Published 01 December 2019
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
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."
Published June 1992
Exhibition review Greg Leong
Launceston Country Club Tasmania
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
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.
Now as a much older woman with another career as an artist I have been reconsidering my experience in Museums, reconsidering the structures of archaeology which grid and measure the chaotic site.
Written with Phillip (Piri) Everett Over the last year Tandanya (National Aboriginal Cutural Institute) has received much bad publicity but is carrying on and slowly and steadily making history. It opened in 1989 with celebrations featuring Ernabella Inma and Yothu Yindi. Includes photographs of indigenous women at weaving workshops in the South East of South Australia at Camp Coorong Cultural Centre.
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
Exhibition review Superimposition
Prospect Gallery Adelaide South Australia
23 February - 22 March 1992
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
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
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.
Most writers and researchers in the visual arts and crafts would now consider the debate about the difference between art and craft to be an old chestnut whose day has well and truly gone. Refers to the debates between David Bromfield and Anne Brennan.