NOTECARDS OEUJ ZEHLROD INAUGURAL PRINT RUN

The Crafts Council of New Zealand has selected eight exquisite works from the Crafts Council Magazine 32 Winter 1990 INDEX OF NEW ZEALAND CRAFT WORKERS for the first set of coloured notecards and envelopes now available in packs of eight. Size 150mm X 105mm folded.

1: Malcolm Harrison. Winged Mermaids. Height 42cm. Photograph: Anne Nicholas. 2: Suzy Pennington. Fragments of Time. Ripped, stitched and dyed canvas and applied fabric. 156x] 16cm. Photograph: Julia Brooke—White. 3: Mark Piercey. Bowl. Spalted European Beech. llScm. Photograph: Simon White. 4: Ann Robinson. lce bowl. Glass. 25x38cm. Photograph: Ray Foster. 5 Merilyn Wiseman. Wood—fired box. Clay. page 20 page 23 l7xl7cm. Photograph: Howard Williams. 6: John Edgar. Tablet. Arglliite, copper and silver. Height 20cm. Photograph: M. Savidan. 7: Royce McGlashen. Poppyfie/ds, Porcelain. Crafts Council of New Zealand (Inc) sulphates and low temperature colours. 22 The Terrace Wellington Sidestepping in the minefield 24x21cm. Photograph: Geoffrey C. Wood. Phone (04) 727—018 Fax (04) 727-003 8: Paul Annear. Earrings in jade, sodalite and Ann Porter carnellian. 40m across. Photograph: Haru PresidentzJohn Scott, 101 Putiki Drive, Wanganui Sameshima. (064) 50-997 W, (064) 56—921 H. Vice-President: The New Zealand Pieces of Gay Hawkes Dave Russell, 174 Balmoral Drive, Invercargill, Paula Savage (021) 89-685. Executive Committee: Jenny Barraud, 10 Richardson Street, Nelson. (054) 84- 619. Malcolm Harrison, 2/57 Norwood Road, 12 The Book Arts Society Bayswater, Auckland. (09) 457243. Wally Hirsch, Alan Loney 9 MacPherson Street, Meadowbank, Auckland 5. (09) 547-695. Rena Jarosewitsch, PO. Box 1874, Christchurch. (03) 662—085. David McLeod, 13 A hot time with hot glass Harrington Point Road, 2 RD, Dunedin. (024) Garry Nash 780-635. Owen Mapp, 118 Ruapehu Street, Paraparaumu. (058) 88-392. Mark Piercey, 201 The Commonwealth Quilt Bridle Path Road, Heathcote, Christchurch. (03) 16 849-567.]udy Wilson, 32 Butley Drive, Pakuranga, Helen Schamroth Auckland. (09) 566840. 22 Rob Levin, glass artist Corporate Members at Wanganui Azimuth Systems Ltd; Custance Associates; Caltex John Scott Oil (N.Z.) Limited; Cain & Co; Martin, Jarvie, Underwood 8t Hall; Mobil Oil New Zealand 30 Jewellery Australia Now Limited; New Zealand Tourist and Publicity Department; New Zealand Trade Development Graham Price Board; Minister of Arts 8r Culture Margaret Austin; Wellington City Council; Dept of Internal Affairs 32 The state of quilting in America for His Excellency the Governor General. Sue Curnow Crafts Council Staff Executive Director: Margaret Belich. Inforrnation/ 36 The Wanganui Summer School Liaison Officer: Pamela Braddell. Gallery Director: James Bowman. Assistant Gallery Director: Celia Gaynor Cardéw Kennedy. Office Manager: Lynda O’Connor. Ofi‘ice Assistant: Julianne Lafferty. 38 Critics talk back Production Matthew Kangas Art Direction: Alan Loney. Typesetting: Graphic Productions Ltd. Printing: Wright & Carman Ltd. Advertising, subscription andeditorial: Crafts Council Features 31 Notes on contributors of New Zealand (Inc), P O Box 498, Wellington, (04) 727-018. 2 Letters 40 Resource Centre Pack of eight notecards and envelopes $12.50 The Crafts Council of New Zealand (Inc) is not 3 In brief Cover: Rob Levin: Hamburger Cup #2. responsible for statements and opinions published . . 1986. 15" hi h. Photo: Dan Write now, indicating numbers of packs required, and include payment to: in NZ Crafts as they do not necessarily reflect the 4 9 views of the Crafts Council. Editorial Bailey. NOTECARDS Copyright © 1990 Crafts Council of New Zealand 28 Recent work Editor: Alan Loney Crafts Council of New Zealand (INC) (Inc). No part of this publication may be reproduced, stored in a retrieval system or PO. Box 498, transmitted in any form without permission of WELLINGTON the publishers.

