More from this Issue
...But Never by Chance..., Skin and From Women
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
The Problem of Orthodoxy in Contemporary Glass
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."
Craft, Science and the Natural: An Introduction
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?
NSW Tafe: A Different Approach to Ceramics
It turned out that 95% of the symposiasts were blissfully unaware that, starting with the TAFEs, they are already in the era of funding allocation on the basis of conceptually incoherent doctrines of an 'arts industry' with about as much relevance to their interests as atonal music has to the board of BHP.
4 Jewellery Co-operatives: On Staying in the Black: Fingers
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.
After the Art/Craft debate: Critical Writing into the 1990s
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.