Published 01 December 2018
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
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.
Published June 1992
Looks at the Jewellery Co-operative Fingers formed in 1976 in Auckland New Zealand. Fingers sells the work of 30 New Zealand jewellers with a managment partnership of 6 to 8 practising jewellers. The rest sell on consignment basis.
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.
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.
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
Helmut Lueckenhausen, craft practitioner from NSW and active in the Craft Council within his State, writes his prediction for the future of crafts in Australia.
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.
Book review The Crafts Movement in Australia: a history University of NSW Press $79.95
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."
Exhibition review Cape Bruny Winter 1990 - 1991
Paintings and Drawings by Tim Burns
Dick Bett Gallery Hobart Tasmania
7 - 26 May 1992
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?
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.