Verge: 11th National Ceramic Conference was held in Brisbane in July 2006 and focused on sustainability for the individual and the collective. This issue of 716 craft·design features a number of conference papers and presentations.
I am going to talk today about a model for a kind of ceramic art practice that might mean ceramics as a discipline within the twenty first century art school survives. It is called the distributed studio approach, and it is as relevant for education in ceramics as it is for the individual practice itself.
This has been an aspiration of mine for many years, and first crystallised in one of those epiphany like moments in a late summer class when I was listening to a lecture for students on how to plan a studio. The 'perfect studio' described in this lecture had everything that was deemed to be desirable for the practising ceramic artist.
» The Distributed Studio Janet DeBoos
Also read Verge papers
» Generation NEXT Mel Robson
» The value of the collective and the community
Carole Hanson Epp
» Valuing online communications Avi Amesbury
Stephen Dixon has just returned from working for three months in the JamFactory in Adelaide, Australia. His residency was funded by the Arts and Humanities Research Council and was the first organised under the Here and There 2 (HAT 2) scheme.
The ultimate aim of this exchange scheme is to challenge makers who are in their "mid-careers" by the culture shock of being dislocated not only from their familiar cultural surroundings, but from the routines that make up home.
» Jane Webb reflects on conversation with Stephen Dixon
The exhibition, The Crafted Object 1960s-1980s at the National Gallery of Australia, provides a valuable opportunity for many of us to have a renewed look at the craft work of this period, and for others to see a body of work from this period for the first time. But more importantly it confronts us with the question of what such work is collectively named, and why we too often choose titles which convey so little and which evade commitment.
» The uncertainty of objects Gillian McCracken
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Klaus Moje: Glass the second in the Living Treasures: Masters of Australian craft series was launched at Object Galleries to a record number of arts patrons.
Living Treasures has met with a great deal of praise by the arts industry. It is a timely program that recognises talented senior crafts practitioners that have been influential in the Australian cultural sector. At the opening of Klaus Moje: Glass, Object Director, Steven Pozel announced, much to the pleasure of the attentive audience, the continuation of the program till 2010.
This significantly expands the potential for this program to increases the knowledge base about Australian craft practice and its contribution to Australian cultural life.
Living Treasures 2008 - 2010 will see the inclusion of three more artists, their monographs and associated touring exhibitions added to this national series.
Yes, we finally had to call it a day on the youth@craft·design online forum - and let our bloggers get back to normal life.
Huge thanks and many congratulations to all of our participants - the bloggers themselves - you were fantastic and your incredible generosity has been truly appreciated.
Your enthusiasm and energy have been instrumental in making this experience not only fun but also incredibly informative. It was a real buzz to share the many successes you have all had in your practice over the past 4 months ... may they continue to come your way.
To all of our browsers - thanks for your curiosity. And to all of our students and emerging makers who have posted images of your work - stay tuned for the announcement of the 2 winners ... February, 2007.
The website, although no longer interactive, will be retained on the site as a resource for future reference. So, all the valuable advice, funny stories and images will remain for other browsers to dip into. youth@craft·design
Look out for the next series of articles and further findings from this experience in 716 - coming soon.
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The Australia Council has endorsed the recommendations of the New Media Arts Scoping Study presented to it last month.
Object's store, Collect, moves to Object Gallery. Joining some of Sydney's best retail destinations in the heart of the Surry Hills design precinct, Collect at Object Gallery signals an exciting new development.
An update on the project and the discussion papers leading to the finalisation of a National Indigenous Art Commercial Code of Conduct are now on the NAVA website, or email nava@visualarts.net.au for a hard copy.
Smart works Design and the Handmade explores the effects of shifts in the West away from large manufacturing industries and towards ‘creative industries’, high-cost commodities and tourist economies. Smart works will examine the options open to Australians and New Zealanders, and some of the choices made. Visit the Smart works website for symposium and exhibition details.
Congratulations to Julie Bartholomew who won the 25th Gold Coast International Ceramic Art Award Kenji Uranishi, Diane Buckland, Jo Wood and David Pottinger were also recipients of this year's exhibition.
Congratulations also to Belinda Jessup (FyberMotion), Jonathon Baskett and Cobi Jean Cockburn - recipients of the 2007 Act Arts Funding. Full list 
Elizabeth Rogers has been appointed CEO of Regional Arts NSW taking the role previously held by Victoria Keighery. Ms Rogers brings extensive arts management and marketing experience from roles within Sydney Conservatorium of Music and Canberra Arts Marketing. Media release
Simon Baker, Managing Director of realestate.com.au, has bought the Arts Hub business. Baker, who recently joined the BRW Young Rich List, led a syndicate to buy a majority shareholding.
Craft Australia is supported by the Visual Arts and Craft Strategy, an initiative of the Australian Government and all the state and territory governments.
Craft Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
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