Tasdance in Silk

Cover of Tasdance in Silk
1.116
Agatha Gothe-Snape: Trying to find comfort in an uncomfortable chair

Perth Institute of Contemporary Arts

Review
Alana Hunt

Published 15 September 2019
1.122
Other Suns: Cult Sci-fi Cinema and Art

Fremantle Arts Centre

Review
Francis Russell

Published 23 August 2019
1.126
Angela Valamanesh: About Being Here

Jam Factory

Review
Liv Spiers

Published 23 August 2019
Artlink Subs Promo
1.166
FEM-aFFINITY

Arts Project Australia

Review
Jacqueline Millner

Published 23 August 2019
1.126
Rachel O'Reilly: The Gas Imaginary | Material Place: Reconsidering Australian Landscape

UNSW Galleries

Review
Ann Finegan

Published 23 August 2019
1.126
The Housing Question

Penrith Regional Gallery

Review
Chloé Wolifson

Published 23 August 2019
ACE Open
1.126
Noriko Nakamura: The force that the warrior adopts during the evolution of the pale pink rose

CAVES

Review
Amelia Wallin

Published 11 July 2019
1.324
The Hidden Garden: Travis de Vries

Gallery Lane Cove

Review
Djon Mundine

Published 03 July 2019

Exhibition review Greg Leong Launceston Country Club Tasmania

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The Archaeological Metaphor: A Personal Excavation
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Diana Wood Conroy

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.

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4 Jewellery Co-operatives: On Staying in the Black: Fingers
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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.

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Futurology...Crafts...
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Helmut Lueckenhausen, craft practitioner from NSW and active in the Craft Council within his State, writes his prediction for the future of crafts in Australia.

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4 Jewellery Co-operatives: Ipso Factory Company
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Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.

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Semiotically Speaking: A Craftperson's View
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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.

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Craft, Science and the Natural: An Introduction
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Jim Falk

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?

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Toward a Typology of Small Objects
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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.

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Contemporary Gipsland Artists
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Screenprinting the Tiwi Way: An Element of Spontaneity
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...But Never by Chance..., Skin and From Women
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Exhibition review ...but never by chance
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Marketing from the Top End
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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).

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Jill Smith: Artist/ Designer in Industry
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PICA
Desert Mob
Adelaide Festival Centre
Riddoch
Artlink Promo