Crafts Council OF NEW ZEALAND (INC) NZ Crafts 1 I N WB. R l E F LETTERS

Praises from afar El Rick Rudd and Bryce Smith and the general efforts of the CRAFT PHOTOGRAPHY NZ Society of Potters have been successful in getting the Accolades to Alan Brown! Hisarticle recent high ACC levy of $2.95 per $100 of earnings down Light- our common medium says it Julia BrookeWhite to $1.30. Dr Michael Cullen, Associate Minister of Labour, all. It should be waved under the said in his letter to the Society, that the "case had merit and noses of all who teach art, craft, 27-190 Wellington PO Box accordingly I recommended to the Government that the anywhere. And it should be hung Ph (04) 854-606 in our classrooms to remind us levy rate for Pottery (hand-crafted) be amended". The levy of our place and purpose. class and rate for the industrial description "Pottery (hand- Thank you Alan - and thanks crafted) manufacture, selling” is now class 36, and, as men- to NZ Crafts for printing it. tioned above, $ 1.30 per $ 100 of earnings. This is the second Louisa Simons time the Society of Potters has been obliged to undertake United Kingdom this exercise, and the successful outcome is a tribute to the Society’s energy and competence. Potters everywhere will welcome this news. Bone Neck Piece L. 140mm Carving by Ham/sh Campbell D Compendium Gallery is planning its inaugural NATIONAL BOOKBINDING AND CALLIGRAPHY EXHIBITION from 29 July to 11 August, which aims to focus and redefine public and media attention on new work in these areas. Increased awareness and appreciation is being shown to some extent, but it is important, says Compendium’s director Pamela Elliott, that this interest be sustained and developed. She says she is keen to encourage work with design values appropriate to New Zealand in the 19905, while also insisting on craft of the highest standard. Body Adornment Series DOWSE The Gallery will select from work submitted, and all work ART MUSEUM is to be for sale. Enquiries should be made to: Compendium Gallery, 49 Victoria Road, Devonport, Auckland 9, (09) 451-577. Twenty exhibitions of contemporary CI We are sad to report that Theo Moorman, who came to worked together over the last two years, and their mutual New Zealand work New Zealand and exhibited here in 1981, has died, aged 82. love of bright colours is often a feature of their work. Laings Road Born in Leeds in 1907, she studied at the Central School of The Craft in Wool Award for Design in Fashion, which Arts and Crafts in London with Walter Taylor who had carries a $5000 prize, is run by the New Zealand Wool Board Lower Hutt Mezzanine galleries been an apprentice of William Morris. As a weaver her work to encourage and promote excellence in fashion garments Coffee Shop/Museum was abstract, but its motifs were taken as much from designed and made in handwoven wool fabric. The 1990 judging panel comprised designer, Rosaria Hall Open Mon-Fri IOam-4pm natural forms as from art and architecture. Many of her June 1990 - January 1992 most important commissions were for religious buildings, from Christchurch; Beverley Erikson, a Wellington based Sat, Sun and in particular for Manchester, Gloucester and Wakefield designer and weaver who has been working with wool for Public Holidays I lam-5pm cathedrals. She was well known as an inspiring teacher, the last 15 years; and Shona Jennings, the Auckland based editor of MORE Fashion and one of this year’s Benson and Phone (04) 695-743 mainly in the United States, andin 1975 published Weaving as an Art Form, which blended technical exposition with Hedges’ Fashion Award judges. or (04) 660-502 autobiograhy. She was awarded the MBE in 1977. An entry from Dianne Baker and Joyce Tam, also from Wellington, won the judges’ praise and was highly com- El Two Wellington women, spinner and weaver Robyn mended. Their entry, a three piece man's suit (jacket, Parker and designer Helen Barber, have been announced trousers and vest) with a co-ordinated shirt, was 100 winners of the 1990 CRAFT IN WOOL AWARD FOR DE— percent wool. SIGN IN FASHION sponsored by the New Zealand Wool The Craft in Wool Award is jointly administered by the Board. Crafts Council of New Zealand and the New Zealand Robyn Parker has been weaving for twelve years. She is a Spinning, Weaving and Woolcrafts Society. A selection of past runner up in the Award, while Helen Barber is a the Award entries was exhibited at the Crafts Council graduate of Wellington Polytechnic and a frequent finalist Gallery in Wellington from May 3rd - 26th. in the Benson and Hedges’ Fashion Awards. They have

