4 Jewellery Co-operatives: Gray Street Workshop

Cover of 4 Jewellery Co-operatives: Gray Street Workshop
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The five phases of Aboriginal art in Australia
Feature
Djon Mundine

 

Published 01 September 2005
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palawa kani: Expressing the power of language in art and the museum context
Feature
Zoe Rimmer and Theresa Sainty

Published 01 June 2020
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Reconnecting the Yaghan community to cultural belongings 90 years on
Feature
Rebecca Carland

Published 01 June 2020
UNSW
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Looking for murnong
Feature
Lou Bennett and Romaine Moreton

Published 01 June 2020
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Kin‑dling and other radical relationalities
Feature
Emily Johnson and Karyn Recollet

Published 01 June 2020
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Making Inuit art in the moment
Feature
asinnajaq

Published 01 June 2020
Artlink Promo
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Notes from Kahoʻolawe, Ka Paeʻāina o Hawaiʻi, Moananuiākea
Feature
Drew Kahuaina Broderick and Josh Tengan

Published 01 June 2020
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Weaving memory, living embodiment
Feature
Freja Carmichael

Published 01 June 2020

Looks at the workshop Gray Street, Adelaide, South Australia.

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More from this Issue Full Issue Contents

Design Visions: International Exchange: Time for a Stocktake
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Dorothy Erickson

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.

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The Problem of Orthodoxy in Contemporary Glass
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Geoffrey Edwards

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."

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Making a Living: The Jam Factory
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Stephanie Radok

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.

Published June 1992
Yurundiali - Reasons for Optimism
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Janelle Boyd

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.

Published June 1992
The Western Way - Linney's, Argenta and Others
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Dorothy Erickson

Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.

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Contemporary Gipsland Artists
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Louise Dauth

Exhibition review Contemporary Gippsland Artists
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Futurology...Crafts...
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Margaret Kirkwood

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
Futurology...Crafts...
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David Walker

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.

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Anne Newmarch - Superimpositions
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John Neylon

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Ann Newmarch
Prospect Gallery Adelaide South Australia
23 February - 22 March 1992

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Screenprinting the Tiwi Way: An Element of Spontaneity
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James Bennett

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.

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The Floating Web
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Dorothy Jones

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.

Published June 1992
The Archaeological Metaphor: A Personal Excavation
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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.

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