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exhibitions

All phone numbers in these sections are in the Auckland free-calling area unless an area code is explicitly stated.

Masterworks Gallery Ponsonby John Parker Journey towards black Iconic works by one of New Zealand’s preeminent ceramicists. Closes 5th July 2006 77 Ponsonby Rd. Ph: 378 256. email: enquire@masterworksgallery.com www.masterworksgallery.com

Pots of Ponsonby Recent Works by Peter and Jeanette Shearer - 8th to 30th July Window Brendan Adams 30th July - 3th August 298 Ponsonby Rd, Ph: 376 045

Ea Gallery Structure Featuring -Kristin Herman - painting; Arthur Amon -Sculpture; Alister Kitchen –painting - ’ Sex, Politics, & Reli- gion’ Adrienne Riseley -Ceramic Sculpture; and Anne Hudson - Ceramic Sculpture- ‘Shamal’ , Lang Ea -Installation. Exhibition Dates: st -20th of July Ph: 3796460

NorthArt Gallery “BEYOND THE PALE” A Contemporary Ceramics Exhibition. Ande Barrett-Hegan, Bronwynne Cornish, John Crawford, Steve Fullmer, Campbell Hegan, Peter Lange, John Lawrence, John Parker, Richard Parker, Christine Thacker, Anne Verdcourt, Chris Weaver, Merilyn Wiseman Opening: 4-6pm Sunday July 23 (All welcome) Exhibition July 24 –August 20 Norman King Square, Northcote Shopping Centre, Ph: 09 4809633

Faenza- Italy Premio Faenza for young artists award is happening again in 2007. You must be 40 or younger as of 3/2/06. Entry conditions and forms can be had from the Centre or by emailing concorso@micfaenza.org

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Portage Ceramic Award 2006 Deadline for entries is 2st August. Once again digital only entry and this time it costs $30 to enter. The prize money has also gone up to $2,000 first prize and $6,000 total for the merits. The Centre still has entry forms or ph: 87 8087

ASP New Members Welcome to: Doug White Jens Moehler Kate Sellar Sean Kerrigan Wendy Baker

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Newmarket, featuring ceramics made and decorated by people normally as- sociated with the fine art scene – paint- ers in the main like Martin Poppelwell, Daniel Malone, Gavin Hurley, Simon Kaan, Sam Mitchell and Tony Lane. 뻘ey don’t all make the transition well, but the pieces are fresh and technically carefree, and have a liveliness that is not common in studio ceramics. 뻘ey are also popular with the punters, with lots of red stickers. 뻘ere is a gap between this stuff and studio pottery that may never be bridged (and you might argue that it may not need to be) and while it may produce red-sticker-envy, it is important to note the spirit of the work, not worry about the technique. 뻘is spirit may be the very thing that sells it. Often that priority is reversed with potters. And I should know - it is not in all of us to eschew technique and be naturally expressive and take the Voulkos “slash and burn” approach (but I often take comfort in the well-crafted, Leach look-alike, Voulkos coffee pot I saw at Archie Bray years ago), but it is exciting when it is done well, and some of these

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pieces produce that sort of excitement. Having just visited Richard Parker I am persuaded that potters like him are the link between these two approaches

  • someone with years of technical expe-

rience but also with an ability to put a huge amount of emotion into his work. 뻘e exhibitors at Anna Bibby’s do tend to look like dabblers next to Richard, but informed dabbling can work well. Jim Cooper’s “Snowy From Cavy” that won him $20,000 at the Norsewear (and I wouldn’t be surprised if he actually did make it in my lunchtime, and good on him) is another example, perhaps ex- treme, of this approach to clay that pays almost no homage to those traditions that a lot of us hold dear. Whenever I feel uneasy (threatened?) about the latest non-traditional dabbling and daubing (the cry goes up “but they haven’t paid their dues!” and I have to admit the lids are straight out of the first hour of the first night of the first term) I remind myself of the bad call that Pete Seeger made when he tried to cut the cable to Dylan’s electric guitar at Newport. Old Grump threatened by raw energy.

Anny Bibby has championed the craft/ art approach for years but it has proved difficult for her, and now she is backing the art/craft crowd. 뻘at assumes that there is some sort of continuum, rather than two distinct schools. Here we go again. 뻘e difference between art and craft? Right now I would say one sells and one doesn’t.

Across the road from this gallery at “Artful” is a show of Matt McLean’s work ranging from small lumps of clay that have been energetically pierced by hunks of wood and then salt-glazed, to the large interlocking wall forms that he is famous for. 뻘ere are some gems here too, the salt-glazed work especially. Many of Matt’s pieces are very covetable, and affordable.

뻘e exhibition coming up at Northart “Beyond the Pale”, curated by Campbell Hegan, features a lot of top name pot- ters from around NZ exhibiting in an excellent space and will be one of the highlights of this year’s calendar. It starts on the 23rd July (opening 4pm that day), and will be a rare chance to see work from Ande Barrett-Hegan, Bronwynne Cornish, John Crawford, Steve Fullmer, Campbell Hegan, Peter Lange, John Lawrence, John Parker, Anne Verdcourt, Chris Weaver and Merilyn Wiseman all in one gallery at one time. (Northcote Shopping Centre, daily 9.30am-5pm, Ph 480 9633).

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