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.
Looks at the Jewellery Co-operative Fingers formed in 1976 in Auckland New Zealand. Fingers sells the work of 30 New Zealand jewellers with a managment partnership of 6 to 8 practising jewellers. The rest sell on consignment basis.
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.
Kevin Perkins and the Parish Church of St Thomas Acquinas, Charnwood ACT. A model for collaborative design. Consummate technical skills, the continuance of long-established traditions which focus on excellence and a fundamental reverence for the qualities of the materials are discussion points that are, at times, given minimal attention when the products of today's craftspeople and designer/makers are discussed.
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.
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.
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.
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 Contemporary Gippsland Artists
A touring exhibition initiated by the LaTrobe Valley Arts Centre
Morwell Victoria
University of South Australia Art Museum
9 April - 8 May 1992
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.