Published 01 September 2019
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
Published June 1992
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.
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?
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.
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.
Book review The Crafts Movement in Australia: a history University of NSW Press $79.95
Exhibition review Hossein Valamanesh: Recent Work
Greenaway Gallery Adelaide South Australia
3 May - 3 June 1992
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.
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.
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.
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.
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.