l have to admit that I went along full of scepticism, President’s Messoge and had the attitude of the full executive — that NZ was doubtful about the mileage we were getting out of WCC, ISSN 0111-963X into the CONTENTS and we weren‘t at all sure about how we fitted international picture —— to take into that meeting. 2, 3, 4 ...... Keeping Alive Korowai Weaving Glenys’ background is in agricultural journalism and ‘Straight Furrow’. . I quickly got sorted out on that score. . 5, 6, 7Crafts In The Quarry she works for the farming newspaper, The meeting established that we had much in com- 8 ...... Tom Scott’s View She has a keen interest in the crafts and will be work— mon, still more to learn frotn each other, and defined 9, 10 ...... Return To The Simple Things ing with us and with Jenny Pattrick as an adviser to put ways for each member country to achieve common ob- 11, 12 ....Carmon Slater; At Home In Colorado out what we hope you will find an exciting magazine. jectives. 13 ...... Gordon Crook’s Exhibition We will maintain the high quality of the publication lt affirmed very positively that the Asia/Pacific basin 14 ...... Lombard Exhibition through advertising, which will be handled by an adver— is our nei lourhood, that we belong in this arena ...From The Executive Director tising manager. geographically, politically and culturally, and should con- 16, 17...... Crafts Council Executive Grant Finch, who edited the previous three issues, is tinue with whatever effort is necessary to endorse that 18 The Crafts Centre, Membership no longer associated with the magazine and has return— position. ..Miscellaneous ed to full time leather work. It's difficult to quantify the reasons further in a few 20 ...... Awards Any comments, suggestions, correspondence etc. will lines. but there is something in the distinction that our 21-27 .Educational Courses Full and Part Time be welcomed. craft is not steeped in tradition and therefore inhibited 28 ...... The Resource Centre We hope to provoke you to write lots of Letters to by inflexible attitudes to new methods and ideas. 29 ...... Catalogues For Loan the Editor. Many ofour neighbouring craftspeople are caught up 30 ...... Slides For Loan in this bind, yet they can offer us the wisdom and ex- 31 ...... Catalogue Articles The Crafts Council Magazine is published every two perience that only centuries of practice and application 32 ...... Exhibitions and Events months by the Crafts Council. can bring. Typesetting and Composition by Comset and Printing by Roberts Print. Complete Model Editor Editor: Glenys Christian. Assuming then that Rose is correct, and we do have This issue is the first one edited by Glenys Christian, Advertising Manager: Karen Morath. so much going for us down here, what is it that prevents who is a professional journalist. Correspondence should be addressed to: The Editor, us from being the complete model with the best \\ ork, She is Wellington based, but travels extensively PO Box 1654, Wellington. too? throughout New Zealand and hopes to be able to meet Advertising enquiries to Karen Morath, PO Box 1654, I believe it has a lot to do with training and education. as many craftspeople as possible. Wellington. Phone 737—269. When you think about it, almost everything that has made craft in New Zealand what it is, has been won out l of sheer effort and commitment to something that we believe in, for wh tever reasons. Ml ' j " grw‘Im Rose Slivka is a wonderful personality who lives in The only real educational initiatives in this region for New York. craft development are happening in Australia where the ill/l" \l l' l . She is the Editor ofthat fine paper ‘(Zraft lnternational‘ past ten cars has seen many institutions open up courses and has been involved in and writing about the craft in the crafts. \ movement for the past 50 years or so. The results are speaking for themselves and we clear— Rose has possibly the best historical perspective on ly need to follow the example. craft of anyone that [ know, and l treasure the few days But also, and perhaps more importantly, we need to that we stayed with her in her Soho house (after she believe in ourselves. rescued us from the $80 a day uptown hotel that we had Almost every visiting craftsperson is impressed, even been staying in). staggered, by what is happening here and continues to Rose told me that the most exciting energy in the craft endorse a confidence that we are reluctant to accept to world is coming from this Asian region, of which we ourselves. both agreed that New Zealand is a part. It is a condition that possibly prevents us from ex— Not necessarily the best work, please note ,,_ it‘s not pressing our real uniquen ss and affects our entire socie- time yet to get all puffed up with ego and pride — but ty at many different levels. the best energy, yes. The explanation in the past has been that we are too I can‘t say that I appreciated the real significance of inward looking, but I believe that it is because when we what she was saying at that time, but since those late look out, we look in the wrong direction. evening raves and some lS,()()()km of further travel, 1 We look to a cultural heritage that came along with am beginning to understand. our past but which should have been left behind. It has to do with our geographical location, the varie- Our future lies in a more confident acceptance of what ty of cultures, and the commitment to craft as a way of and where we are, not only as craftspeople but as a na» life. tion, and you and l have just as important a part to play (lertainly this is :m accepted fact in many of our in the re-formation of this sense of identity as anyone neighbouring countries and i don‘t believe it has yet else. achieved the correct measure of acceptance in New Next time you are planning a holiday or more of the Zealand. but we're getting there slowly. great overseas experience. try travelling as :1 crafts- person up through some of our neighbouring countries Members of the Crafts Council Executive meet in Wellington. Scepticism and discover what Rose Slivka was talking about for Back row, left to right: Nell van Asch,Margery Blackman (Vice-president), Christine Ross (Executive Much of what Rose had talked about was borne out yourself. Director), Carin Wilson (President), John Finn, Philip Clarke (Resource Officer), Suzy Pennington. by my attendance at an Asian Regional Assembly of the Front row: Fiona Thompson, Jenny Shearer, Frederika Ernsten, James Walker, Roger Brittain. World (Iralts (Zouncil in Sri Lanka. . Carin Wilson Absent was Cliff Whiting. So another week’s teaching was organised. But there was the more informal training as well. Three women from one marae wanted their own korowai so they came to Digger’s place to learn the art right from the first stage of cutting the flax. Then she went back to their homes for a week to finish the tuition. The techniques were also passed on to family members as well. Keeping Alive A granddaughter—in—law of Rangimarie’s, Elanor Hetet, now teaches the craft in Wellington. Rangimarie herself has represented New Zealand at a Polynesian Festival held in New Guinea in 1980, and has been featured along with Digger in a number of books Korowoi Weovi mg on weaving techniques. And cloaks made by her have been featured in a number of ceremonial occasions. Duncan Macintyre and When Digger Te Kanawa finished her first piece of weaving as a child, her father gave it away. the late Norman Kirk and Dame Ruth Kirk have all worn “I cried and cried, I thought it was so unfair,” she said. cloaks made by her in the past. “But I understood when I got older that if you keep it, you’re satisfied with that. But if you give it Actually teaching the art on the type of level away, it makes you more eager to make your next one.” Rangimarie and Digger have done is in itself breaking new ground. Digger and her 90 year old mother Rangimarie Hetet pleted her first pupu or skirt at the age of 14. In the old days, women were never seen making the were honoured in the Women’s Awards this year for “I didn’t do any more for a while after that,” she said. cloaks. their contribution to keeping alive the art of Maori “I had other things to think about. They were quickly stored away out of sight when weaving. “But by the time I wanted to come back to it, I was there were other people around. For although many young girls learnt the skills involv- raising a family and didn’t have the time.” And it was said too that if you taught anyone older ed, once they grew older they didn’t have the time or But it was back in 1951 when it was realised that the than yourself or from outside your own tribe you ran motivation to start once again. skill was dying because of the lack of people involved the risk of losing your knowledge. Digger says she was always interested in the weaving. in 1t. “But there seems to be more demand than ever these She made her first piece when she was 11 and com— “Mum and I saw that there were a lot of Maori women days," Digger said. who were very good at crafts like crocheting, quilting “There are lots of families who would like to own a L and knitting. korowai as part of their heritage.” “There was nothing they couldn’t do. “But when it came to their own craft we realised there hand and leg along their full length until they become wasn’t very much known about it.” Their Pictures one thread. So it was under the Maori Women’s Welfare League Historically, the cloaks were only worn on ceremonial Different tensions are needed for different parts of the that Rangimarie was put in charge of designing a pupu occasions or placed over the body at a tangi, and it‘s korowai as well. to be done by each of the branches in the King Country. uncertain as to how many women would work on one “When you’re making tassles they have to be done “There was a lot of interest in making food baskets, at a time. very tight,” Digger said. too," Digger said. “Mum used to tell me stories about going up to the “You get to about 40 and your knee is so sore you And from here the whole thing was revived. pa at night and it was like their pictures, their amuse— have to stop.” ment,” she said. When the threads are completed they’re washed and The Real Thing “The men would tell their stories and the women dried, then tied into hanks of about 100 in a coil shape. In 1953 when the Queen visited New Zealand, she was would do their weaving.” The threads are then soaked in water and beaten to to be welcomed into Te Kuiti by a group from the village The making of the korowai first begins when the flax make them pliable, between two stones. school at Waitomo. is collected. This must be done gently so that none of the threads “They had to have costumes and Mum said they had Usually only enough to work with at one time is taken. break or crush. to have the real thing,” Digger said. For the korowai only the largest, longest blades are Then the hanks are unravelled before being twisted So several months were spent at the local pa teaching taken, and these are sorted by holding up the flax by up again. the mothers of the children just how the costumes could the tips and letting the smaller ones fall out. They are wet slightly, then twisted or rubbed so that be made. Then the back rib is peeled off and the sides, as these the fibre is further softened and they have a wave in “There were headbands, bodices and pupus for 15 have no fibre in them. them. girls and pupus and headbands for 15 boys to be made,” Different types of flax are also used for different pur— These will make up the 700 warp threads that are she said. poses, black end flax (kohunga) for the warp threads of needed for each korowai. “There was quite a lot involved, but many of the the cloak and tanoni for the finer weft threads. There are a number of different ways of getting the women were grandmothers and passed their skills on.” Then a cut is made across the flax on the dull side with exact colour required for dyed threads. Later on there was more formal involvement in pass— a knife, but lightly so that this does not damage the fibre. Yellow threads are produced by using the bark of the ing on the craft. Starting from this cut, Digger used a mussel shell to lemonwood tree which is boiled with the threads until Rangimarie and Digger took classes at the War scrape away the green pith from the fibres underneath. they are the right colour. Memorial Museum in Te Kuiti which 15 women The fibres are held at either end and stretched tight For black, hinau bark is bruised then boiled in water attended. so that any that are not long enough will fall away. and cooled, so the threads can be left in the mixture Five of them were pakeha women married to Maoris Then those which are long enough are divided into overnight. and another was a Tahitian. groups. Groups of two and two threads will be used for Then they are put into blue grey mud and turn from They were taught the first stages of making the the weft thread, but four and four is more common for the colour of cold tea to a deep black. korowai or cloak, but weren’t able to finish their heavier warp thread on the korowai. Tan coloured threads are made by boiling the tanekaha samplers off. These fibres are then rolled together between Digger’s bark in water and letting the threads stand in it overnight.

