After the Art/Craft debate: Critical Writing into the 1990s

Cover of After the Art/Craft debate: Critical Writing into the 1990s
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Melanie Jame Wolf's Pop-Cultural Drag: The Chronopolitics of Labour, Libido and Image
Feature
Daniel Mudie Cunningham

Published April 2021
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Apprehending the Multiverse: A Costumed Allegory for Four Percussionists Michaela Gleave's Cosmic Time
Feature
Ann Finegan

Published April 2021
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Michaela Stark: On Control and Beauty
Feature
Alison Kubler

Published April 2021
MGNSW
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Cigdem Ayedemir
Feature
Sumaiya Muyeen

Published April 2021
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On art, fashion, purpose and more: Peggy Griffiths-Madij and Jan Griffiths in conversation with Alana Hunt
Feature

Published April 2021
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From the clothes rack to the body of the wearer: Circumnavigate Kandos in our clothes
Feature
Ann Finegan

Published April 2021
Darwin Aboriginal Art Fair
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Sarah Rodigari: Redressing the vernacular
Feature
Abigail Moncrieff

Published April 2021
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The Mangkaja x Gorman Collection: A new wave of Indigenous art and fashion collaboration
Feature
Belinda Cook

Published April 2021

Most writers and researchers in the visual arts and crafts would now consider the debate about the difference between art and craft to be an old chestnut whose day has well and truly gone. Refers to the debates between David Bromfield and Anne Brennan.

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More from this Issue Full Issue Contents

The Crafts Come of Age
Book Review
Sylvia Kleinert

Book review The Crafts Movement in Australia: a history University of NSW Press $79.95

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Futurology...Crafts...
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Margaret Kirkwood

Margaret Kirkwood, craft practitioner from NSW and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.

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4 Jewellery Co-operatives: Gray Street Workshop
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Looks at the workshop Gray Street, Adelaide, South Australia.

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Futurology...Crafts...
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Marion Marshall

Marion Marshall,craft practitioner from Victoria, and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.

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Tim Burns - Paintings and Drawings
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Peter Hill

Exhibition review Cape Bruny Winter 1990 - 1991
Paintings and Drawings by Tim Burns
Dick Bett Gallery Hobart Tasmania
7 - 26 May 1992

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Why Craftwork Does Not Compute
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Alan Roberts

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........

Published June 1992
Toward a Typology of Small Objects
Feature
Robert Nelson

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.

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Distant Lives/ Shared Voices
Feature
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Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.

Published June 1992
4 Jewellery Co-operatives: Ipso Factory Company
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Carolyn Meloy

Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.

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The Watch, the Pen and the Biro
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Pat Hoffie

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.

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NSW Tafe: A Different Approach to Ceramics
Feature
Christine Lewis

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.

Published June 1992
The Problem of Orthodoxy in Contemporary Glass
Feature
Geoffrey Edwards

In her introductory notes to the exhibition 'Glass: Material in the service of meaning' the artist Ginny Ruffner comments on the current field of glass art as "being awash in objects, some beautiful, some ugly, most about glass itself - material as content."

Published June 1992
 
City of Unley
MUMA
Ballarat Foto Biennale
Experimenta
NAVA