Published 15 December 2021
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
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.
Published 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.
Exhibition review Greg Leong
Launceston Country Club Tasmania
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.
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
Kevin Perkins and the Parish Church of St Thomas Acquinas, Charnwood ACT. A model for collaborative design. Consummate technical skills, the continuance of long-established traditions which focus on excellence and a fundamental reverence for the qualities of the materials are discussion points that are, at times, given minimal attention when the products of today's craftspeople and designer/makers are discussed.
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.
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
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.
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
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).
One need not restrict this semiotic approach to an analysis of the objects of fashion given that the major role adopted by craftspeople in contemporary times is that of drawing attention to otherwise ordinary objects and processes by remaking them in a mode other than mass production.