Published 01 September 2019
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
It is not accidentatl that amongst the Tiwis of Bathurst and Melville Islands, fabric printing has become such a significant craft form. Of all indigenous Australian cultures the Tiwis historically have perhaps the richest tradition of body painting.
Published June 1992
Exhibition review Greg Leong
Launceston Country Club Tasmania
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
David Walker, craft practitioner from Western Australia and active in the Craft Council within his State, writes his prediction for the future of crafts in Australia.
With increasing anxiety, we face searching questions of the viability, the integrity, the destiny of craft. In themselves, the questions are salutory and point to an intellectual vitality in craft culture, a vigour and toughness which have not existed since the Arts and Crafts Movement. Responses to the challenge vary from relish in the contradictions of craft practice to the old-fashioned despair for any debate whatsoever.
Exhibition review ...but never by chance
(eroticism) editor/curator Linda Marie Walker Exhibitors Jennifer Hamilton, Melanie Howard, Bronia Iwanczak, Sheridan Kennedy, Rosemary Laing, Rosslund Piggott, Carol Rudyard
Curators Annette Bezor, Julianne Pierce, Exhibitors Maria Kozic, Jan Nelson, Sally Smart, Josie Starrs
Contemporary Art Centre Adelaide South Australia
May 1 - 31 1992
Curator Vivonne Thwaites
Exhibitors Maria Cruz, Michele Elliot, Nicole Page-Smith, Lucia Tancredi
Artspace Adelaide Festival Centre
10 April - 23 May 1992
Will the computers, mobile or immobile, take over craft work in the near or medium future? Are craftspeople doomed to the fate of the Indian hand loom weavers of the last century-- will their bones bleach the plains? The answer is........
Now as a much older woman with another career as an artist I have been reconsidering my experience in Museums, reconsidering the structures of archaeology which grid and measure the chaotic site.
When travelling by car over long distances the landscape outside the window endlessly unfolds as a field of subtly carying colour and texture punctuated by the irregular rhythm of straggling trees and bushes.
Looks at the ceramic practice of Jill Smith. It often happens when people with different views and areas of expertise are brought together to solve a problem that something new emerges.
There seems to be a consensus that craft is in a state of crisis. But consensus or not, the observation of this alleged crisis is sterile if we do not place it against its background. Is this crisis unique to craft, or is it a manifestation of a more general crisis which extends across other cognate areas? If it is more general, does it nevertheless have special implications for craft?
Exhibition review Hossein Valamanesh: Recent Work
Greenaway Gallery Adelaide South Australia
3 May - 3 June 1992