3 Hot Ashes Then the threads are rubbed in hot ashes and the col— our is set. Digger tells the story of trying to boil the threads with the ashes tied in a cloth bag. “But when I took the threads out, they all fell to pieces,” she said. Once the threads are prepared, the weaving starts, with the cloak hanging over a crossbar supported by two Crofts In The @uorw uprights. The first weft thread holds all of the warp threads together, then one pair of weft threads passes in front Youth unemployment and a wastage of good resources were two problems potter of the warp and one behind. Yvonne Rust identified in her native Northland. They meet and one thread passes through the middle So rather than write a letter to the Editor or just discuss these concerns with her friends of the other two. and leave it at that, she rolled up her sleeves, took over an old quarry and got to work. Feathers are woven into the cloak at various levels and their preparation can be one of the most time consum— Now she has 25 young people working in the quarry is surprisingly close to Whangarei city itself, there were ing parts of the whole weaving process. on a variety of crafts under the auspices of the Northland only a couple of slabs of concrete on the ground, and Pukeko, fowl and duck feathers are used and also kiwi Crafts Trust. the rest of the area was covered in weeds and rubbish. feathers when they are available. And in order to glean the raw materials needed to set Bit by bit. building materials were found once the These feathers have been sent to Digger by the Inter— up both the buildings they work from and those to con— ground was cleared to erect a sizeable workshop area, nal Affairs Department after the death of kiwis at the tinue their work, they are recycling a variety of resources complete with mezzanine floor. nearby Kiwi House. that would otherwise create a disposal problem. Now two separate buildings are nearly completed as “They arrive here in matted balls and you‘ve got to Yvonne’s energy and enthusiasm are immediately ap- well — a dyeing shed made entirely of rough pine off- lie them in the sun to get them to dry out,” she said. parent, despite a recent stroke which succeeded in on- cuts nailed on to a wooden frame, and a leather shed With one korowai taking up to five kiwis’ feathers, ly slowing her down for a while. where Yvonne eventually hopes a skilled leather crafts— anyone would want it," Digger said. the size of the task is enormous. She moves from one craft to another in the buildings, person will work, selecting skins suitable for a variety “But I’ve never met anyone yet who hasn’t given their Then comes the job of sorting the feathers, which so eager to move on to the next aspect of their work of uses. first effort away.” must be sized and smoothed out to their full length. that details of the one she’s dealing with are clipped Although When it comes to teaching the craft, there’s been a there’s no building permit for the buildings They are then held together in twos and a dab of soap short. in the quarry and Yvonne says that living there can be on the stems keeps them together. wide variety of people whom Digger has taken time with. Only determination like this could see a workforce a “bit nerve wracking”, bricks were given by local in— For smaller feathers, three or four may be used of 25 employed where before there was a disused dustries, wood of all shapes and sizes collected as well “There was a local farmer who wanted something to together. u quarry. as roofing iron, and the studio got under way. do to relax, she said. There will be over 500 hours’ work in an average siz— When they first arrived in the Waldron quarry, which Her vision of the quarry completed is a series of ed korowai if the whole process is followed through “I taught him and now he uses candlewick and cot— right from the cutting of the flax to the final stages. ton and he does some really beautiful work.” At the moment Digger is kept busy showing the art She has thought about easier ways to complete some of weaving to visitors at the Ohaki Maori Village near of the steps involved in the process. “With the pupus I thought, ‘Why not mark and scrape Waitomo. year a group of six women will come several strips of flax at a time?’, ” she said. In March next the “I tried it but the cuts across the flax were all uneven. for a week to get instruction on the preparation of “Then I thought ifit could have been done, it would flax for weaving. sort of thing yearly,” have been done already. “I hope to be able to do this “I guess they knew what they were doing.” Digger said. And Digger says that when it comes to picking up the “I’ve had quite a lot of requests to go to different there, but I think that if they craft, everyone is different. maraes and teach people really want to learn how to do it, they will come here Keen To Learn to me. “You have to have the determination that you will “People have got to understand that it will take a long succeed.” time. “But if you are keen, you will learn all right,” she said. by Glenys Christian “It’s no good taking it on half heartedly. You have to be there to learn or else not at all.” Some people can pick up the idea of the weaving quite quickly, but others must persevere for a longer time. Digger tells the story of teaching a pakeha lady of about 60, who was a relieving teacher at the local school. “She came to me and just wanted to make a kit to start with, but she was very slow,” she said. “But when she did pick it up, she wrote down the instructions with a teacher’s mind. “The next time I taught a pakeha lady, I gave her the instructions and she got started straight away. “This lady didn’t even know what a blade of flax look— ed like, and when I told her that she had to give away the first thing she made, she said she doubted that

4 “They have to collect their own raw materials, and “Then you add weeds and skeleton leaves,” Yvonne they have to learn how to select them.” explains. Looking at the range of craft activities going on at the Everything is put in a boiler, which beats the raw moment in the quarry, makes you realise just how much material to a pulp. can be gleaned from what might by Others be lightly toss- Next, a mangle type instrument is used to press the ed away after their use, or not even used at all. material between pieces of felt, and this is placed on a frame the size of the finished squares, to dry. Clays The variety of materials that could be used in this pro—

There’s the clay department, which was the first one cess are enormous. m to be started up. Yvonne has experimented with toi toi, flax, cabbage It Yvonne admits that there were teething problems here tree leaves and ginger plant — all with good results. to begin with, but now they have thr e clays which she Some of the work has been shown in one of the shops s; regards as being satisfactory. in Whangarei and enquiries have already come in about “Ha...“

“We test batches in a gas kiln and we won’t put them the possibility of exports, which Yvonne thinks is very f3?)

out until they are satisfactory,” she said. exciting. '

l They are producing a high stoneware which goes to Work has also been done with recycled computer 1300 and a low stoneware which goes to 1260. paper which has been mixed with cement. There’s also a browny—orange earthenware produced Yvonne has some of the people at the quarry work- which goes to 1150. ing on free form furniture made in this material, which Twisted wool was used to start with, but it was found Grogs are also made, using some feldspar and she says can be painted with a coarse lacquer paint to that it didn’t felt properly. manganese from local resources. make very bright terrace furniture. SO with the use of wool in its natural state, Yvonne Two people have been trained at the quarry to work Another project on the g0 was a merry—go—round is certain there’s a future for felting with the amount of the clay, and now they are at a stage where they will where all the animals to sit on were made of the cement New Zealand short wools which have remained unsold truck loads of clay to Auckland for the price of the petrol mixture. in the last year or so. used. By constructing a rough wooden frame and tying flax “We’re planning to get into some fashion items using on it to provide a netted effect, the cement mix can be that and leather,” she said. Not Competing applied with the hands and moulded to the shape “And we could weave patterns into the felt. “We’re not trying to compete with craftspeople, but required. “There could be enormous prospects." we’re just trying to make ourselves viable so crafts— Each year a form like this is made and decorated, then people can get our services," she said. auctioned off so the quarry receives some much need— Fibreglass “We’re making some big pots and planters to keep ed funds to be going on with. Other projects on the way are fibreglassed floor tiles, us going and we’re beginning to make roof tiles, but Yvonne wants to adapt old industrial machinery to do where bamboo is dried and split open and woven we’re not working to any particular pattern,” Yvonne some of the more tedious work here. together with string. said. “People here are having to work as machines at the Then the surface is fibreglassed over, producing a Another branch of their work with clay has been the moment, doing some of the routine jobs,” she said. transparent and hard wearing floor tile. interest aroused in soil cement houses. “That takes encouragement for them to keep going.” Sand can be put on the tiles to provide a non slip sur— buildings all containing one of the crafts that now are Yvonne says this technique of building is ideally suited face, or if preferred, the tiles can be joined together and flourishing under her care and attention. to Northland, as settlements are often far apart and the Leather hung up as a screen or room partitioning effect. “We’ve got to the stage now where we can give a per; cost of transporting building materials can be prohibitive. It took a year of experimenting to get the leather Another project of special interest to other craftspeo— son a satisfactory working environment here,” she said. A seminar was held at the quarry late last month on department at the quarry running smoothly, but now pie is the making of Oil paints out of clay. “It’s still a bit cold and wet, but once the quarry is this form of building, giving advice as to what sorts of shoes, bags and a variety of other items are made. In this process, the clay is ground to a very fine definite and we’ve got a permit to build a permanent clays are suitable. Hardwoods are used for the dyes and this mixture is powder, then added to raw linseed oil. studio, we’ll be able to say to people, ‘Yes, there’s a job “We’re trying to give people an idea of the raw boiled up in a couple of old baths covered over with A little varnish is put in and Yvonne says the end result here’.” materials they can find in their own district,” she said. tin with a fire burning underneath them. is just like oil paint. At the moment, only unemployed young people can “And we’re trying to persuade the Council that this Then they are cooled in large barrels inside the dye “You can only get the clay colours, of course,” she be taken on under the Labour Department’s work is a legitimate form of building.” shed before the skins are put into them. said. scheme, but other people will be able to be taken on Experiments have been carried out with using rotten After a variety of processes to remove dirt or grease, “But that’s enough and they do have a nice texture.” in the role of supervisors as well. added to the clay to make more suitable the skins go in, then are spread out on frames to dry. For the future, there is the thought of using glass that So this is what Yvonne hopes for; a complete craft rock and scoria bricks that won’t shrink when they dry. The wool is removed beforehand to be used for felting can’t be recycled to melt down and make into other orientated community where the skills in specialised These have been tested by Portland Cement to find and the tanned skins are selected and cut for different shapes, and also the idea of extending the papier mache fields are passed on to those who would otherwise be out what strength they have. items. technique into the house building scene. on the dole. Hopes are now to build a 2000 square foot building “We plan eventually to make toys, upholstery, carpets “People call the buildings in the quarry a cancerous at the quarry for around $15,000, and Yvonne says — anything goes,” Yvonne said. growth because they creep along the ground insidious— Pioneering although the success of the building is in the balance, Already there are ideas Of selling some of the goods ly,” Yvonne said. Yvonne’s well aware of the special qualities of the “at least we are hammering on the door and the Coun— in Auckland and getting the services of a fashion designer “We’ve just built on to what we’ve got and put a roof young people that she’s working with. cil are showing signs of interest.” with more thoughts about the uses the skinscan be put over it as we go,” she said. potter, a master “They’re not the sort of people who are going to work to. “I hope in the future to put in a master in factories or who would want to work in offices,” she leather worker and a designer, a master fibre person and Buckskin and parchment are already made and there’s Fibres to teach soil cementing techniques. said. a lot more possibilities, as Yvonne has around 200 skins someone “They’ve all got something of the pioneering and The flbre department is what Yvonne describes as “my “Then I might stop there and let someone else come at her home waiting to be used, most of them given to primitive spirit about them, that’s probably why they exciting one”, and the wealth of ideas she has here about in and do what they can think of”: the quarry. wanted to come to the quarry. future directions in this area are limitless. by Glenys Christian “It’s been frustrating with the lack of money and hav— One of the exciting new projects is the making of ing no roof over their heads to start with, but that will wallpapers from a mixture of clay and vegetable material. Felting make them learn to cope when they’re starting out on Diagonal squares are made of what Yvonne has The felting process is aided by a machine, but here setting up their own studios or industries. christened “wayside wallpaper” by using different col— again, it took a lot of experimentation before the results “They have to make things out of nothing. oured clays as a base. were satisfactory. TOM SCOW’S VL Return To The Simple Things When Robyn Stewart and her husband moved on to a farm near Whangarei and she set up a pottery, she knew there would be one source of fuel for firing the pots that she hadn’t had before. So now she is producing burnished black pots similar to those traditionally made in Africa and Mex- ico, and using the very ancient technique of firing them in cow dung.

