Published 23 August 2019
Published 01 June 2019
State Library of NSW
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
Looks at the workshop Gray Street, Adelaide, South Australia.
Published June 1992
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.
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."
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.
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.
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.
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.
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
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.
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.
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?
For centuries now, textiles and the skills required in their creation - spinning, weaving, embroidery, sewing, quilting - have been considered women's work, occupying them indoors while men engaged in more serious activities like warfare.