Anne Newmarch - Superimpositions

Cover of Anne Newmarch - Superimpositions
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
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
NAVA
1.126
Weaving the Way

University of Queensland Art Museum

Review
Kay Lawrence

Published 11 October 2019
1.13
Julie Gough: Tense Past

Tasmanian Museum and Art Gallery

Review
Craig Judd

Published 11 October 2019
1.126
Desert Mob 2019

Araluen Arts Centre

Review
Kieran Finnane

Published 07 October 2019
Artlink Promo
1.122
Louise Haselton: like cures like

Samstag Museum of Art

Review
Elle Freak

Published 27 September 2019
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

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

Screenprinting the Tiwi Way: An Element of Spontaneity
Feature
James Bennett

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
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?

Published June 1992
Why Craftwork Does Not Compute
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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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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.

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Contemporary Gipsland Artists
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Louise Dauth

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Published June 1992
From Italowie to Chambers Gorge - A New Tapestry
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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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...But Never by Chance..., Skin and From Women
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May 1 - 31 1992
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Published June 1992
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.

Published June 1992
Tim Burns - Paintings and Drawings
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The Archaeological Metaphor: A Personal Excavation
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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: Ipso Factory Company
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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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