She and her husband Brian lived in Auckland up until “Everyone should go out and dig their own clay at a couple of years ago, when they decided that a life of least once,” she said. rural self sufficiency was what they really wanted So “It’s so easy when it comes in plastic bags these days.” they moved north to Whangarei to a farm and then on She also thinks that potters should pinch a pot before to the 75 acres at Whareora they now own. they move on to more advanced techniques of pot They run about 80 fattening cattle, grow a small acreage making. of maize and have a flock of coloured sheep. “Its the first way they made pots and you really get Robyn had begun pottery classes in Auckland, at the the feel of the clay,” she said. Auckland Studio Potters Centre, before they left, and was She’s using clay at the moment which was dug from fascinated by a film shown during the classes on the pot— a small stream on the farm where she lived before. ting techniques of the Pueblo Indians of New Mexico. But more recently she’s experimented with an English Basically the pots are hand built, then rubbed with a earthenware. smooth object until they’re burnished. Fashioning the shape of the pots is a slow and precise “They use a pebble but I just use a teaspoon,” Robyn business. said. First of all, the clay has to be wedged with one third So this is her way of using everyday tools to fashion of the quantity of grog and a little talc mixed in. her pots — kitchen knives, teaspoons and needles for This is ground up fired clay, and after its addition, the the more intricate work. clay must stand for three to four weeks before Robyn uses it. Simple Methods “The whole rhythm of the wedging up process puts She believes that pottery can be made without a great you in the mood for creating the pots,” she said. deal of expensive equipment and to experience the sim—

ple methods.