2 Winter 1990 NZ Crafts 3 EDITORIAL ANN PORTER Sidestepping in the minefield ”In 1990, it will be 25 years since the founda- and fascinating “quick” history. In the process tion of the NZ Chapter of the Worlds Crafts of collecting such information, of course, both Council... In 1990 New Zealanders will com- they and we have found much more than can I t is a minefield. The rules and regu- a common one, the rules stay the memorate 150 years of the partnership of Maori be used in the limited pages of our exhibition lations, the exceptions, the anoma- same, and the lessons learnt may well and Pakeha people marked by the Treaty of book. Ten more publishing projects beckon! Importing and exporting craft in lies, all conspire to create a bureau- be of assistance in the individual situ- Waitangi... The CCNZ wishes to celebrate in But this is exactly what we would wish to be and out of New Zealand has cratic nightmare. It will seem at times ation. Bear in mind the average busy this year the unique development of 150 years happening, as it describes another, but equally provided many people with many that Customs Department Officials customs department official is not of New Zealand crafts.” important goal for our 1990 project. That is, surprises in recent times. Ann are poised every inch along the way going to spend hours finding your that our 1990 project supports the craft ready to frustrate any attempts at clari- way around the system for you; even Porter, who was Co-ordinator of T o be honest, there have been times in community’s efforts to build an understand- fication or simplicity by thrusting if you employ an agent, he/she may recent weeks when I’ve regretted writing ing of its history and role in the development the 2nd NZ Crafts Biennale, mountainous quantities of paperwork never have exported or imported craft those words to the 1990 Commission 14 of New Zealand. reflects on the lessons learnt in into aching arms, demanding cheques before, and it is as well, whether you months ago. Moments trying to find the best One of my favourite stories so far is that of that exercise... of horrific proportions, and talking in go it alone or engage assistance, to be path through the undergrowth of process - con- Silvio Reardon who describes the way in which foreign tongues of weird-sounding as armed with as much information as sultation, negotiation, evaluation, implemen- he learnt to make his supplejack crayfish pots. codes and clauses you can never hope possible. tation - when the wide swing of a machete blade With moving simplicity, Silvio envokes both a to have heard of. One of the major pitfalls of export- has had its appeal. It’s time to remind myself - sense of loss for a passing age, but also the Perhaps exporting butter, milk, beef, ing and importing is the cost. It is an and perhaps you too - of what Mau Mahara, pragmatic “I’ll use what comes to hand and or importing oil, rubber or steel is a expensive business with many unex- which will be the largest exhibition ever take things as they come” values that he shares comparatively simple process with the pected ’bombshells’ dropped. If you mounted by the Crafts Council, is about. with many other New Zealanders. rules and regulations readily under- employ an agent, the agent’s fee, Firstly, we want to take to the widest possible I think of my last visit to my family in stood by all involved, but craft is an- quotable in advance, will cover clear- audience of New Zealanders an exhibition that Palmerston North. My brother shows me what other matter. It has no categories, no ance documentation fees and han- shows craft as a Vital source of our cultural he has been making. Cages of wire twisted and identification of its own, and my ex- dling charges; but will not cover li- identity. The way we are doing this is by fo- bent and fashioned that he’ll take with him on perience during the 2nd New Zealand cences, duty, insurance, storage, cussing on the stories that craft objects can tell his next trip up the coast fishing. Hinaki. He Craft Biennale convinces me that the freight or local taxes. An agent should, about how objects are used to hold meanings waves a dismissive hand at his first try, now single best piece of advice I can give however, be able to provide a fairly and memories. rusting in the ruins of a late autumn vegetable anyone contemplating importing and accurate idea of the costs involved. Now that the exhibition selection is com— patch. The latest effort, his third, we agree is a exporting craft must be GET YOUR- plete, and the stories are being gathered up, we finer work, more durable. I try and tell him SELF A CUSTOMS AGENT. Licences and Duty are finding that our approach is yielding a rich what we’ve been up to, about Cliff Whiting’s Everyone involved with that exhi- Most goods arriving in New Zealand and wide-ranging insight on life in New Zea- hinaki in Mau Mahara. He gets interested in the bition will be aware that we were ill- will require an import licence and land over the past 150 years. story of regained skills, in the use of native prepared for the unexpected high level duty will be payable. Equally as exciting has been the process of material. He agrees, in older bro fashion, that of interest shown by overseas artists. There are however, three areas of compiling a chronology of “significant events” the hinaki might be worth a trip down to Following the judges‘ selection we were exception that apply to craft. for crafts that will be part of the Mau Mahara Wellington, even to an art gallery. faced with importing a large number 1. If a work is recognised as an ’Origi- publication. The allied craft guilds, the cultural, And I look forward to showing him around. of individual works from different nal Work of Art’ it may arrive duty educational and social organisations and indi- countries, and in a multitude of disci- free and does not require an import viduals we have consulted for our “timeline” Margaret Belich plines and materials. Compounding licence. However, it is entirely up have produced their major facts and figures Executive Director the problem was the time factor. Art- to the Customs Department as to which, when massed together, present a unique Crafts Council ofNew Zealand ists had to be advised, work packed what constitutes a 'Work of Art‘. and despatched to New Zealand, While historians, critics, artists and cleared through customs, priced, cata- craftpersons alike struggle with the logued, photographed and displayed endless Art/Craft debate, the Cus- for exhibition in little over a month. toms Officer seems to suffer no A few preparatory phone calls, a brief such dilemma. In my experience, if foray into the codes and I was con- it is a painting (even better in a vinced, this was no place for the neo- frame) it is art; anything else is not! phyte. To my everlasting gratitude However, there have been isolated the Crafts Council agreed to engage a victories and it is worth giving it a firm of brokers. What it cost in fees try. was undoubtedly saved in efficiency, 2. Under new CER agreements gener- time and a certain degree of retained ally most goods of Australian ori- sanity on the part of the co—ordinator. gin are licence and duty exempt. While well aware that the experi- The exception in the craft area is ence of the Biennale is not going to be jewellery.

