Published 01 June 2019
State Library of NSW
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
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.
Published June 1992
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
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.
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).
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?
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.
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
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.
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.
Exhibition review Hossein Valamanesh: Recent Work
Greenaway Gallery Adelaide South Australia
3 May - 3 June 1992
In May 1992, Stephanie Radok spoke to Frank McBride, Peter Tysoe, Stephen Bowers, David Adderton and Greg Healey about recent developments at the Jam Factory Craft and Design Centre in Adelaide, South Australia.