Published 01 September 2019
Looks at the workshop Gray Street, Adelaide, South 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."
Published June 1992
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.
Exhibition review Hossein Valamanesh: Recent Work
Greenaway Gallery Adelaide South Australia
3 May - 3 June 1992
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
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.
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?
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.
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
Exhibition review Greg Leong
Launceston Country Club Tasmania
Exhibition review Superimposition
Prospect Gallery Adelaide South Australia
23 February - 22 March 1992
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.
Will the computers, mobile or immobile, take over craft work in the near or medium future? Are craftspeople doomed to the fate of the Indian hand loom weavers of the last century-- will their bones bleach the plains? The answer is........