More from this Issue
The Floating Web
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.
The Watch, the Pen and the Biro
To demonstrate the extent to which our relationship to the objects we possess has changed, Kevin Murray recently gave a short impromptu performance during a recent lecture, systematically removing a number of possessions and apparel from his person.
4 Jewellery Co-operatives: On Staying in the Black: Fluxus
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
Screenprinting the Tiwi Way: An Element of Spontaneity
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.
Parables of Criticism
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
...But Never by Chance..., Skin and From Women
Exhibition review ...but never by chance
(eroticism) editor/curator Linda Marie Walker Exhibitors Jennifer Hamilton, Melanie Howard, Bronia Iwanczak, Sheridan Kennedy, Rosemary Laing, Rosslund Piggott, Carol Rudyard
Skin
Curators Annette Bezor, Julianne Pierce, Exhibitors Maria Kozic, Jan Nelson, Sally Smart, Josie Starrs
Contemporary Art Centre Adelaide South Australia
May 1 - 31 1992
From Women
Curator Vivonne Thwaites
Exhibitors Maria Cruz, Michele Elliot, Nicole Page-Smith, Lucia Tancredi
Artspace Adelaide Festival Centre
10 April - 23 May 1992
Touching Things Lightly: The Furniture of Kevin Perkins
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.
Contemporary Gipsland Artists
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
NSW Tafe: A Different Approach to Ceramics
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.
Making a Living: The Jam Factory
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.
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 Crafts Come of Age
Book review The Crafts Movement in Australia: a history University of NSW Press $79.95