Published 30 March 2022
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
The Arrernte people from Hermannsburg a former Lutheran mission about 130 km west of Alice Springs in Central Australia are generally known for their Namatjira style watercolour paintings. Now they are making ceramics.
Published June 1992
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.
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
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."
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
Looks at the ceramic practice of Jill Smith. It often happens when people with different views and areas of expertise are brought together to solve a problem that something new emerges.
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.
Marion Marshall,craft practitioner from Victoria, and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
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).
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.
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.