Published April 2021
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
Published June 1992
Helmut Lueckenhausen, craft practitioner from NSW and active in the Craft Council within his State, writes his 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.
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.
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.
Design Visions; The second Australian International Crafts Triennial on show at the Art Gallery of Western Australia in August September 1992 provided a chance for local viewers, historians, critics, artists, designers and 'craftspeople' to discuss and possibly take stock of our place in the international arena.
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.
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.
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.
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
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?