More from this Issue
The Archaeological Metaphor: A Personal Excavation
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.
Semiotically Speaking: A Craftperson's View
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.
The Problem of Orthodoxy in Contemporary Glass
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."
Two Countries, One Weave?
Written with Phillip (Piri) Everett Over the last year Tandanya (National Aboriginal Cutural Institute) has received much bad publicity but is carrying on and slowly and steadily making history. It opened in 1989 with celebrations featuring Ernabella Inma and Yothu Yindi. Includes photographs of indigenous women at weaving workshops in the South East of South Australia at Camp Coorong Cultural Centre.
Design Visions: International Exchange: Time for a Stocktake
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.