The Lock-Up
Published 12 July 2021
ACE Open
Published 10 May 2021
Santos Museum of Economic Botany and The Deadhouse (Mortuary Building), Botanic Gardens of South Australia
Art Gallery of South Australia
Plimsoll Gallery, UTAS, Hobart
Published 14 April 2021
Samstag Museum of Art
National Gallery of Australia, Canberra
Published April 2021
Wagga Wagga Art Gallery
Published 12 March 2021
Exhibition review Greg Leong Launceston Country Club Tasmania
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
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.
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.
Margaret Kirkwood, craft practitioner from NSW and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.
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.
Exhibition review Contemporary Gippsland Artists A touring exhibition initiated by the LaTrobe Valley Arts Centre Morwell Victoria University of South Australia Art Museum 9 April - 8 May 1992
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.
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.
Exhibition review Cape Bruny Winter 1990 - 1991 Paintings and Drawings by Tim Burns Dick Bett Gallery Hobart Tasmania 7 - 26 May 1992
Will the computers, mobile or immobile, take over craft work in the near or medium future? Are craftspeople doomed to the fate of the Indian hand loom weavers of the last century-- will their bones bleach the plains? The answer is........
Most writers and researchers in the visual arts and crafts would now consider the debate about the difference between art and craft to be an old chestnut whose day has well and truly gone. Refers to the debates between David Bromfield and Anne Brennan.
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?
