Futurology...Crafts...

Cover of Futurology...Crafts...
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Risky business: Engaging adolescents at the Art Gallery of South Australia
Feature
Kylie Neagle

Published 01 September 2019
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MCAD Manila: Learning, sharing and conversation
Feature
Joselina Cruz and Paula Acuin

Published 01 September 2019
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Museum MACAN: Critical conversations through art
Feature
Aaron Seeto

Published 01 September 2019
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Falling in love (Or is the curatorial a methodology?)
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Tara McDowell

Published 01 September 2019
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Being an artist and an art teacher
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Henry Ward

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Trying to be at home in the world: New parameters for art education
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Gert Biesta

Published 01 September 2019
Adelaide Festival Centre
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Choose your own immersion: Art schools as a site of creative becoming
Feature
Una Rey

Published 01 September 2019
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Vanishing into action: Art beyond the contemporary
Feature
Alasdair Foster

Published 01 September 2019

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

4 Jewellery Co-operatives: On Staying in the Black: Fluxus
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Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.

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Futurology...Crafts...
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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.

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Toward a Typology of Small Objects
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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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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?

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Why Craftwork Does Not Compute
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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........

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Yurundiali - Reasons for Optimism
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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.

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