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.
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.
I view my memories as a fragmented collage of life, constantly in review and abstracted through the shifting of time and place. Taking and putting together some of these fragments I recall how I became a taxidermist.
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.
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.
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.
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.
Representatives from seven screenprint workshops in remote and indigenous Australia came together in March 1992 to attend a textile marketing forum in Darwin organised by Steve Anderson, co-ordinator of ANCAA (Association of Northern and Central Australian Aboriginal Artists).
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.
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.
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.