will it

\ 1"..\t\\|| / Wing‘s} lam Ly! mn,”ffix[v ' I Si’\ \ v \ I | lIlull'l'Illll.ll"!‘"""”wr ///f§" \ / -- x... . x \ iiitlllllmlnilmu ,— l Large pots are slab or coil built, smaller ones are pin- ched. I watched Robyn make one of these. The clay is divided in two and two small cup shapes formed in her hands. The rims are wet with a toothbrush, then they are ormon Sloier: At pushed together so that air is trapped inside and then shaped into the form required — round, oval or elliptical. It is then set aside until dry enough to carve and to start burnishing the surface lightly with the back of a teaspoon. Home ln Colorodo This process can take all day for some of the large pots of over a foot in height which she makes, but the smaller Crafts Council President Carin Wilson spoke with Carmon Slater when he was in the ones are usually burnished in a couple of hours. United States recently, about his feelings on crafts in this country and his continuing work at home. One A Day Carmon is well known to many New Zealand craftspeople through his keynote address Robyn enjoys working with a pot that’s small enough at the January conference and a series of workshops held throughout the country. in size so she can fit it comfortably into her hand, and although she generally only completes one pot a day, The idea was that every country in the Com- Carin I guess I’m coming at that well recorded New Zealand she will have several on the go at the same time. monwealth should have some representation of the per— What has it been like since you’ve returned home to condition of wanting to know whether we achieved a “It’s a very slow process but it’s me and I get much forming and visual arts and crafts. Colorado, since you’ve had a chance to consider the time measure of significance in your mind? pleasure from working this way,”she said. There weren’t many potters though, as Robyn said the that you spent in our country? Carmon “I couldn’t make half a dozen similar coffee only other two besides her were an Aboriginal and a Fi- mugs to What are the main impressions that we’ve left with That doesn’t surprise me, because I’ve always had that save myself. jian. There were also raku-firing demonstrations given you? feeling with a lot of New Zealand people. “I admire people who can but it’s not an area that I’m by the Queensland Potters Group. Carmon Maybe it’s the fact that you’re an island community, interested in." “The people who were demonstrating pottery work- First of all, I’ve been gearing toward an exhibition at but I certainly saw an incredible amount of talent there. The part of the process she enjoys the most is carv— ed fairly simply,” she said. the University of Denver, at the Schrader Art Gallery, I guess I‘m always amazed at New Zealanders, some ing the different designs a firing, and we all carved or engraved on to the pots. “No one did which opens on the 16th of August. New Zealanders, needing that kind of reassurance when A lot of these are Maori inspired, as she believes that our pots in some way. Since I returned in April, that has left me only a few I don’t think it’s really necessary. the pots she makes lend themselves to ethnic patterns. “None of us used a wheel and people were very in— weeks to get a large body of work done for that large It’s not an unusual kind of question, but I did see a Some of the pots aren’t carved, but rely for their terested to see just how little equipment was needed.” space. lot of talent and obviously by the numbers alone, there decoration on the coloured flashing from the fire, or the It’s a two person show, I’m with another woman from are a lot of people that deal with crafts and art and that use of oxides. Robyn enjoys simple shapes that she says Not Come To End Paris in that particular exhibition, so that has occupied must be an important entity in your culture. will be around for a long time to come. When it comes to the future, Robyn has a lot of dif— most of my time creatively, plus trying to catch up for “I’ve been making pots this way for five years now ferent options she’d like to explore. She says that she the time when I was on the go travelling. and I haven’t got tired of them,” she said. hasn’t come to the end of firing her pots by this method, Carin I stopped in Maui for two weeks after I left New “I guess I will one day. You can pull an absolute “by any means”. Well, yes, something that I’ve learnt in the course of Zealand, so I really haven‘t been home that long to get disaster out of the fire and it will lead you in a different “I want to experiment with different sorts of clays and this trip is how strong we are in New Zealand in the a large body of work done and, of course, during that direction.” I want to try making bigger and bigger coiled pots. crafts. We seem to have some of the largest penetration time I also sent a piece to New Zealand for the Academy When it comes to the firing with cow dung, Robyn “But the larger they are, the more likely it is that you’ll of the commnunity amongst our craftspeople of those of Fine Arts Exhibition. says that the effect is similar to using sawdust, but the have a disaster,” she said. I’ve visited anywhere at all that we’ve been. I must say, I believe the ANZ Bank purchased that piece from the fire burns more slowly and at a higher intensity. This summer, she will be involved in a summer school I’m quite surprised to know that we are singularly ef— Exhibition. But this too, was a slow process to begin with, as for young people with another local fective as a body, as we are. artist, Alec Musha. So that was exciting for me. Robyn said it took her two years of experimentation with The aim is to teach the young people the basics of pot- Carmon the firing before she was getting pots out ting as well as introduce them to pit and dung firing as that she was Carin I’m sure that the position of strength has become more happy With. cheap methods that can be used. In a very real way, you‘ve established a strong rap— apparent, just because of your associations with the Asian “The dung has to be very dry, and that’s difficult in The idea is that through the summer school teaching, port and identity for yourself in our country. region of the Crafts Council. Northland’s climate,” she said. some of the participants will be able to take back skills Carmon New Zealand is a leader in that region. She collects the dung, then spreads they learn to their own rural communities, as well as hav- it out on the con- That was a most difficult thing, because sometimes I The leadership of decisions and looking at the essence crete floor of a disused milking shed on ing an interchange of ideas with the artists. the property. get very nostalgic for familiar faces and familiar voices of the direction and the visions of that direction are really It’s collected up when it rains, then “There are simple things in everyone’s houses that spread out again, of the people that I met there. coming from New Zealand, even in lieu of countries like which can be a time consuming they can use,” Robyn said. job. I did get some pieces of work from various people Japan, that we all think are the epitomy, but I find that But usually a couple of days of fine, “You don’t need to get caught up with expensive dry weather will in New Zealand but there are some very special people the leadership really comes from New Zealand. job. equipment and firing techniques.” do the that I remember constantly and I always look back on The dung is then built up into a mound with the pots Robyn sells mainly through exhibitions and personal the workshops that I did and remember particular ‘shin— placed in it so it surrounds them on all sides. commisions, as her pots aren’t sold at any retail outlets. ing lights’ in the workshops. Carin The fire is lit and it will be around 36 hours before “I don’t want to work under pressure. I want to en— There were something like 12 or 14 workshops in the I’ve also been discovering the importance of this in— the firing is complete, although if it starts to rain this will joy making each pot, because I think this shows in the short amount of time that I was there and I remember ternational connection amongst craftspeople, once again slow down. finished article,” she says. a lot of those people, so it’s always nice to hear from in the course of my visit, and in a way that I never real— “You only learn by doing something yourself, perhaps them. ly expected to. Brisbane many times over, and eventually you come up with Festival I’ve written several times and heard from people like It’s become very obvious to me that our strengths lie something that’s particularly yours.” Robyn was one of three people to represent New Carol Davis, which is particularly important to me since in the common bond that lies between us and it Zealand at the Commonwealth Arts Festival in Brisbane by Glenys Christian she and I are kind of at the same point in our careers. transcends any differences in race and language. recently. Carmon She was demonstrating making her pots and also talk- Carin Sure, it’s a way of life that transcends all culture and ing to people about potting in New Zealand. The ex- What are the dominant impressions that you’ve been it’s been timeless — that particular kind of human be— perience enabled her to make contact with many in— left with since you returned from New Zealand? ing has existed throughout the history of the world. teresting people from all over the world. 11 10 It’s just so big and there are so many people that’s the only way they can do it. Carin GORDON CROOKS You know that we still have a little opposition to that selection process in New Zealand. The Janne Land Gallery in Wellington recently featured a one-man show by Gordon Crook, the Well- I think that people are just going to have to get used ington artist and weaver. to the fact that it’s a reality now. Gordon came to New Zealand ten years ago from Carmon England, where he had lectured in textile design at the Or at least on the international scene. Central School of Art in London for many years. I think at this point in NZ you realise a combination Rejecting the ‘patterning’ of the English education of both worlds which is nice, because that gives people system, he found the system here similar — giving him who are afraid of that competitive nature, a chance to little option but to concentrate on earning his living as still show work if they’re so inclined, but then you also an artist. have jury exhibitions too, occasionally, like your ‘Bowl’ Here are some of Gordon Crook’s views about his art: was a juried exhibition. “One of the important roles of the artist is to reveal the universality of things. Carin “The beauty and cruelty. J You mentioned in one of our earlier discussions that “The real essence of life and its magic . , . and never . «.5 the marketing effort that each craftsperson has to make to be swayed into nationalism. And that relates to the comment I made earlier about in ensuring that he keeps up with his potential buyers “Every person who resists the indoctrination by connections. and he keeps those who are interested in his work in— parents and politicians is an artist in my definition. When I went there (to NZ) I met specific people and formed, is a very important part of his total effort as an “The moment, wherever, however, however tran— we talked about directions in our own work, and peo artist. sitory . . . providing it’s creative . . . I really can‘t see that ple like Carol Davis, whom I’ve talked with and she’s Carmon life should be bothered with other concerns . . . pro- The tapestries and prints by Gordon Crook at Janne thinking about a trip to the US and I’ve given her several Yes, that’s a growth process, but I’m also concerned viding, of course, the creativity, the results of it, stem Land Gallery are exciting. names of contacts that I know in a particular interest of about those people just beginning, trying to delineate from the accurate perception of our symbolic relation— They are the marrying of Oceanic myths with a true hers. their market and the difficulties they have. ship with the world. love story. That further extends that international quality. That‘s what I was talking about, we’ve got to be sup— “When an artist is asked ‘why’ he does something * Lucky the artist who finds a way to vent frustration portive of people that are beginning new processes and generally his answer (even before he gives it) is already into a medium and make of the two an amalgam of Carin are stretching in new directions that may not strike incarcerated in a form that is likely enough not at all creative industry! As I’ve walked about your environment and seen how responsive chords in our own bodies but at least is an appropriate. Crook is a student of social psychology and the study the Vividness of the scenery, the wonderful landscape important new step, because we never know where it’s “This great splash of words, thoughts, which I enclose of myth and symbolism plays a large part in his work. has had its impact on your work, so I think I can unders— going. . . is very much me . . . kinds of issues which prompt His ability to retell old tales in such a personal and tand the value of your imagery and the strength of your me into activity. individual way gives new meaning to both the myth and style a lot better. Carin “They are probably not as you anticipated from a pro— the medium. I noticed at many of the museums and galleries that fessional person. In the current series Maui is used to parallel a recent Has the time you spent in New Zealand left any sort n of impression in that regard? I’ve visited, that really good craft work now stands on “Nor do they say as much as I would like to say. . . rejection but not before prowess has been proved. an equal footing with the fine art that is exhibited in who sacrificed his Carmon The deeds of the Polynesian hero those places. life in order to make man immortal by penetrating the Well, I had designed a body of work every place I was Carmon in New Zealand. body of the ancient grandmother, Hine—nui—te—po are The craft/art delineation, yes. tapestries mounted on hand made I took a lot of slides also just to refresh my memory retold in hand crafted on colour and flora and fauna and people and geograph— paper and framed. Carin ical landscape. It’s almost disappeared in your country. Skilful I also did a lot of sketching when I was there, so I real— Carmon The artist is a skilful weaver, a graduate and lecturer ly have a New Zealand collection ready to start. Yes, that’s almost passe at this point. from Central School of Arts and a lecturer at the Royal Some is definitely craft and some is closer to the art College of Art in London, who came to New Zealand Carin market and there are all shades of grey in between and in 1972. You’re obviously making a very strong impression on it’s really not an important category. He has added professionalism to much that had been the art community in this State and in the neighbouring hesitant both in the art and the craft fields, culminating States. Carin in the banners being commissioned and hung in the new Carmon What seems to be interesting, is that the process of New Zealand Embassy in the United States. Oh! I’ve also been in a national exhibition — juried development and acceptance of craft in the seventies and Large tapestry wall hangings are designed by the ar- exhibition in Texas, and been in some other juried eighties has also pushed some Of these institutions back tist and crafted by Lesley Nicholls and the smaller pic— shows, because most of our shows are juried here, so into the history of the craft movement and they are pick- ture scaled ones are by the atist. you’re against a lot of competition # you know maybe ing up work that was previously unrecognised before But it is in the screenprint medium that Crook excels. 100 works will be selected out ofa thousand, and that’s now, because it’s now part of the historic fabric. Nothing appears to interfere with the artist’s intention pretty keen competition. Carmon of creating images out of fragments of cubes and discs At the one in Colorado Springs there were only 57 A nice anthropological study — the importance of which he allows us to reform into a logical sequence for of us ~ they were selected out of 500 works. craft in contemporary society and how it’s changed. our own interpreation. The heightened colour key gives added intensity. Carin Carin Crook is a weaver in textiles and a weaver of fantasies, The jury process is pretty much an established part It would be nice to be able to persuade somebody to and the combination is an intriguing and exciting of the exhibition scene here. do that study, wouldn’t it. experience. Carmon Carmon Review by Elva Bett, ‘Dominion’ reviewer. Very much. I think it would be wonderful. 12 15 Publicity From The Publicity for craftspeople and craft exhibitions and Lombord Crofts Bhibijion events pays off in terms of sales, public exposure, spon— Executive Director sorship attractiveness and so on. A first glance at the Lombard Crafts Exhibition at the NZ Academy of Fine Arts was exciting. Publicity very rarely just ‘happens’ — someone will The gallery was full of colour, the layout elegant and the general atmosphere one of sophisticated have helped it along by alerting the media well in ad— riches awaiting discovery. vance of the event and following up at the appropriate Two and a-half hours later I was still pleased but somewhat less excited. time. But how do you go about getting your name known? An all media general craft exhibition is fiendishly dif- The satin finish and muted colours of Ray Rogers’ pit 0 Make contacts ficult to display effectively. fired pots were particularly pleasing to me, as were Peter Know the people responsible for the relevant The Academy is one of the few top galleries which Gibbs’ sawdust fired porcelain. newspaper pages and columns, the radio and television still mounts this kind of exhibition; today we more often Rick Rudd has moved away from the finely balanced programmes. see mixed craft exhibitions either around a theme or with small raku pieces of last year to larger sculptural pieces Don’t forget the local community papers, either. only a handful of artists invited. — as skilful as ever but not so successful to my eye. If you don’t have a contact, ring up and ask for the The Lombard exhibition has over a hundred invited Noticeable is the almost total lack of domestic ware. person in charge of a particular programme or page. exhibitors and almost six hundred entries from all over The sudden explosion into the sculptural field is Don’t assume that you will automatically get coverage New Zealand. fascinating. — you have to ‘sell’ them on the idea and catch their The exhibition obviously has a growing mana among It can’t just be the result of sales tax changes. interest. craftspeople — and, of course, an attractive drawcard What has turned our masters of ovenware into birds Find out the kind of things they will find interesting. in the two 35750 Awards. of paradise overnight? However, I find a mixed exhibition of this kind a dif— ficult one to view. Opening Up 0 Know what you want Is it personal publicity? (e.g. a review of your one-man It’s hard to get a feeling of unity or cohesion when The bone and jade carving field seems to be opening show.) you are jumping from great woolly wall hanging to up fast. Is it publicity for a group event? (e. g. a workshop taken delicate porcelain bowl; from large patio pot to im— A skilful newcomer is Brian Flintoff, known already by a visiting artist.) maculate jade carving. in other art fields. There have been some interesting developments over An exhibition should have a life of its own and though His delicate bone carvings, all mounted beautifully on the last two months which will, I hope, serve to bring 0 Know what you want to say this one is imaginatively grouped and displayed, the stone, wood or flax are a delight, as are the gentle curves the Crafts Council to the attention of a wider communi— If appropriate, prepare a press release (typed, double— wholeness is not there. and satin finish of Raymond Ansin’s jade pieces, con— ty and will strengthen our range of contacts. spaced, with a contact name and phone number). trasting with the highly polished, intricate work of the Following a suggestion from members in Hawke’s Bay, This should be brief, simple and to the point. You other jade carvers. we have been exploring how the Crafts Councils might should try to make the language colourful and interesting Let’s hope we see more of these two. form a closer relationship with the network of Com— so that it catches attention and is used. Other jewellery in traditional metals and stone was on munity Arts Councils which are part of the QEII Arts Make sure your facts are accurate. the whole disappointing, particularly after the exciting Council’s ‘family’. Other ways of alerting the media are by telephone, recent exhibition in the Hutt Dowse Art Gallery by the We are keen to see this happen — there would be by letter, by invitation to an event and so on. Auckland Fingers group. benefits for all concerned; we will be able to call on more Follow up with telephone calls where appropriate. As for the weaving, l was not greatly excited. people for assistance and to disseminate information and, A notice of an upcoming event should be directed to Perhaps the weavers, necessarily slow to produce new in turn, more people will be aware of how we might the ‘arts diary’ sections, and followed up with an invita— pieces, save their best and most innovative for other fibre be able to help them. tion to review and attend the event. exhibitions during the year. At Labour Weekend, I was invited to speak at the If a group is seeking publicity, they should appoint The Lombard prize winners were Jean Ngan for her gathering of Maori visual artists arranged by the Coun- someone as a spokesperson so that all publicity and com— three very skilful floor rugs and John Middleditch for cil for Maori and South Pacific Arts, and tell them about ments are co-ordinated. his vigorous copper sculpture ‘Rampant Crab’. Matakerepo with flax kete — whalebone by Brian the Crafts Council. This person should be someone who is articulate, has Flintoff My slight feeling of let down as I left the Opening came One concern to emerge from this meeting was the all the relevant information on hand and who is authoris— from the work of the established names from who I was need to develop markets for Maori crafts in a manner ed to speak for the group. expecting new ideas and changes of direction. which was appropriate and sensitive to their wishes. Representation Perhaps this is an unfair expectation, and a very O Follow-up This was a good representation of most of New Western one. Survey After alerting the media contacts to attend an event, Zealand’s best craftspeople, though the glassworkers David Brokenshire exhibited the same delicate Work on the crafts survey progresses — thank you follow-up to remind them that it is taking place. absent — a sad lack at a time when were conspicuously porcelain flower shapes we've seen for several years. to all those who have returned their questionnaires (and If they are going to attend, find out if they have any hot and cold glass work is taking a leap ahead, particular— But the glazes and subtle changes within the design for those who haven’t, it’s still not too late). special requirements. ly in the Auckland area. were extremely beautiful. The first part of the survey dealing with craft retail Finally, if you have received coverage and you are And where were our woodworkers? An Asian would treasure the consistency of a master outlets is now complete and the data is being coded. pleased with the results, ring up and say so. beautiful-use of knots Noeline Brokenshire, with her in one particular field, whereas we tend to look for a The intention now is to produce a preliminary report The points set out here are a very brief guide to how of a craft that and burls was the only representative new idea every time. on both the retail outlets part and the individual crafts- to go about gaining free media publicity for you or your should abound in New Zealand. In this exhibition the new ideas come, on the whole, people part by early next year. group. But on the whole, the big names in the craft world from the newcomers. This will be circulated for discussion at a series of For more information, write to the QEII Arts Council were all there — plus some interesting newcomers. Those of us who have been around for a while had regional meetings, so that attitudes toward the various (PO Box 6040, Te Aro, Wellington) for a copy of their A marvellously funny and irreverent look at better look to our laurels. types of craft training can be discovered and we can be publication “Publicity and Promotion” which is free to housewives and household appliances was the exhibit And that’s how it should be. - sure that any recommendations made to Government artists and arts groups. by the seven women of the Fabric Art Company. Jenny Pattrick take full account of the craftspeople’s wants. This and Robin Hill’s hilarious soft sculptures show— Christine Ross Here’s a sweeping generalisation: craftspeople are a ed the innovation that New Zealand fibre artists have modest bunch — they tend not to blow their own displayed recently. trumpets. The ceramic field was vast, as would be expected. But who will blow their trumpet for them if they don’t 14 do it themselves? 15 A bouquet to brighten winter and celebrate Winter Executive Committee Meeting Solstice. AUGUST Miscelloneous met in Wellington on 21“ ' ' The Executive Committee “Delights Of The Table” and 22 November. A 'Silversmith’s Guild has been formed and knitwear, are the types of products Mr John Win- The main items of discussion were: reviewing the OCTOBER ‘6Toys’, in Canterbury and appears to be the ton is looking to represent and he thinks they should 1983-84 draft budget, planning the outline of the 1984 capture the market’s attention in that area. For children of all ages. first of its kind in New Zealand. Conference, setting priorities for 1983 activities. He would appreciate hearing from anyone seeking In this last item, it was decided that implementation DECEMBER It has a nucleus of about 16 actively working crafts— representation in this area of the United States and can of the results of the Crafts Council/Vocational Training “Christmas Capers” people, artists, jewellers and metalworkers, ranging in be contacted at: Council crafts education survey would be a major ac— Crafts for Christmas. background from beginners to fully trained and qualified Winton, Huntington and Associates Inc. tivity, and also that alongside the development of train— Between these exhibitions will be “Area Features” professional goldsmiths. 450 Market Place Two ing opportunities should be efforts to develop the range where crafts from specific parts of New Zealand will be 2001 Western Avenue The Guild has plans to hold an annual exhibition as of internal marketing opportunities available to crafts— highlighted. Seattle WA 98121. people. Local representatives will co-ordinate their area’s well as to operate a booth in the summer Crafts Market At the AGM in September, concern was expressed at feature. of the Christchurch Arts Centre. Pottery Sought For Australian Market of its members have ample qualifica— the problems craftspeople are facing in finding outlets The next magazine will give full details of the Since a number A range of hand made pottery to supplement the pre— are planned for the demonstration of for their crafts in a time of recession and it was recognis- programme. tion, workshops sent lines he markets, is being sought by Mr Neil ed that the Crafts Council has a role to play in this area. Best wishes for Christmas and the New Year. various techniques. Hannam. Inquiries may be made to: We will therefore be working toward devising and im— Penny Harrison His company currently imports Claycraft pottery, and Dr Larry Field, 7 Merlewood Avenue, Christchurch 2, plementing strategies to widen the craft market —— September is the Sydney agent for Temuka pottery and he would 0 Betty Aikman left the Crafts Centre in New Zealand. especially in the area of sales to tourists. to take up a position as Executive Officer of the Music like to extend his product lines. The dates of 1983 Executive Committee meetings are: People interested can contact Mr Hannam direct at: Council. Visiting Textile Artist February 21 and 22. Hers had been the responsibility of setting up the N. R. Hannam Pty Ltd Heleyne Jennings, a British artist-designer, will be in May 29 and 30. Crafts Centre from scratch and developing it to its pre— 3 Smail Street September 25 and 26 (1983 AGM). NZ from early December 1982. Broadway sent standard. While in NZ, she is interested in giving a number of November 20 and 21. an enormous amount of personal dedica— New South Wales 2007. It required slide lectures. Slides will show a variety of textile ap— The names and addresses of Committee members are effort which we greatly appreciate, and we now tion and proaches and techniques that are being experimented published in this magazine — if there is any information wish her all the best in her new work. Research On Recycled Rags on the Crafts Council or anything you would like them with in the UK at the present time. The use of recycled rags by textile craftsmen and ar- to bring up at Committee meetings, be sure to let them Crafts Council Membership Heleyne Jennings has BA Hons in Embroidery from tists is being researched on a worldwide basis by Ruth know, or get in touch with the office directly. If there is a green sticker on your address label, Loughborough College and an MA from the Tapestry Plumstead in Britain. this means that your subscription has not yet been Dept, Royal College of Art. She is interested in work of both an historical and con— She can be contacted at: Holidays renewed. temporary nature, with special emphasis on colouring Please fill out and return the enclosed form to 4 Hill Street and design, techniques employed and equipment in— The Crafts Council office and gallery in'Wellington will the Crafts Council. Richmond volved. be closed for Christmas between December 24 and If you do not yet belong to the Crafts Council and Nelson. She can be contacted at: January 5. would like to do so, please fill out the form and return 35 School Lane Walton Nr Wakefield We’d be glad to meet any out-of—town members who it to us. Conference ’84 West Yorkshire WF2 6PA. may be passing through Wellington during the holiday Members receive the bi—monthly magazine; have the Plans are under way for the next Crafts Council na— period and would like to look us over. right to use our Resource Centre information service free tional gathering, which will be in late January 1984 Woodworkers Guild of charge; and are entitled to a favourable commission (26th-29th) at Lincoln College, Canterbury. The Canterbury Guild of Woodworkers are interested Director Of Craft Centre rate on work placed in the Craft Centre Gallery. The theme of the programme will be ‘Design’ — in making closer contact and swapping notes with wood— Hi — I’m Penny Harrison, recently appointed to The Crafts Council is supported by members’ something of interest to people in all crafts. workers in other parts of the country. replace Betty Aikman as Director of the Craft Centre. subscriptions and an annual grant from the Lottery At present, the suggested programme will feature They have around 50 members at the moment and in craft is mainly in the spin- My personal experience Board. We carry out a wide range of activities on behalf jewellery, feltmaking, papermaking, kitemaking (for have a regular stall at a Saturday craft market. ning and weaving area, but I have studied pottery at of craftspeople — the main one is the Resource Centre children from eight to 80), and oriental rugmaking as the As well as holding an annual exhibition at the CSA in Teachers’ College and have recently taken up which is the major source of information on the crafts more “practical” sessions, complemented by panel Christchurch, they have also organisd the collection and embroidery. in New Zealand and overseas. discussions on design and issues of interest to crafts— milling of a number of timbers from the Canterbury My personal interest is much wider and this position We act as a lobby group on behalf of the crafts when people. region. is perfect for one with a consuming interest in all crafts. their interests are threatened by central or local govern— There will also be a photography workshop. Other woodworkers who might like to get in touch “Small Packages” exhibition, which opened on ment activity, and we make sure that those in power are One idea is for a critique session — with admission with them should contact: November 2nd, was very successful and well received aware of the concerns of craftspeople. to those who bring a piece of work for evaluation. Mark Piercey (President) by those who viewed it. We publish this magazine, and we run a gallery in Later issues of the magazine will keep you informed 55 Hawkhurst Road Thanks to all those who contributed to it and made Wellington showing high quality craft for presentation. of progress —— but if anyone has any ideas of things they Lyttelton it such a success. We have close links with major craft groups. would like to see happening, let us or Frederika Ernsten Christchurch. Next year’s exhibition programme is a full one. To those of you who have not renewed — this will in Christchurch know. A wide variety of crafts from all over New Zealand will be your last magazine unless we receive your subscrip- The group of members in Christchurch would Kiln Development be represented at each. tion for 1982/1985. welcome suggestions and any offers of help. Mr Ray Ansin, Walker Street, Runanga in Westland has Look at the themes and decide the ones to which you We are putting a lot of effort into this magazine, which a coal fired kiln under construction, for bronze casting are going to contribute. is our primary means of communication with our Crafts Marketed In United States work. APRIL members and we think that it’s something you won’t A businessman in Seattle, Washington, wants to hear It will be about 80 to 100 cubic feet and he feels that “Outside And In” want to miss out on. from any New Zealand manufacturer or individual that he will only sporadically use it. Crafts to bring the outside in and the inside out. As well, if we are to be effective as a lobby group pro- wants his craft products marketed in the Pacific North- So if anyone is interested in developing its potential (Last day for acceptance April 6th.) tecting your interests, we must be able to demonstrate west. for terra cotta or salt glaze, he would be interested to JUNE that we have the support of the crafts community Crafts and cottage industry goods, as well as woollen hear from them. “One Hundred Flowers” through our membership. 19 18 Awards—— CNebeos Educoiionol Courses — 1983 February 1 January 21-50 Last receiving day for the Caltex Art Award 1985. Australian International Puppet Festival, Adelaide. The following list of craft and craft related courses has been divided into full and part-time courses. An exhibition of paintings, drawings, sculpture, prints Three major areas will be looked at. Puppets in the Those full-time courses listed are those with a strong craft content or those likely to be of substantial interest to and photography showing wilderness, rural scenes and theatre, puppets out of doors, puppets in the media. craftspeople. activities Further information: The institutions and groups that offer part—time courses are many and varied, just as varied as the type of courses Two awards of $750. Andrew Bleby offered. More information: International Puppet Festival Many groups have yet to finalise their programmes for 1985 and have not been able to provide details on courses NZ Academy of Fine Arts Carclew Youth Performing Arts Centre to be offered. Museum Building 11 Jesscott Street Further information on courses will appear in the Crafts Council Magazine, February 1985. Buckle Street North Adelaide If any readers are able to provide additional information, I would be most interested to hear from them. Wellington. South Australia 5006. Philip Clarke Resources Officer February 9 Last day for organisers to be in receipt of entry forms January 23-30 for Te Kopu Awards Tu Tangata Fashions 1985. Third National Conference of AUSGLASS. Full-time Courses Otago Polytechnic The aims of the award are to promote Maori design The Australian Association of Glass Artists, South Private Bag Australia School of and motif, to boost Maori art forms in fashion and to Art, Adelaide. Elam School of Fine Arts Dunedin. encourage the kaumatua (elders) to pass on their Further information: University of Auckland Phone 773-014. knowledge of traditional Maori motif design to their AUSGLASS Private Bag Ceramics Certificate. young people and the people of NZ. PO Box 135 Auckland. A one year full—time course establishing foundation Categories: Magill 5072 Bachelor of Fine Arts is a four year course. skills giving the student a sound technical and Dress Costume and Ethnic Costume. South Adelaide. After the first year, students are able to elect their ma— aesthetic base. Youth Casual Wear. jor studio topic — Photography, Painting, Printmaking, Emphasis on practical studio work. Includes courses Knitwear. February 10-15 Sculpture or Design. on geology, glaze chemistry and ceramic history. High Fashion Day Wear. American Craft Enterprises Fair at Baltimore Conven- A student majoring in design will, in their fourth year Entry to the course is competitive. Applications close Evening Wear. tion Centre, Baltimore, Maryland. be involved in one of the following areas. November 50 of the preceding year. Further information: Industrial Design. Diploma of Fine Arts. Joan Hough February 18-2 1 Graphic Design. A three year course recognised as a degree equivalent. 44 Allendale Road International Paper Conference, Japan. Craft—based Design. Course is broad based, but at Stage III students can Mt Albert This conference is based on a home stay programme This course will include costing, methods of marketing specialise in Drawing, Art History and one of the follow— Auckland. in villages that have their own special types of hand made and self promotion. ing — Sculpture, Painting, Printmaking, Ceramics. Phone 867689; 862—674. paper. It is expected that students will receive the necessary Registration $105. skills for the operation of a craft studio upon graduation. School of Design March 22 Accommodation ranges from $152 to $285. Wellington Polytechnic Last receiving day for the IBM Awards. For further information contact Crafts Council of NZ. Private Bag An exhibition of painting, drawing, sculpture, prints Carrington Technical Institute Wellington. and photography showing buildings and activities in set— March lZ-April 17 Private Bag Phone 850—559. tlements, towns and cities in NZ. California Crafts XIII. Auckland. Diploma of Textile Design. Two awards $750 each. All media biennial crafts exhibition. Phone 869-106. A three year Diploma which provides professional NZ Academy of Fine Arts Open to all Californian craftspeople. Diploma in Design. training in design as applied to woven, knitted and Museum Building Crocker Art Museum The objective of this course is to train students to printed textiles, carpets and clothing. Buckle Street 216 ‘O’ Street become professional designers, either in the field of in— Diploma of Industrial Design. Wellington. Sacramento. terior environment design or product development. A four year Diploma which provides professional The course lasts for three years. training in product, interior and furniture design. Upon completion of a third professional year, an Ad- For both courses, applicants must compete for a vanced Diploma is awarded. limited number of places. Preference is usually given to OTEALOOIVI applicants with work experience in addition to the re— quired academic qualifications. THE UNIQUE Nelson Polytechnic TAPESTRY WEAVING LOOM School of Weaving Part-time Courses ‘ . SIMPLE TO OPERATE WORKS Private Bag Nelson. Auckland . QUICK TO WARP UP FINE ART AND PRECISION . PORTABLE FOUNDERS Two courses are offered. Auckland Embroiderers Guild . PIVOTING FRAME 0 A three term course embracing three stages: Education Officer . TENSION — Silicone mouldmaking rubber now available Beginners (Stage 1), Intermediate (Stage 11), Advanced 1 1 Raleigh Road ADJUSTMENT (Stage III). Northcote. \ ‘ CONTACT: . — Small packs and bulk quantities , BANkwood TRAdINg — For information and price list phone 792-865 0 The Nelson Weaving School Certificate Course. February 17. Dorset Feather Stitchery. or write to: Acceptance into this course is at tutor discretion. March 24. Canvas Work and the Construction of PO. Box 5572 This course is based on the Bradford Certificate in Small Articles. Frankton Hamilton Handloom Weaving (UK). February 19. Handanger Sampler. A small decorative New Zealand PO. BOX 37~072, Parnell, Auckland, New Zealand. The courses offered at Nelson are the most extensive sampler for a wallpiece or runner. in Australasia. March 9. Needlerun Lace Collar Workshop. 20 21 Carrington Technical Institute Is offering classes in the following subjects in 1983. Advanced classes will include glaze formulation and Term 1. Media Studies in Photography; Screenprinting Private Bag All classes will be held between 7—9pm. types of firing. Full year. Techniques. Auckland. Leathercraft, Macrame, Canework, Pottery, Lamp— Spinning. A full year course for learners or those who Term II. Cast Metal Sculpture. Phone 869-106. shade Weaving. want to improve their techniques. Term 111. Low Technology Ceramics. Fibre Arts. A course on traditional clinker boat building will be Taranaki Woodcarving. A full year course that covers tradi— All courses are practical, lasting 25 hours. available. the Taranaki Polytechnic tional Maori, Lettering, Figure, Decorative and Sculpture. Most will be conducted for five Saturdays during of carving skills, Private Bag Course will include development term. Auckland Technical Institute selection of woods, choice and use of tools. Papers can be credited to Diplomas of Teaching. Private Bag New Plymouth. Phone 88-059. Woodwork. A full year course which provides prac— Auckland. tical instruction in general woodwork and Wellington Subjects offered in 1982 included the following. Phone l773-570. cabinetmaking. Heretaunga College It is expected that these courses will be offered again Offers block courses in screenprinting and book- Ward Street in 1983. binding. Dates are not yet available. Upper Hutt. Contact ATI for further information. Basketry China Painting Palmerston North Phone 286-759. Colours and Fabric in Copperwork Palmerston North Diana Parkes will be tutoring in Embroidery. Glenfield College Garment Design Crochet Embroidery Leatherwork Queen Elizabeth College Community Education Office Hutt Valley Memorial College Machine Knitting Macrame PO Box 4047 Kaipatiki Road North Street Maori Crafts Pottery Palmerston North. PO Box 40-176 Phone 89-033. Petone. Glenfield Spinning Stained Glass Courses in the following subjects are planned to be Phone 687-084. Auckland 10. Weaving Woodturning offered in 1983. Helen Marshall will be tutoring in Embroidery. Phone 444-9243. Wool Classing Basketwork, Bookbinding, China Painting, Copper- Pulled and Cut Work — Advanced. Will be offering the following courses in 1985: work, Furniture Finishing and Restoring, Lacework, Canvas and Pull Work — Classes for Beginners and Wanganui Basic Design for Craft Workers, Canework/Basketry, Leatherwork, NZ Crafts, Ornamental Metalwork, Pottery, Intermediates. Wanganui Boys’ College Coppercraft, Decoupage, Embroidery — Embroidery Stained Glass, Traditional Crafts, Woodcarving, PO Box 7040 Certificate, Liquid Embroidery, Design in Fabric and Woodwork. Kapiti Arts Society Thread, Fabric Printing, Fabric and Silkscreen Printing, Wanganui. PO Box 1632 Phone 50-997. Hand Knitting Techniques, Leatherwork, Saddlery, Pat— Palmerston North Teachers Training College Paraparaumu Beach. chwork —— Advanced, Beginners and Experimental, Pot— The following courses are planned for 1983. Private Bag Will offer courses in Embroidery and Patchwork. tery —— Beginners and Handbuilt, Quilting and Creative Dates not yet available. Palmerston North. Embroidery, Rugmaking, Small Business and Small Basketry. Instruction will be given in the basic prin— Phone 79-104. Kapiti College Business Accounting, Spinning — Spinning and Dyeing, ciples of basketry. Margaret Road Spinning with Colour, Stained Glass, Weaving. Copperwork and Enamelling. Class will specialise Raumati South. in copper tooling (sheet, foil, wire), kiln fired enamel— Phone 85-109. and almost any form of metal work Lynfield College ling, creative casting Will offer a class in Embroidery. White Swan Road of a craft nature. day course for all craft workers. Mt Roskill Design. A two Newlands College day introduction to American Auckland 4. Embroidery. A three Bracken Road Phone 679-139. Patchwork. This is a practical course. Newlands Will be offering courses in the following subjects in Lettering and Design. Course covers demonstration BELEX Wellington 4. and elements of 1983. and practice of basic lettering forms, Phone 788-405 or 785-576. design — shape, line, colour and texture. Variety Handicrafts Terms I and II. Will offer courses in the following: Screenprinting. Lino, glue and silkscreen. To be Weaving Term 1. Canework, Copperwork, Embroidery ; Pulled Work, taught in the second half of the year, after the Lettering Embroidery and Patchwork Terms I and II. CARDING Florentine, Elizabethan Studies, Patchwork, Crewel Em— and Design course. broidery, Smocking, Leatherwork, Macrame, Metalwork, Hamilton Leatherwork. An extensive course including carv— Pottery — Courses for Beginners and Intermediates, Fairfield College ing, stamping and colouring. Spinning — Courses for Beginners and Advanced, Weav— PO Box 6008 Ceramics. Courses cover a wide range of forming ing — Elementary, Woodwork — Elementary, In— Hamilton. processes including pinch, slab, coil, moulded and wheel Specialists termediate and Advanced. Phone 52-169. throwing. for W001 Carding for Home Spinners and ‘ WEAVING — DYEING — SPINNING Weavers GOLDING —fi v v ART CRAFT BOOKS Stockists of Carded W001 WIDEST SELECTION OF HANDCRAFT range of titles WORKS MATERIALS 0 TOOLS O BOOKS We have personally selected a comprehensive MAIL ORDERS WELCOME covering all aspects of these crafts. FINE ART AND PRECISION FOUNDERS CATALOGUE AVAILABLE Whatever the craft, whatever the book, we’ll get it. 27 Tiverton St SUMMER WORKSHOP IN BRONZE SCULPTURE CASTING GOLDING HANDCRAFT CENTRE Telephone PO Box 45 Books Unlimited 361 -M Palmerston — Sandy Bay, Coromandel 158 CUBA STREET Di Griffiths Thea Tantrum — January 15~23rd 1983 Ph 540-965 Ph 546-054 Otago WELLINGTON 34 Martin Avenue. Remuera. Auckland 5. — Write for further information to Box Phone New Zealand (04) 849-347 9022 Mail orders our specialty. PO. Box 37~O72, Parnell, Auckland, New Zealand.

