Hossein Valamanesh Recent Work

Cover of Hossein Valamanesh Recent Work
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
Artlink Promo
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
NAVA
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 Hossein Valamanesh: Recent Work Greenaway Gallery Adelaide South Australia 3 May - 3 June 1992

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More from this Issue Full Issue Contents

4 Jewellery Co-operatives: Gray Street Workshop
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Sue Lorraine

Looks at the workshop Gray Street, Adelaide, South Australia.

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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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Jill Smith: Artist/ Designer in Industry
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Jenny Armstrong

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.

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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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4 Jewellery Co-operatives: Ipso Factory Company
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Carolyn Meloy

Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.

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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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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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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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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
University of South Australia Art Museum
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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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Design Visions: International Exchange: Time for a Stocktake
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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.

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