4 Winter 1990 NZ Crafts 5 flEUJ ZEHLHOD LENOM CWLTD. MUSEUM SHOP, THE WEHVIHG SUPPLIERS National Art Gallery and Museum Glenora stocks a large range of top quality yarns, wools, cottons, linens, cottolins, LTS Buckle Street silks. (lift Also looms, accessories, reeds and books. New Zealand's only colour Quilting Wellington Have fun with Earth Palette Dyes. BACK ISSUES Phone 859 609 Fax 857 175 . A range of Weaving Videos now available for hire. Magazine. Write to us for our price list. 50% DISCOUNT ELIZABETH STREET, TAURANGA, NEW ZEALAND P.0. BOX 2472, TAURANGA SOUTH, N.Z. Back issues of NZ Crafts still available are? Available on subscription Ph. 075 89713 26 Summer 1988 0 27 Autumn 1989 $30 for 4 issues 24 Winter 1988 0 25 Spring 1988 or from selected stationers and

3. Ceramic ornaments exceeding the toms officer’s shoulder crying poverty Description of Work 23 Autumn 1988 education issue quilt supply shops value of NZ$ 100 from anywhere in and mortgage - it has worked. Accurate and full descriptions are vi- the world enjoy a similar privilege. Work for export is of course exempt tal for a number of reasons. They 22 Spring 1987 0 21 Winter 1987 This category does not include ta- GST, but will be liable for the local lessen the possibility of the package 20 Autumn 1987 0 19 Summer 1986 For a sample copy send $7.50 bleware. taxes when it reaches its destination. being opened, and, along with valu- Most countries have equally perni- ation, play a large part in ascertaining 18 Spring 1986 0 14 Winter 1985 t0:- Duty is payable as a percent of the cious revenue collecting methods and the necessity of import licences and stated value of the work, and the per- you need to be aware of them. Your the amount of duty payable. We pro— One price for each of There are still recent centage changes from category to cate- customs agent can advise you of the vided photographs for all the work these issues $3.30 incl issues available at retail Pacific QUILTS gory. The same materials may well be charges you will be liable for but there imported for the Biennale and this, GST price. 35 Target Road used in two items but one will attract seems little in practical terms you can along with our agent being fully in- duty, the other not, e.g. spoons made do to avoid them. After the Biennale, formed on the contents of each pack- Crafts Council of NZ (Inc) Glenfield, Auckland. 10 of precious metals came duty free into unsold work was sent back freight age, meant very little work was opened. PO Box 498, Wellington (04) 727—018 New Zealand New Zealand for the Biennale because forward to the exhibitors, and in two The Customs Department consulted they came under the codes relating to cases the accumulated charges in- with the agent. ’cutlery’, while jewellery of the same curred in taxes, storage and internal Consider Agricultural requirements. material did not. freight within their own country were Nothing will attract the Department's able value which the customs Depart- company has the ability to almost in- all packaging and make the initial com- Goods being exported under the astronomical and far in excess of the eye faster than descriptions such as ment can readily assess and adjust if stantly track the location of the work; plaint through their local Post Office. value of NZ$ 1000 do not require an stated value of the work. ’basket made from seed pod and deemed inappropriate (always up- both these factors reduce the possibil- It all sounds very complicated and export entry, but it is most advisable branches’ or ’cloak made from wards). The value placed on artistic ity of loss or damage. It is costly, but frustrating, and it is often more com- to complete one. It is a vital record to feathers’. Specify in detail the materi- input is more difficult for them to as- often in relation to the value of the plicated and frustrating than it sounds. prove the goods have left New Zea- als used and the treatments they have certain. However, the higher the price work it is still acceptable. The alterna- However, for the craft community in land in case of loss, breakage, or proof undergone. If the feathers have been you put on it, the higher the duty you tives are sea freight, (which is exorbi- New Zealand it is very desirable that he importance of packaging, ac— required by the Inland Revenue De- boiled for six hours in dye say so. will pay. tantly expensive unless there is a large locally produced work has overseas I companying information and partment. Get your agent to help you with the quantity of work being sent), and New exposure, and conversely that over- valuation cannot be over-em- labelling of goods; some attract hor- Zealand Post, surface mail. This latter seas work of international quality can phasized. Time put into this area is Local Taxes rendous duty and there is always the is the method we use most frequently be seen here. It is to be hoped that ex- All goods arriving in New Zealand are well worth the effort. possibility of a quite legal way around when exporting from Masterworks. hibitions such as the Biennale will subject to GST charges. This tax is it. For example the clothing industry he specifics over, there remain There is a limit on size, weight and give the crafts movement a credibility Packaging payable to the Customs Department is protected in New Zealand. A raffia I two general pieces of advice. insurable value; but where time is not at Ministerial level. This may lead to before they will release the goods. You Obviously, all work should be pack- cloak exhibited in the Biennale was Allow plenty of time for Cus- a. factor, we have found it a perfectly the clarification of anomalies in regu- aged with due consideration to its fra- will also be charged GST on freight unfortunately exported from the toms clearances (minimum two weeks), satisfactory system for sending small lations which contribute to the pres- gility, the distance it has to travel, and charges incurred during transit, even United States by the artist as a ’cape’. and where possible engage a freight work. It is Vital to ask for and retain ent situation, and hopefully, facilitate the amount of handling it will receive. though all freight may well have been As such we were required to pay 59% company and send your work by air. proof of postage. If breakage does oc- a circumstance in which an inter- The assumption must be made, prepaid by the sender. One of the duty which came to over NZ$1000. The obvious advantage of speed is in cur it is important that the recipient of change of work can more easily (and whether exporting 0r importing, that major difficulties is New Zealand work The piece was not intended to be less handling, in addition the freight the goods is aware that they must keep less expensively) take place. returning to New Zealand, often after the work will be subject to inspection worn, and if imported as a “raffia wall an overseas exhibition. It is also liable by Customs. In New Zealand 20% of hanging’ it may well have not had any to GST charges even if it is your work work is opened, and Customs Depart- import duty payable on it. The anoma- returning to you and not a buyer in ments are not liable for any damage lies in this area are almost beyond sight. The outraged artist who is regis- incurred. Provide detailed handling comprehension, and it is well to be tered for GST, and paying good money instructions, and emphasise the break- aware of them before embarking on a to get their own piece back, at least has able nature of the contents. If you very costly exercise. the satisfaction of knowing they can don’t want fingermarks all over your claim on their next return. The unreg- work, include a pair of cotton gloves Valuation istered artist is in a more difficult po- and state what they are for. One ster- Again, the value you place on your sition, and the options are fairly lim- ling silver exhibit arrived for the Bien- work will determine the amount of ited: either ensure the exhibition is a nale complete with gloves and a small duty payable. Be realistic and honest. registered one, or fall upon the cus- jar of polish. The materials used have a quantifi-

