Futurology...Crafts...

Cover of Futurology...Crafts...
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Unfettered actions: Sportification, playgrounds and public art
Feature
David Cross

Published 25 August 2021
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'The work that art does': Kandos School of Cultural Adaptation
Feature
Abigail Moncrieff

Published 25 August 2021
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Yours truly, The Department of Homo Affairs
Feature
Jessie Boylan

Published 25 August 2021
Riddoch
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First Nations museum memorials: Daniel Boyd and Yhonnie Scarce
Feature
Erin Vink

Published 25 August 2021
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Counter-monuments: Challenging distorted colonial histories through public art and memorials
Feature

Published 25 August 2021
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Transformative communities: Curation and care
Feature
Rayleen Forester

Published 25 August 2021
Sydney Contemporary
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Blue skies, blood moon
Feature
Daniel Mudie Cunningham

Published 25 August 2021
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A close-up of Amazon Acres: Helen Grace
Feature
Fiona Kelly McGregor

Published 25 August 2021

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.

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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

Published June 1992
Jill Smith: Artist/ Designer in Industry
Feature
Jenny Armstrong

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.

Published June 1992
The Hermannsburg Potters
Feature
Beverly Knight

The Arrernte people from Hermannsburg a former Lutheran mission about 130 km west of Alice Springs in Central Australia are generally known for their Namatjira style watercolour paintings. Now they are making ceramics.

Published June 1992
The Watch, the Pen and the Biro
Feature
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.

Published June 1992
4 Jewellery Co-operatives: Gray Street Workshop
Feature
Sue Lorraine

Looks at the workshop Gray Street, Adelaide, South Australia.

Published June 1992
Hossein Valamanesh Recent Work
Review
Leon Marvell

Exhibition review Hossein Valamanesh: Recent Work
Greenaway Gallery Adelaide South Australia
3 May - 3 June 1992

Published June 1992
Touching Things Lightly: The Furniture of Kevin Perkins
Feature
Glenda King

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.

Published June 1992
Screenprinting the Tiwi Way: An Element of Spontaneity
Feature
James Bennett

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
Making a Living: The Jam Factory
Feature
Stephanie Radok

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.

Published June 1992
Yurundiali - Reasons for Optimism
Feature
Janelle Boyd

The predominant group in Moree (outback New South Wales) are the Gomilleroi people who are considered the most cohesive moiety group in Australia. Looks at the indigenous artists co-operative Yurundiali which is marketing its screen print designs.

Published June 1992
Craft, Science and the Natural: An Introduction
Feature
Jim Falk

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?

Published June 1992
4 Jewellery Co-operatives: On Staying in the Black: Fingers
Feature
Stephanie Britton

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.

Published June 1992
 
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