Futurology...Crafts...

Cover of Futurology...Crafts...
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palawa kani: Expressing the power of language in art and the museum context
Feature
Zoe Rimmer and Theresa Sainty

Published 01 June 2020
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Reconnecting the Yaghan community to cultural belongings 90 years on
Feature
Rebecca Carland

Published 01 June 2020
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Looking for murnong
Feature
Lou Bennett and Romaine Moreton

Published 01 June 2020
The Torch
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Kin‑dling and other radical relationalities
Feature
Emily Johnson and Karyn Recollet

Published 01 June 2020
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Making Inuit art in the moment
Feature
asinnajaq

Published 01 June 2020
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Notes from Kahoʻolawe, Ka Paeʻāina o Hawaiʻi, Moananuiākea
Feature
Drew Kahuaina Broderick and Josh Tengan

Published 01 June 2020
Artlink Promo
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Weaving memory, living embodiment
Feature
Freja Carmichael

Published 01 June 2020
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Knowledge positions in Aotearoa and Turtle Island art museums
Feature
Léuli Eshraghi

Interview with First Nations curators Kathleen Ash-Milby (Portland Art Museum), Maia Nuku (Metropolitan Museum of Art) and Nigel Borell (Auckland Art Gallery Toi o Tāmaki).
 

Published 01 June 2020

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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More from this Issue Full Issue Contents

Parables of Criticism
Feature
Sue Rowley

Looks at the current issues in the art versus craft debate and the impact of post modern theories.

Published June 1992
Semiotically Speaking: A Craftperson's View
Feature
Jenni Dudley

One need not restrict this semiotic approach to an analysis of the objects of fashion given that the major role adopted by craftspeople in contemporary times is that of drawing attention to otherwise ordinary objects and processes by remaking them in a mode other than mass production.

Published June 1992
Tasdance in Silk
Review
Jane Deeth

Exhibition review Greg Leong
Launceston Country Club Tasmania

Published June 1992
Futurology...Crafts...
Feature
David Walker

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.

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
4 Jewellery Co-operatives: Ipso Factory Company
Feature
Carolyn Meloy

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

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
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
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
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
From Italowie to Chambers Gorge - A New Tapestry
Feature
Kay Lawrence

When travelling by car over long distances the landscape outside the window endlessly unfolds as a field of subtly carying colour and texture punctuated by the irregular rhythm of straggling trees and bushes.

Published June 1992
Contemporary Gipsland Artists
Review
Louise Dauth

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

Published June 1992
 
Darwin Aboriginal Art Fair
UNSW
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NAVA
City of Melville