6 Winter 1990 NZ Crafts 7 ound objects provide the raw ma- The radical design of the work, de- Programme in conjunction with the terials for Australian artist Gay ceptive in its gaunt simplicity, chal- Bath-House, Rotorua. Gay Hawkes PAU LA SAVAG E Hawkes' assemblage furniture and lenges conventional expectations of beachcombed remote North Island small scale figurative sculptures. Dis- furniture. Gay Hawkes insists her beaches during her visit. The gather- integrating flotsams, driftwood, sculpture is intended for everyday use. ing of the materials is an important weathered timber, broken baubles - Deceptively fragile, meticulously part of her creative process. the discarded detritus of human en- crafted and assembled with sturdy As sculpture Gay Hawkes’ work is deavour - carved, assembled and joinery techniques, the furniture is confronting and particularly articu- The New zealand Pieces sometimes painted, assume a new functional, both physically comfort- late. As an artist her aesthetic is re- significance through her work. able and mentally challenging. sponsive to historical and contempo- Gay Hawkes’ sculptural furniture An exhibition of Gay Hawkes’ work rary events in Australian social, cul- emerges from an indigenous Austra— was displayed at the Bath-House, tural and political history, with con- of Gay Hawkes lian tradition of colonial or ”bush” Rotorua’s Art and History Museum, cerns that are consistently addressed craftsmanship, and, to a lesser degree, before touring to the Sergeant Art in her work. The furniture has the raw contemporary assemblage practices. Gallery Wanganui, the Govett- presence of the harsh and splendid Beginningwith a passion for the simple Brewster Gallery New Plymouth, the Australian landscape and underscores

THE NEW ZEALAND PIECES

COOK COOK

DAVID 1 DAVID

and unpretentious ”bush” carpentry Dowse Art Museum Lower Hutt, and 1. Gay Hawkes. Rangitoto. 1989. of pioneer outback settlers who, in an the Gow Langsford Gallery Auckland. 2. Gay Hawkes. Angel on the Birdsville Track. 1990. alien and harsh environment, were The ’New Zealand Pieces’ comprise forced to improvise from materials on a dresser, four chairs, and 17 sculp- COOK hand - packing cases, slabs, branches tural figures created by the artist in

