Anne Newmarch - Superimpositions

Cover of Anne Newmarch - Superimpositions
0.77
2020 Adelaide Biennial of Australian Art: Monster Theatres

Art Gallery of South Australia | Adelaide Botanic Garden

Review
Gemma Weston

Published 05 April 2020
0.776
2020 Adelaide//International

Samstag Museum of Art

Review
Chloé Wolifson

Published 29 March 2020
0.77
Cementa19

Kandos, New South Wales

Review
Marco Marcon

Published 05 February 2020
Artlink Promo
0.774
Therese Ritchie: Burning Hearts

Museum and Art Gallery of the Northern Territory

Review
Chips Mackinolty

Published 05 February 2020
1.238
Kulinmaya! Keep Listening Everybody!

Mumu Mike Williams

Review
Kieran Finnane

Published 01 December 2019
1.126
OzAsia 2019

Adelaide Festival Centre and other venues

Review
Anna O'Loughlin

Published 29 November 2019
NAVA
1.126
Tarnanthi Festival of Contemporary Aboriginal & Torres Strait Islander Art

Art Gallery of South Australia and other venues

Review
Darren Jorgensen

Published 28 November 2019
1.126
Weaving the Way

University of Queensland Art Museum

Review
Kay Lawrence

Published 11 October 2019

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

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More from this Issue Full Issue Contents

Toward a Typology of Small Objects
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Robert Nelson

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.

Published June 1992
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."

Published June 1992
Design Visions: International Exchange: Time for a Stocktake
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Dorothy Erickson

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.

Published June 1992
Parables of Criticism
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Sue Rowley

Looks at the current issues in the art versus craft debate and the impact of post modern theories.

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4 Jewellery Co-operatives: On Staying in the Black: Fluxus
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Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.

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Screenprinting the Tiwi Way: An Element of Spontaneity
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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.

Published June 1992
Yurundiali - Reasons for Optimism
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The predominant group in Moree (outback New South Wales) are the Gomilleroi people who are considered the most cohesive moiety group in Australia. Looks at the indigenous artists co-operative Yurundiali which is marketing its screen print designs.

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Tim Burns - Paintings and Drawings
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Exhibition review Cape Bruny Winter 1990 - 1991
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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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The Hermannsburg Potters
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Beverly Knight

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.

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Futurology...Crafts...
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Marion Marshall

Marion Marshall,craft practitioner from Victoria, and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.

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

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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