22 23 Day Craft Classes Canework, Embroidery, Leatherwork, Pottery, Nelson Timaru College Woodwork. Nelson College PO Box 162 Embroidery ‘Special’. A two year course for em— Nelson. Timaru. broiderers wanting to extend their skills and be prepared Phone 83-098; 83-099. Phone 86-187; 86-188. for sitting the City and Guilds of London embroidery Is offering classes in Art and Woodwork in 1983. Courses to be offered in 1983 include: Embroidery, examination. Pottery, China Painting, Leathercraft, Macrame, Spinn— Course involves Drawing, Design and Practical work. ing, Weaving, Silkscreen Printing, Canework, Stained Collingwood Area School PO Box 4 Glass, Metalwork, Woodwork, Crochet. Collingwood. Wellington High School Community Institute West Coast Phone Takaka 48-125. Private Bag Westland High School Plans to offer courses in Woodwork and Art in 1985. Wellington. Sale Street Phone 858-911 or 858-922. Hokitika. Courses will be offered in the following subjects. Phone 169; 269. Creative Jewellery, Jewellery Design, Basketry, Canterbury It is anticipated that the following courses will be of- Crochet, Leatherwork, Macrame, Metalwork, Traditional Aranui High School Community Learning Centre fered in 1985. Maori Carving, Stained Glass, Design, Silkscreen Printing, Shortland Street Art — including Screenprinting, Lino Cuts, Batik, Sculpture, Spinning — Beginners and Advanced, Weav— Christchurch 6. Design; Leadlighting, Patchwork, Macrame, Canework, ing — Introductory and Advanced, Woodwork w Begin- Phone 887-083. Weaving, Jewellery and Art Metal, Dollmaking, (Zhina ners, Intermediate and Advanced, Pottery — All levels, The following courses will be available in 1985. Painting, Pottery, Leatherwork. and Embroidery — All levels and workshops on Quilts Embroidery Pottery Canvas Work. Macrame Woodwork Leathercraft Metalwork Otago Saturday Workshops Canework Spinning Central Otago Education Centre Machine Knitting Sheepskin Crafts PO Box 281 Fabric Printing and Stitchery. Course will last for Alexandra. 5 Saturdays. Stencilling, dyeing, fixing the material then Phone 6891. surface stitchery, quilting etc. Ashburton College In 198.2, the following courses were offered. Batik and Stitchery. Course will last for 5 Saturdays. Community Division It is anticipated that courses available in 198?» will be Batik, waxing, dyeing, fixing, surface stitching etc. PO Box 204 on similar topics. Ashburton. Gold Work. Techniques and stitches for Gold Work. Canework Quilting and Patchwork Phone Students must provide own thread. Lasts for 3 Saturdays. 4193. Embroidery Spinning and Weaving Experimental Fabric Printing Workshop. Course The World Renowned Classes that are expected to be offered in 1983) include Machine Knitting Stained Glass For students who have completed Canework, lasts for 6 Saturdays. Embroidery, Handcrafts, Leathercraft, Metal Pottery the introductory design course or a fabric printing Nagy Spinning Wheel as an Art Form, Pottery, Spinning, Video, Weaving, workshop. Woolcrafts, Woodwork. Otago Polytechnic Private Bag Nagy Spinning Wheels are individually crafted to exceed the demands of the most discerning connoisseur. We Canterbury Potters Association Dunedin. Phone 773-014. Wellington Potters Association export our Kauri Spinning Wheels to North America, Potters Rooms Application for the following courses to: Europe and Australia where they are recognised as Arts Centre. Otago Polytechnic anticipates offering part-time Daphne Hendrie Number 1 in spinning wheels. Classes last 1() weeks. $55.00. classes, taught either in the day or evening, in the follow- 11 Busaco Road Available in horizontal and upright models. Our February 14-15. Tutors Raynor Saandrett, Rex Valen— ing subjects. Hataitai. handcrafted Kauri wheels include the following features: tine. 7»9pm. Sculpture, Jewellery, Basic Design, Printmaking, February 15. Beginners class for 10 weeks. $55. * Segmented wheel, lead weighted and counter February 15-16. Tutor Margaret Higgs. Ceramics at Elementary, Intermediate and Advanced February 16. Throwing with Jenny Shearer and balanced 9.5()—ll.5()am. levels, Small Business Management and Getting Started Handbuilding with David Shearer. ‘No lubrication’ wheel bearings — for those people thinking of starting a new business. 7.30-9.50pm. 6 weeks. Featherlight treadle action The Community Education Divsiion offers a course Papanui High Schol February 17. Class for intermediates and beginners. Large spindle orifice for versatility in Textiles, which includes Embroidery, Spinning and *ifltit PO Box 5220 9.?>Oam to 12.50pm. 10 week course. 3545. Each wheel guaranteed for the lifetime of the Weaving. maker Langdons Road Papanui. PRICE: Southland Horizontal $317.50 — Upright $287.50 Phone 526-119. Gore High School Wellington Polytechnic Available at the leading craft retailer in your district, or All courses run from 7—9pm. Is offering evening classes in the following subjects. Private Bag direct from: February 16. Metalwork. Art, Pottery, Canework and Woodwork. Wellington. February 14, 15, 16, 17. Woodwork. Phone 850-559. Woodspin Manufacturing February 14, 15, 17. Spinning and Weaving. Southland WEA Diploma of Export. Includes Business Administration, February 1417. Pottery — Elementary. 100 Esk Street Export Procedure, Exporting Accounting, Finances, (NZ) Ltd February 18. Pottery. Invercargill. Communication, Law, Market Research, Distribution and PO Box 9637 February 14. Wood Sculpture. Phone 88—180. Promotion, Marketing Management. February 107 Daniel] Street 15—17. Canework. Is planning to offer courses in the following subjects Thesis required. February 15, 17. Macrame. Wellington. in 1985. Further details: February 17. Coppercraft. Machine Knitting for Beginners, Telephone (04) 899-350 Spinning and Dyeing, Export Institute of NZ February 14. Leathercraft. Toymaking 7 Soft Toys, Crochet for Advanced and PO Box 11—764 Write to us for further information. February 17. Patchwork and Quilting. First Term only. Beginner students, Floral Art, Macrame, Leathercraft, Wellington. Canework.