DAVID - the artist pursues a belief that her fur- open access workshops at Waiariki niture can embody concepts and ex- Polytechnic, Rotorua, in December This article was reproduced with the kind Gay Hawkes. General view of show at the press an intense relationship with the 1989, and at the Wanganui Wood Bath-House, Rotorua. 1990. permission of The NZ Listener materials and their environment. In Symposium, January 1990. The artist creating objects she acknowledges dis- was brought to New Zealand by the satisfaction with other media, even Queen Elizabeth 11 Arts Council words, to express her view of the world. Waewae Tapu: Distinguished Visitors

8 Winter 1990 NZ Crafts 9 CLARK

CLARK CLARK COOK

COOK EVAN

EVAN EVAN DAVID

DAVID

1 Gay Hawkes. Whakarewarewa. 1989. the paradox of colonization and a The narrative identity and charac- The QEII Arts Council’s Waewae 2 Gay Hawkes. Crucifix. 1990. people’s tenuous yet enduring hold terisation of the miniature sculptured Tapu (Distinguished Visitors) on the land. figures may be interpreted as Gay Programme was introduced in Working in New Zealand as a Visit- Hawkes’ reactions, both positive and 1988 through the support of the ing artist, Gay Hawkes has created negative, to her experience of New Minister for the Arts and the New furniture that lacks the more complex Zealand. These figures have the to— Zealand Lottery Board. It connotations and historic dimensions temic quality of tribal art. A series of recognises the need to bring of her Australian work, although the politically oriented figures titled Eu- visiting experts to New Zealand to elements used carry reminiscences of rope, December, 1989 which have ref- conduct classes, workshops and our antipodean past. The work can be erence to the Romanian revolution - seminars which will enhance the seen more as a ’momento mori’ of a lack the spontaneity and visual ex- professional development ofpeople place or an event in much the same citement of the more autobiographi- working in the arts. The way as Aboriginal art. The chair cal works. Programme complements the Rangitoto assembled from flotsam gath- Gay Hawkes intuitively assembles Arts Council’s support for ered by the artist on a visit to Rangitoto wood fragments in a highly individ- national training schools and its Island is an embodiment of her expe- ual and personal way to create sculp- professional Development rience of that place and is compara- tural furniture and figurative sculp- Programmes, which are intended tive to pure landscape art. tures that have an intellectual con- to give New Zealand artists the Another throne-like assemblage tent, a layering of meaning and sig- opportunity to extend their chair Gonville, Fitzroy Crossing is deco- nificance that is a synthesis of her otential and benefit their work rated with narrative images from own philosophical and spiritual per— t rough programmes of individual media coverage of the recent Papado— ceptions of the world. study, both in New Zealand and CLARK poulos affair in Wellington. The left In Australia Gay Hawkes has overseas. En uiries about the EVAN armrest of the chair is a menacing achieved a high measure of critical scheme shou d be sent to: The arm, outsized fingers in a strangle- acclaim. In The New Zealand Pieces the Manager, Waewae Tapu Scheme, hold in the throat of Mr Papadopou— artist explores images and ideas to 1 Gay Hawkes. Sons of Gwalia i. (Gwalia is a QEII Arts Council, P O Box 3806, ghost town in Western Australia on los, and on the opposite armrest two create works that have an evocative Wellington. goldfields, where the artist‘s parents lived carved spectator figures observe the power and poignancy outside the when they married.) drama. boundries of furniture making tradi- 2 Gay Hawkes. Fingal Chair. April 1989. tions in New Zealand. 3 Gay Hawkes. Sons of Gwalia II. 1988. 4 Gay Hawkes. Kjaerlighet i Arvet. March 1989. From rainforest in south-west Tasmania.

