Published 01 June 2020
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).
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
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.
Published June 1992
Book review The Crafts Movement in Australia: a history University of NSW Press $79.95
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).
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.
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.
Exhibition review Contemporary Gippsland Artists
A touring exhibition initiated by the LaTrobe Valley Arts Centre
University of South Australia Art Museum
9 April - 8 May 1992
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.
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.
In her introductory notes to the exhibition 'Glass: Material in the service of meaning' the artist Ginny Ruffner comments on the current field of glass art as "being awash in objects, some beautiful, some ugly, most about glass itself - material as content."
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
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.