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Hossein Valamanesh Recent Work

Exhibition review Hossein Valamanesh: Recent Work Greenaway Gallery Adelaide South Australia 3 May - 3 June 1992

Author: Leon Marvell | Review

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More from this Issue Full Issue Contents

Marketing from the Top End
Feature
Felicity Wright

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).

Published June 1992
Futurology...Crafts...
Feature
David Walker

David Walker, craft practitioner from Western Australia and active in the Craft Council within his State, writes his prediction for the future of crafts in Australia.

Published June 1992
4 Jewellery Co-operatives: Gray Street Workshop
Feature
Sue Lorraine

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

Published June 1992
...But Never by Chance..., Skin and From Women
Review
Jude Adams

Exhibition review ...but never by chance
(eroticism) editor/curator Linda Marie Walker Exhibitors Jennifer Hamilton, Melanie Howard, Bronia Iwanczak, Sheridan Kennedy, Rosemary Laing, Rosslund Piggott, Carol Rudyard
Skin
Curators Annette Bezor, Julianne Pierce, Exhibitors Maria Kozic, Jan Nelson, Sally Smart, Josie Starrs
Contemporary Art Centre Adelaide South Australia
May 1 - 31 1992
From Women
Curator Vivonne Thwaites
Exhibitors Maria Cruz, Michele Elliot, Nicole Page-Smith, Lucia Tancredi
Artspace Adelaide Festival Centre
10 April - 23 May 1992

Published June 1992
Distant Lives/ Shared Voices
Feature
Kay Lawrence

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

Published June 1992
4 Jewellery Co-operatives: On Staying in the Black: Fingers
Feature
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.

Published June 1992
The Floating Web
Feature
Dorothy Jones

For centuries now, textiles and the skills required in their creation - spinning, weaving, embroidery, sewing, quilting - have been considered women's work, occupying them indoors while men engaged in more serious activities like warfare.

Published June 1992
The Problem of Orthodoxy in Contemporary Glass
Feature
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
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
Two Countries, One Weave?
Feature
Kerry Giles Kurwingie

Written with Phillip (Piri) Everett Over the last year Tandanya (National Aboriginal Cutural Institute) has received much bad publicity but is carrying on and slowly and steadily making history. It opened in 1989 with celebrations featuring Ernabella Inma and Yothu Yindi. Includes photographs of indigenous women at weaving workshops in the South East of South Australia at Camp Coorong Cultural Centre.

Published June 1992
Yurundiali - Reasons for Optimism
Feature
Janelle Boyd

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.

Published June 1992
Craft, Science and the Natural: An Introduction
Feature
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
 
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