10 Winter 1990 NZ Crafts 1 1 ALAN LON EY GARRY NASH A hot time with The Book: ”Arts Society hot glass

side of a few showings of New Zealand Penny Griffith had joined the team, printing and the occasional article in and Ted White was successfully ap- The Book Arts Society journals like The Tumbull Library Rec- proached to complete the eight-per- P O Box 958 ord, the traditional arts and crafts of son Board we felt we needed soon Wellington the book in New Zealand are generally Founded 1989 after. In March this year, Penny Grif- unremarked and unrecorded. fith had sadly to resign from the Board, President: Alan Loney It is the determination of the Book her job having taken her to Nelson, Secretary: Ted White Arts Society that that situation shall Membership: 70 Ordinary and Moira Long has become the new change. In January 1990, the Society 3 Institutional Board member. announced its existence publicly by Anyone can be a member What we do as a Society for the rest mounting the exhibition, Art of the Fees: Individuals $25 of the year in large measure depends Book, at the New Zealand Academy of Institutions $50 on how many members we get, or to Fine Arts Gallery from 8 to ZZJanuary, Publishes a quarterly newsletter put it another way, on how much and Mr] E Traue, Chief Librarian of the money we can raise. With our first Alexander Turnbull Library, gave the Newsletter we have begun our quar- opening speech. We were very fortu- terly review of the book arts, which is he Book Arts Society was, in an nate in this exercise to have received free to members. There, we report on I informal way, first discussed financial assistance from several com- providing the Department of Internal among a number of people dur- panies in the book and book produc- Affairs with a press and a printer to ing May and June of 1989, and the first tion field, as well as from the QEII Arts help celebrate its 150th birthday. In meeting, of four people, was held on Council. Over the two weeks of the June the Society will put on printing, 13 July. From the beginning, the pur- show, almost 1900 people visited the bookbinding and calligraphy displays pose of the proposed Society was clearly Gallery, and, aside from looking at the and demonstrations at the Booksellers formulated : To ensure that the tradi- books on display, saw demonstrations Conference in Auckland’s Aotea tional book arts, their practice and of the book arts given by Adrienne Centre. The production of Art of the their appreciation, became important Rewi (papermaking), Paula Newton Book exhibition catalogue is under way in the creative life of New Zealand. We (marbling), Dennis Stoneham and and can be ordered from the Society. LISTENER

THE knew that with the decline in commer- Michael Lund (bookbinding), Ma- Further plans are afoot to design and / cial handcraft skills in the book arts ryRose Leversedge and John Wilkins produce a BAS bookplate which went a rise in the non-commercial (calligraphy), and Alan Loney (hand- members can buy from the Society; TAGG

interest in those arts. More and more printing). These five activities formed book arts workshops will be organised SALLY people have in recent years wanted to the basis of the exhibition, and, to for later in the year; and details are make handmade paper, to learn callig- round things off, equipment and ma- being worked out for an annual Book Lino Tagliapietra. raphy, to practice bookbinding and so terials associated with these activities Arts Awards exhibition. on. The pattern has been the same in were also on display. We feel that the interest shown in this country as it has been in Britain To clarify the scope of the Society's the Society to date is very heartening. and, more particularly, in the United activities and interest, our definition We have a strong base on which to States. of "book arts" is: The traditional arts build for the future, and we look for- In New Zealand, many people appre- and crafts of the book. The term in- ward to a very busy year ahead. At the end of his last visit to New Zealand, eighteen or so ciate the work produced by means of cludes the following: typography, fine the arts and crafts of the book, but that letterpress printing, hand bookbind- months ago, American master glassblower Richard Marquis appreciation has long been a matter of ing, hand papermaking, marbling, cal- commented that the standard ofglassblowing in New Zealand a few individuals with a private inter- ligraphy, paste paper decorating, box was reaching the point where he felt we would benefit from a est, or of a few library departments making, book illustration, book col- Sure, we all thought, perhaps with special collections where staff have lecting, bibliography, and the histo- workshop with Lino Tagliapietra. always shown an interest. The trouble ries of these in and beyond New Zea— we could hold it on the moon! with this interest, however ready it is land. Central to all these is the devel- to provide book workers with warm opment and appreciation of design. fuzzies and a few orders for books, is At the first meeting of the Society on that the field has never had a brief to 13July 1989, present were Bill Wieben, stimulate activity in the book arts, or to John Quilter, Tony Arthur, and my- make the values that attach to them self. By the time of the next meeting, widely and vigorously discussed. Out- Fay McAlpine, Roderick Cave and

Crafts 13 4 12 Winter 1990 NZ Dante Marioni (left) Richard Marquis, Dante and Lino Tagliapietra. Marioni and Lino Tagliapietra out of the heat and into the open air with finished works.