24 25 January 20-22. Architecture and Windows Auckland Society of Arts Workshop with Southland Community College January 10-16. Sculpture Tutor Ken Cooke. 4 Eden Crescent Private Bag Jens Hansen A drawing course in window design for anyone who Auckland 1. This course covers casting techniques which can be Invercargill. works on buildings — architects, interior designers, Phone 795-405. used for jewellery, small or large sculpture, using lost Phone 87-246. builders, glass artists. casting. Students should bring some small Courses available in 1985 include: wax and sand Covers Detailing and the Windows of Frank Lloyd February 14-18. Residential Weaving School Screen Printing and Printmaking Woodcraft tools. Wright, International Style and High Technology Glass, Four shaft weaving for near beginners. Fee $70.00. Pottery (various levels) Coppercraft Ed Carpenter and the Americas 1972-1981. $140 for tuition and full board. Enrol by December 15. Ceramics and Sculpture Batik Fee $48. Tutor Gudde Moller. Arts Officer Leadlight Glass Craft Jewellery Community Bring blueprints of a large public building and an in- Applications: Arts Council Leathercraft (various levels) Bookbinding Nelson Provincial teresting residence, drawing equipment and a variety of Alison Harding Management of the Small Business PO Box 566 papers. RD 1 Nelson. Enrol at: Ngaruawahia. Takatimu Area School Phone 84-640. Auckland Society of Arts Evans Street 4 Eden Crescent February 21-26. Throwing Skills, Glaze Theory Art and Craft from Discards Nightcaps. January 10-14. Auckland 1. and Testing Peters. This course will encourage Phone 725. Tutor Carol Phone 795—405. Tutor Royce McGlashen. look at nature and society’s discards involv- Courses are planned for the following topics: Wood- students to For further information, send SAE to: wood, leather, hessian, plastic, work, Canework. ing materials like bone, January 23-28. Pottery and Batik Cob Cottage Pottery glass and seashore items. Residential Summer School at Matataki, Pauanui. 126 Ellis Street Working creatively with them and transforming them Tutors: Peter Collis, pottery; Susan Poff, batik. Brightwater Correspondence Courses into practical and/or artistic forms. Registration, accommodation and food, recreation, Nelson. NZ Technical Correspondence Institute Fee $25. $255. Private Bag Community Arts Officer. Enquiries: February 28-March 4. Residential Weaving School Lower Hutt Matataki for Intermediates 61 Wellington. January 13-20. Batik and Dyeing Workshop. PO Box Various techniques will be taught. Pauanui. Phone 666-189. Tutor Carol Davis. Drawing, design, use of waxes, fibre Monks Belt, Inlay, Piled Weaves, Crackle. Phone Tairua 588 or 387 collect. The NZTCI offers courses mostly intended for those reactive and naptnol dyeing. $140 for tuition and full board. working in the related trade area. Preference given to applicants with previous Tutor Gudde Moller. Students generally are required to be employed or experience. January 24-29. Throwing Skills, Design and Applications to venue. about to be employed to be eligible to enrol. Limited places. Decoration Alison Harding Courses are offered in Cabinetmaking, Dyeing, Further information: School by Royce McGlashen. RD 1 Jewellery, Knitting, Smithing, Textiles and Exporting. Carol Davis Further information, send SAE to: Ngaruawahia. PO Box 27 Cob Cottage Pottery Okaihau 126 Ellis Street Northland. Brightwater Nelson. Workshops January 15-23. Summer Pottery School. Tutors Jean Hastedt Chester Nealie at Borland Lodge. January 24-29. Kelim Design and Weaving Course Inquiries to: With Ian Spalding. January 3-8. Etching Course Audrey Simons or Southland Community College $96.00. The workshop will include the study of techniques Heddon Bush Invercargill Contact: fundamental to the making of an etching. RD 1 Winton Phone 87-246 Ian Spalding Prior knowledge of technique not required. Phone 877 South Hillend Phone 657—900 Auckland. $190. Art School January 17-22. Wellington Summer January 24-28. Intaglio Printing Workshop. Polytechnic. Painting and Batik. January 7-12. Clay and Kilns At Wellington Tutor Rodney Fumpston Macaskill and Susan Poff. $95.00. Residential Summer Workshop, Tauhara Centre, Taupo. Tutors Jeanne Will include hard and soft ground etching, colour prin- Tutors Brian Gartside and Madelaine Findley. Enquiries to: ting, surface rolling, lift ground, aquatint, engraving, Information: Summer Art School drypoint. Brian Gartside PO Box 2704 A workshop for working artists. Kerns Road Wellington. Fee $68.00 includes all materials except for metal Pukekohe RD 2 plates and paper, which will be available for purchase. Auckland. January 17-22. Photoforum Summer Workshop Auckland Society of Arts With four leading photographers. 4 Eden Crescent Fee $120.00, plus three lectures open to the general January 10-15. Woodcut Course Auckland 1. public on January 17, 18 and 20. $2.50 each lecture. Phone 795—403. Prior knowledge of technique not required. Some Enquiries to: drawing skill desirable. Summer Art School January 24-28. Changing Glass $190. PO Box 2704 Cooke. Enrol for both courses: Tutor Ken Wellington. cover the more spontaneous techniques. Gingko Print Workshop and Gallery Course will heat fusing. Arts Centre Enamel, sand blast, glue chip, not essential. PO Box 845 January 17-22. Kelim Design and Weaving Course. A background in glass is useful but Christchurch. With Ian Spalding. $96.00. Fee $69.00. Phone 60—989. Contact Ian Spalding. Further information on materials to bring to the course Resource Officer, Philip Clarke Some accommodation can be arranged. Phone 657—900 Auckland. and enrolment:

