to the French post graduate art school DRAWinternational after completing the work, said. 

“It took me a few months late last year to work on this figure and then the final splash (of wine) was at the start of this year and then I went overseas for three months after that.

“I was feeling like I needed to push myself in a different direction … feeling like what do I do, do I just go for it and jump off the cliff or stay stuck forever?”

Anderson received the people’s choice award on Christmas Eve, a month after her work was chosen for the top prize by Ararat Regional Art Gallery director Anthony Camm. 

The Ballarat artist won by a single vote over Deanne Gilson’s triptych Decolonising White.

Decolonising White aims to restore traditional culture and knowledge and celebrate “Aboriginal ways of being and doing”.

The three canvases depict the Wadawurrung Cultural Tree of Knowledge, the silver banksia and the yarn daisy.

Article : Jessica Black

2 December 2016 – 4 June 2017

A solo show of pen and ink drawings from across a 45-year career.

Since the 1960s, Deanna Petherbridge has pioneered critical thinking on drawing and its place in art and architecture.

This exhibition brings together over 40 works from across her career, including the Manchester Suite a collection of drawings made during her six-month residency at Manchester Art Gallery in 1982. Her studies of the city’s Victorian architecture during its first wave of regeneration in the 1980s led to a consideration of the resonance of history in cities, places and landscapes, a central theme of the exhibition.

From 1995-2001 Petherbridge was Professor of Drawing at the Royal College of Art where she set up the Centre for Drawing Research, the first doctoral programme in drawing in the UK. She has curated numerous exhibitions including The Primacy of Drawing: An Artist’s View in 1991, which led to the publication of her acclaimed book The Primacy of Drawing: Histories and Theories of Practice in 2010.

This exhibition coincides with the publication of a major new monograph, Deanna Petherbridge: Drawing and Dialogue, by Circa Press available from December 2016 in the bookshop.