Published 30 March 2022
Exhibition review Cape Bruny Winter 1990 - 1991
Paintings and Drawings by Tim Burns
Dick Bett Gallery Hobart Tasmania
7 - 26 May 1992
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
Published June 1992
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.
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.
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.
Exhibition review Contemporary Gippsland Artists
A touring exhibition initiated by the LaTrobe Valley Arts Centre
University of South Australia Art Museum
9 April - 8 May 1992
Looks at the workshop Gray Street, Adelaide, South Australia.
Exhibition review Hossein Valamanesh: Recent Work
Greenaway Gallery Adelaide South Australia
3 May - 3 June 1992
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 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.
I view my memories as a fragmented collage of life, constantly in review and abstracted through the shifting of time and place. Taking and putting together some of these fragments I recall how I became a taxidermist.
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.