Published 30 March 2022
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
To demonstrate the extent to which our relationship to the objects we possess has changed, Kevin Murray recently gave a short impromptu performance during a recent lecture, systematically removing a number of possessions and apparel from his person.
Published June 1992
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
In May 1992, Stephanie Radok spoke to Frank McBride, Peter Tysoe, Stephen Bowers, David Adderton and Greg Healey about recent developments at the Jam Factory Craft and Design Centre in Adelaide, South Australia.
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.
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.
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.
Exhibition review Contemporary Gippsland Artists
A touring exhibition initiated by the LaTrobe Valley Arts Centre
University of South Australia Art Museum
9 April - 8 May 1992
Exhibition review Cape Bruny Winter 1990 - 1991
Paintings and Drawings by Tim Burns
Dick Bett Gallery Hobart Tasmania
7 - 26 May 1992
It turned out that 95% of the symposiasts were blissfully unaware that, starting with the TAFEs, they are already in the era of funding allocation on the basis of conceptually incoherent doctrines of an 'arts industry' with about as much relevance to their interests as atonal music has to the board of BHP.
Exhibition review Superimposition
Prospect Gallery Adelaide South Australia
23 February - 22 March 1992
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.