26 Available for hire from: Frank Davis Coiologues Palmerston North Teachers” College Resource Centre News Private Bag For Loon Palmerston North. The following articles have appeared in journals recently received at the Resource Centre. These journals can be seen at the Resource Centre, or copies of articles can be obtained. Catalogues For Loan ‘Woollen Spinning’ Requests for copies should be accompanied by payment of 20cents per page and a large stamped ad- The following catalogues are available for loan. Bor— This film was made as a record of the traditional dressed envelope. rowers are requested to return catalogues within 14 days woollen spinning techniques of Lisa Jaegar and Marion of receiving them. McLeod. Crafts Business — Marketing “The Handmade Paper Book” The Crafts Report Available for hire from: Aug/Sept 1982 p8—10. Cutting Edge “Help Shops Control Their Inventories . . . )1 NZ Spinning, Weaving and Woolcrafts Society A short note on this craft form with a number of il— A superb catalogue with colour photographs of v8 no 82 p5. Film Librarian lustrations of contemporary US examples. metalwork, mostly functional objects. A US potter recounts his experiences in dealing with 5 Vista Place Pottery The objects include knives, daggers, cookie cutters, shops that aren’t selling their merchandise quickly. — Clay Manurewa axes, sleds and some sculptures. He has “Inventory” and “Quick Return” methods to Studio Potter Auckland. deal with shops and has found that it works well for both “Standard Methods For Testing Raw Materials” Available in 16mm form, $12.00; 1/2 VHS Video, 355.00. v 10 no 1 p28-51. Making Paper parties. This catalogue documents two recent exhibitions at ‘Craft NZ’ — Hand Made Paper Textiles — Miniature American Craft Museums 1 and II. A presentation based on the photographs taken by Conservation The first exhibition, Making Paper, “celebrates the American Craft “Conserving Hand Made Paper” Craft Victoria Brian Brake for his book ‘Craft NZ’. “Thoughts on the Miniature Textile” contemporary American renaissance of hand paper Available for hire from: Aug/Sept 1982 p11-12. making.” Includes bibliography. Sept 1982 p5. The Crafts Council of NZ The essential character of the miniature textile is The catalogue includes a short history of world paper 155—157 Featherston Street described as “the overall making, the history of paper making in the US, East/West Fabric And attention to scale in relation Wellington 1. Fibre Art — Bibliography to concept, process and materials.” traditions, contemporary experimentation. Available in 1/2 VHS Video, $15 and postage; three pro- Needle Arts A brief history of the growth ofthis form is given, plus Black/white and colour illustrations. jector/cassette tape, $25 and postage. “Needlework Books and Publiciations” a bibliography. The second exhibition covered is the Handmade Summer 1982 5pp. Paper Book. This list is not authorative, but is intended as a New Periodicals Received “The handmade paper book has become a particular guideline to useful books. American Ceramics creative challenge to artists attracted by the intimate Slide Sets Books cover the following topics: Design, Needle— 15 West 44th St nature and possibility for direct involvement allowed by point, Patchwork, Quilting, Colour, Lace, Trapunto, New York the papermaking process.” Embroidery. NY 10036. US $30 pa. Quarterly. Douglas Howell Morse Retrospective Furniture — Design This high quality magazine carries well written inter- Douglas Howell Morse has been working as a paper Fine Woodworking views, profiles and craft criticism. maker for 36 years. “On Pleasing The Eye: The Visual Language Of Chair Aimed at those especially interested in post modern— “Howell’s vision and 56 year legacy of experimenta— Design" — May/June 1982 p805. ism in ceramics. tion hve inspired a group of skilled paper makers and A discussion of some of the individual elements in Advertising only from galleries. artists who have helped to accelerate the blossoming of chair design. Materials, Function, Gesture this movement.” and Character. Leather Arts Network PO Box 79 Jade South Acworth New Handmade Furniture a national US exhibition of Craft Ausralia New Hampshire 05607. This catalogue documents hardwood furniture. “Jade Windows" 1982/2 p26. US $15 pa. Quarterly. Contributors range from established craftspeople to A craftsman describes how he has made a jade win— The LAN was formed after the first international con— students just beginning their careers. dow using fine pieces of jade. ference of leather workers in the US earlier this year. The window was assembled in a way similar to the The newsletter is small, with contributions mostly Herman Junger production of stained glass windows. from North America. German jeweller Herman Junger was recently in NZ. The LAN are currently involved with preparing inter- Leather — USA Whilst here he conducted a week long workshop for national registers on leather workers and leather facilities. American Craft jewellers in Nelson. No advertising. “Forms of Leather” June/July 1982 [524-29. The catalogue contains colour reproductions of Forms of Leather is the name of an exhibition which Metalsmith Junger’s working drawings and works plus a statement shows a broad survey of contemporary leather work, Society of North American Goldsmiths by him entitled “Jewellery As Sign Language”. by Americans and Canadians. 8589 Wonderland NW Clinton Metalwork Ohio 44216. Crafts US 340 pa. Quarterly. Audio Visuol “Patination: The Chemical Colouring Of Metals" Metalsmith is a high quality magazine that covers a Sept/Oct 1982 p30—1. wide range of topics, including contemporary jewellery, Papua—New Guinea South Pacific An introduction to the subject of patination, bronz— historical silver, blacksmithing, historical machinery Arts Festival ing and colouring of metals by the authors of a recent Frank Davis of Palmerston North Teachers’ College has book on the subject. I would like to thank Crafts Council member assembled an audio—Visual tape slide presentation from Set 65 Marguerite Scott for her recent donation of books to the photographs taken at the PNG South Pacific Arts Festival. Lois Morrison at Janne Land 1982. Papermaking — Handmade Paper Book Resource Centre. Jack Body has composed music for the film. The Twenty—three slides of Lois Morrison’s cloth and wood American Craft Philip Clarke presentation lasts for 20 minutes. sculpture, applique banners, trapunto and quilted pieces. 28 29 Community Activities — Small Business Agency Publications Society For Cultural Conservation Central Regional Arts Council — Kitset The SBA provide a wide range of publications of in— This society operates a bulk purchasing scheme for terest to small business operators. the following types of products. This kitset contains ideas for many community ac— Available free are pamphlets on Going Into Business, Furniture polish for old furniture; Lissapol detergent tivities — maskmaking, human chess, street parties are Marketing, Export Planning, Export Procedure, Help for used for washing textiles; furniture cleaner to clean and a few of the ideas. the Small Business, Loan Guarantees. polish all wood surfaces; archival paper; archivally safe Available free from: Available at cost are booklets on Running A Small plastic slide storage sheets’ acid free card. Central Regional Arts Council Business, Directory of Advisory Services, Government Catalogue and price list available from: PO Box 6040 Incentives and Assistance, How to Export, Credit — A Society for Cultural Conservation Te Aro Question of Confidence, Sources of Finance, Financial C/— National Museum Wellington. Management, Getting Off The Ground, Cash Flow Plan- Private Bag ning Worksheets, The Five Level Elementary Business Wellington. A Guide To Fundraising Primer. Penny Eames — Shortland Publications, For more information write to: Small Business Agency Central Regional Arts Council: 1978 Small Grants Scheme This short guide written for New Zealanders was PO Box 4019 The CRAC has introduced a Small Grants Scheme to designed as a handbook for treasurers and committees. Wellington. be administered by the Community Arts Councils on a The following ways of fundraising are discussed: trial basis for one year. public money, appeals, food and entertainment, selling Print Workshop This new policy now enables the CAC to both evaluate a product, market days, auctions, labour, sponsorships, The Wellington Arts Centre has set up a communal and approve grant applications in its own areas. exhibitions, demonstrations, competitions, fundraising workshop where people can come and use the equip— Applications for assistance of $500 or less will be and the law. ment by either attending classes or by hiring the equip— handled by the appropriate CAC. The book is available from: ment on an hourly basis. The RAC will continue to administer applications re— 305 Dowse Avenue The workshop is equipped for intaglio, relief and questing assistance of more than $500, and those from Lower Hutt silkscreen techniques. areas outside the jurisdiction of a CAC. Wellington. A technician is available to artists who wish to have Further information and application forms are an edition printed from a block or plate. available from: A Manual For The Handling And Packaging The artist will be required either to submit, or to super— Central Regional Arts Council Of Museum Objects vise the printing of, an artist’s proof. PO Box 6040 Set 66 Margaret Taylor — AGMANZ The charges are by arrangement with the workshop. Te Aro Print Workshop Skin Sculpture 1982. Obtainable from: Wellington. Wellington Arts Centre Twenty-seven slides of wearable art from the Skin The Secretary 527 Willis Street. Sculpture exhibition. AGMANZ Phone 850—241; 850—242. Health Hazards Slides accompanied by the Skin Sculpture catalogue. 40 Kings Crescent Dr Hilda Firth has recently completed her survey in— Set 67 Lower Hutt to the health of studio potters. Craft in Architecture, April 1982. Wellington. Danspace The survey looked at the use of lead, work habits and Seventy slides of exhibits in the Craft and Architec— Covers permanent and temporary storage, handling Danspace is a resource centre for the arts and was general health of potters in the Wellington region. ture Show. and packing for works on paper, paintings, small objects, formerly the Impulse Dance Theatre Studio. Dr Firth’s conclusion was: “Studio potters in Well— Accompanied by a brief catalogue and supplementary sculpture, furniture and textiles. It is available as: ington use very little lead. material about the exhibition. O a creative centre for experimental activities that “Following papers published in pottery magazines a may never be available Work Co-operatives: A Manual for public consumption, but are greater knowledge of the toxicity of pottery compounds vital for the growth of the arts. has occurred, but most potters need to be more careful Bevin Fitzsimons — 0 a teaching centre for a wide range of classes. in handling their materials, especially carcinogenic com— Dept of Internal Affairs, 1982 The premises are available for hire to individuals and pounds such as certain forms of hexavalent chromium. Available from Government Bookshops, $4.50. groups working in the arts and other related fields. “Even though exposure is limited, individual sensitivi— This manual gives advice on how to get started, work Danspace ty, as occurs with asbestos, needs to be considered. together, making the law work for you, managing the PO Box 9114 money, contracting, outside help. “Similarly, the methods of dust control need improv— Courtney Place. ing. However, good housekeeping, personal hygiene and It includes an extensive list of coops around the coun- Swan Lane, off Cuba Street. try and a bibliography. clean work habits and use of correct masks should cope Phone 845—230; 846—505. with most hazards.” The report includes a short bibliography and is Timber Information Sheets The Photographers Workshop Ltd available from: Timber Information Sheets are available free from the The Photographers Workshop Ltd has recently open— Dr Hilda Firth Utilisation Development Division ed in the Regent Theatre Building, Hamilton. Wellington District Health Office NZ Forest Service A gallery and exhibition space are available for local Education House Set 68 Private Bag and national exhibitions. Courses and workshops are Willis Street Leather ’82. Leather in America, Australia and Canada. Wellington. planned. Darkroom and studio space are available for Wellington. Fifty-two slides of current leatherwork. Information sheets provide information on the hire and an archive and resource centre are being Accompanied by brief notes on each piece. availability and physical and mechanical properties of established. These slide sets and others can be hired from the Crafts Alpine Ash, Australian Blackwood, Balau, Black Walnut, A newsletter is planned. Subscription enquiries should Council at a cost of $4 per set for Crafts Council Corsica Pine, Douglas Fir, Erima, Fijian Kauri, Kahikatea, be made to: members and $6 for non—members. Karri, Keruing, Kwila, Larch, Macrocarpa, Matai, Moun— The Photographers Workshop Crafts Council of NZ tain Ash, Red Beech, Redwood, Rimu, Silver Beech, 370 Victoria Street 135—157 Featherston Street Southern Mahogany, Sydney Blue Gum, Taun, Tawa, Hamilton. Wellington 1. Western Red Cedars, Lawson Cypress. Phone 394—242.

