Anne Newmarch - Superimpositions

Cover of Anne Newmarch - Superimpositions
1.126
Heysen Sculpture Biennial 2019

24 February – 30 April 2019

Review
Kirsty Darlaston

Published 17 April 2019
0.886
Yurtu Ardla

South Australian Museum

Review
Darren Jorgensen

Published 16 April 2019
1.128
Curiouser and Curiouser

Bathurst Regional Art Gallery

Review
Ann Finegan

 
 

Published 23 January 2019
Artlink Subs Promo
1.13
The 9th Asia Pacific Triennial of Contemporary Art

QAGOMA

Review
Jasmin Stephens

Published 22 January 2019
1.128
Unhallowed Arts

Various venues, Perth

Review
Darren Jorgensen and Gemma Weston

Published 18 January 2019
1.126
The Partnershipping Project

Burnie Regional Art Gallery

Review
Seán Kelly

Published 18 January 2019
Axolotl
1.174
6th Guangzhou Triennial

Guangdong Museum of Art

Review
Darren Jorgensen and Tami Xiang

Published 18 January 2019
1.266
Jude Adams: Narratives from the Family Album

artroom5

Review
Zoe Freney

Published 10 December 2018

Exhibition review Superimposition Ann Newmarch Prospect Gallery Adelaide South Australia 23 February - 22 March 1992

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From Italowie to Chambers Gorge - A New Tapestry
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Kay Lawrence

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.

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The Problem of Orthodoxy in Contemporary Glass
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Geoffrey Edwards

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."

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Semiotically Speaking: A Craftperson's View
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Jenni Dudley

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.

Published June 1992
Why Craftwork Does Not Compute
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Alan Roberts

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........

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Jill Smith: Artist/ Designer in Industry
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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.

Published June 1992
After the Art/Craft debate: Critical Writing into the 1990s
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Noris Ioannou

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.

Published June 1992
Futurology...Crafts...
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Margaret Kirkwood

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.

Published June 1992
Distant Lives/ Shared Voices
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Kay Lawrence

Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.

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Contemporary Gipsland Artists
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Louise Dauth

Exhibition review Contemporary Gippsland Artists
A touring exhibition initiated by the LaTrobe Valley Arts Centre
Morwell Victoria
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9 April - 8 May 1992

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Touching Things Lightly: The Furniture of Kevin Perkins
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Glenda King

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.

Published June 1992
4 Jewellery Co-operatives: Gray Street Workshop
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Looks at the workshop Gray Street, Adelaide, South Australia.

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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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AFF
ACE Open
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Riddoch