Pixel Perfect: The Craft of Photography in the Age of Digital Reproduction.

Walkling proclaims that something is being mourned that has to do with the physical object and its associated labour, in the meantime the distinction between amateur and professional photographer is lessening as this particular creative niche is becoming more automated.

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Vivienne Westwood

National Gallery of Australia, Canberra 12 November 2004 - 30 January 2005

Joanna Mendelssohn

Unpacking 'Il Cretino Veloci' or 'The Fast Idiot'

Thomson pays tribute to an increasing minority of Australians devalued for getting their hands in the mucky stuff. As he proclaims ...people who make things with their hands for a living are seen as a hopeless anachronism rooted to the ground. In an age where the majority of the Australian population now work in what are termed the service industries, the ability to apply ones motor skills are making for a society who rarely needs to use those funny slabs of flesh at the end of our arms.

Mark Thomson

Petrified Nature: Julia Robinson and Morgan Allender, Birds and Bees, Louise Flaherty

Downtown Art Space, Adelaide 28 October - 6 November 2004 The Project Space, CACSA, Adelaide 29 October - 5 December 2004

Sera Waters

The Hand in Making

The Tamworth Fibre Textile Biennial began in 1975 and every two years a collection of contemporary fibre textile work tours nationally to metropolitan and regional audiences. For Attiwill, guest curator of the 16th Biennial, the spark for the exhibition A Matter of Time came from Sue Rowleys wisdom: it is useful to think of craft in terms of multiple temporalities, A Matter of Time is an exploration of this usefulness.

Suzi Attiwill

The Sounds of Silence

Through traditional method, an explicit residue of manual labour, and a constructed subject, Ricky Swallows wooden work suggests a past tense, which leads the viewer backwards through the material history of the work. The Defining aspects of Swallows approach are distinctly framed in the western tradition of the artisan and the language of figuration.

Damiano Bertoli

Bush TV's: Piliyi - Good One

Nyinkka Nyunyu is an art and culture centre located on Warumungu land in Tennant Creek, right in the middle of the Northern Territory. From the time the idea came up to build something alongside the sacred site of Nyinkka Nyunya, art was always going to be an integral part of the project. The result of many brainstorming sessions amongst traditional owners of the land on which Tennant Creek stands was the idea of dioramas, or Bush TVs to provide the means to present history and contemporary life through art to a diverse audience.

Alison Alder

Patrick Hall's Cabinets of Everyday Curiosities

For Hughes, Patrick Halls cabinets recall the great elaborately decorated cabinets of the 17th century. Rather than mere decoration, Halls cabinets express a poetry of the everyday that is neither a condescending celebration nor a critical analysis but a deeply personal response to his materiel.

Peter Hughes

Domestic Arts in the White Cube

There exists an increasing number of artists - mostly women - creating art using what have been known, somewhat disparagingly, as domestic arts: knitting, crochet, sewing, tatting, embroidery. For many of these artists the choice of method is integral to what the work is saying, the making - the journey - as important as the result, even if that journey is not immediately obvious to the viewer.

Sue Green

Living Together is Easy

National Gallery of Victoria: Ian Potter Centre, Melbourne 27 August - 7 November 2004 Contemporary Art Center, Art Tower Mito, Japan 24 January - 28 March 2004 Curated by Jason Smith and Eriko Osaka

Jeff Khan

Calling all Anti-Capitalist Pashtivists, fluxus reincarnators and Crafty Billboard Operators: Documenting the Uncollectable

Royce W. Smith

Batik and Kris: Duality of the Javanese Cosmos

Perc Tucker Regional Gallery 10 September - 7 November 2004

Joanna Barrkman

Parallel Universe: The Gray St. Workshops @ 20

Gray Street Workshop, which is this year celebrating its twentieth anniversary, has pursued a creative work ethic closely aligned to values of the handmade, not as an end per se but as a means to evolve a creative language grounded in the interplay between ideas and practice.

Margot Osborne

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