30 31 Exhibitions n Events

December l-February 1 February 1-13. Skin Sculpture Weaving by Margaret Finnerty Contemporary Australasian Jewellery and Clothing. Robert McDougall Art Gallery, Christchurch. Suter Art Gallery, Nelson.

December 5-24. Little Things February 8. Slide lecture by Compendium Gallery, Devonport. UK embroiderer Molly Arnold She will show slides of contemporary UK work, December 6-24. Embroidered Wall Hangings especially that of the ’62 Group. Stitchery, applique and hand painted techniques. 10am, Handweavers Guild, 107 Hillsborough Road, Diana Parkes, Trappings, 91 Karangahape Road, Auckland. Auckland. February 10. Crafts Council Christchurch meeting December 10-24. Sally Vinson Pots and Ida Lough will talk on the history of the Crafts Council. Susan Poff Batiks Embroiderers’ Rooms, 7.30pm, Arts Centre, cnr New Vision Gallery, Auckland. Hereford St and Rolleston Ave. December 15-23. Kathryn Stanners Ivory, Ebony and Precious Things. Alicat. February 10. Slide lecture by UK embroiderer Molly Arnold December 22-January 23. Australian Ceramics She will show slides of contemporary UK work, 75 works by 25 Australian potters. especially that of the ’62 Group. Waikato Art Museum, London Street, Hamilton. 8pm, Methodist Centre, London St, Hamilton.

December 23-February 1983. Earth And Fire: February 19-March 6. Variations In NZ Pottery Auckland Handweavers Guild Exhibition An exhibition of bowls and pottery dishes. Auckland Institute and Museum. Nelson Provincial Arts Council, Nelson Community House, 328 Trafalgar Square. February 21. Slide lecture by UK embroiderer Molly Arnold December 27-January 23. Nelson Pottery She will show slides of contemporary UK work, Suter Art Gallery, Nelson. especially that of the ’62 Group. Wellington Embroiderers Guild, St Michael’s Church January 9. Open Air Arts And Crafts Fair Hall, Kelburn. Organised by the Hawke’s Bay Art Gallery and Museum. February 26-March 20. Caltex Award Exhibition January 14-20. Waihi Wall Hanging Competition Paintings, Drawings, Sculpture, Prints, Photography. Waihi Museum and Art Centre. March 12. “A Day In The Domain” January 15-25. Arts And Crafts Exhibition Piako CAC Arts Festival. Old Pumphouse, Takapuna, Auckland. Craft display and demonstration. Te Aroha Domain.

32 RobertsBdnting C0.Ltd. Télephone846472 85083113081»:6074 WALTER STREET, WELLINGTON