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aestro Lino Tagliapietra is ar- Sunbeam Glassworks in Ponsonby, agreed to help with the financing. The sent out both in New Zealand and The usual day or so spent feeling out working in Italy on a Fullbright M guably the greatest glass- Auckland. A special kiln - half-scale decision was made to go-for-it. overseas. the glass and general layout of an Scholarship twenty years ago, and was blower alive today. At 56 years replica of a seventeenth century oven Of course something had to go By now it had been decided that the unfamiliar workshop was bypassed professor of glass at the University of of age he is taking life a little slower - would have to be built also. The wrong. No sooner had we finished line-up of guests would be: Lino Ta- completely. By the end of the first California for several years. He has and has virtually given up taking work- whole thing was starting to look like with the self—congratulations and mar- gliapietra, Richard Marquis, and Dante hour even the most ardent cynic was work in scores of museums around the shops. Even worse, Lino was born on one of those 'what-if' fantasies that velling-at-our-own-cleverness than we Marioni — all world class glass work- spellbound. The first two days of dem- world. the glassblowing island of Murano, grow out of all proportion very late at received word from Canberra that they ers, any one of whom would have onstrations covered early‘glass from Dante Marioni is considered by many Venice, in 1934, and until 1982 rarely night around a table, over a bottle or were pulling out of the whole thing. drawn a large audience. various centres dating from the four- to be the most promising young ever left the area. With of course no tWO. The cost and general logistics of the Such a lure proved too much for teenth century AD. Beautiful, intri- glassblower to emerge in recent times. cars in Venice, both Lino and his wife Endless phone calls and letters be- venture were beyond their means. In around forty glass workers. Sixteen of cate, exact. His father, the well-known glass artist Lina suffer anxiety attacks at the mere tween Dick Marquis in Seattle Wash- an effort to save things an urgent the participants made the journey from The co-ordination and timing be- Paul Marioni, made it possible for Dante thought of being driven across town. ington USA, and our small group fol- message was sent to Dick Marquis. Australia, some from as far away as tween three such masters of the me— to get an early start, and at twenty-five How do you convince such a person lowed. A plan was hatched: the Uni- A large-scale recruiting drive was Perth. One student from Tokyo Uni- dium was a joy to behold. Even the Dante has been blowing for just on ten to travel on an aircraft to the opposite versity in Canberra Australia would launched. Glass workers were urged to versity even made the trip. The work- visitors and media representatives were years. All this is of no use of course end of the world? take part in the venture; there would go through address books, filing cabi- shop finally got under way on the 19 taken by this mysterious dance we call without the talent he so obviously has. This was not the worst of it. To be be two venues and the travel costs nets, old letters etc to come up with February 1990, after almost one and a glassblowing. The precise amounts of Dante has proved he will be a force to able to make anything other than would be split between the two groups. addresses of anyone who may be inter- half years of planning. glass were delivered to the exact places be reckoned with in the coming years. very basic work the maestro would Some scouting around turned up two ested in coming to the workshop. If we Richard Marquis and Dante Marioni needed with almost no communica- And so passed the week. New friends need two other master glassblowers sources of possible funding to assist could attract enough participants we arrived two days before the start of the tion between workers at all. A slight were made, old acquaintances renewed, and several skilled assistants, over one with the venture. Things were starting hoped to be able to carry on with the workshop to set things up. This in the nod, an indecipherable muttering in and dare I say it, a few old rivals recon- hundred kgs of baggage and equip- to look promising. The QEII Arts workshop on our own. Altogether glassblowing world means moving any Italian, and off the pipe would fall ciled. ment, and the full resources of the Council and the 1990 Commission nearly two hundred invitations were piece of equipment that weighs less another masterpiece. The whole thing This workshop will always remain than two tonnes and is not bolted to was very humbling. one of the highlights of my glassblow- the floor. After this manoeuvre was After several days everyone was well ing career and I am pleased and proud complete things started to happen very into the spirit of the thing. For many to have been involved as a host, and quickly. their first words learnt in Italian were participant. names of glassblowing techniques like; Zanfrico, Retticello, Vetre De Trina, Filligrana, Lattichino. Richard Marquis (left) Richard Marquis and Dante Marioni with Dante Marioni made some of their own work later in doing a lot of the week. These demonstrations were concentrating. greeted with as much enthusiasm as the earlier demonstrations. Richard Marquis is a very highly respected master in America. He spent two years

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14 Winter 1990 NZ Crafts 15 The Commonwealth Quilt. Detail showing H ELEN SCHAM ROTH borders, patterns, flying geese and interior.

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Another decision taken well into the project, a decision which was to create a lot of work, was to make a duplicate quilt. The purpose of this second quilt, which is still in progress, is to show the effort and collaborative aspects of the process to the women here in New Zealand, and it will be displayed in a public space. Carole Shepheard’s credentials were good. As a highly respected mixed-media artist and teacher she had worked with fabric and fibre, and was even a dab hand with needle and sewing machine as well as paint brushes and Chisels. She had worked collaboratively with women before, and she understood well the consultation process and its politi- cal implications, and she identified with the theme. Of utmost importance for Carole was to consult first with the tangata whenua, and to work with a Maori artist, which is where Toi Maihi came in. Toi was invited to design the MCCABE Maori element of the quilt. The Pacific Island Woman’s Association was also invited ALBERT to be part of the project and Luseane Koloi became the co- The Commonwealth Quilt. 1990. ordinator of the Pacific Island contribution to the quilt. She in turn enlisted the help of other women, and Tai‘i Turepu Carpentier, the Convenor for the Visual Arts Committee A wonderful tradition was initiated during the Com- for the South Pacific Arts Council, took responsibility for monwealth Games in Edinburgh in 1986 - a quilt another portion of the quilt. representing friendship, and made by women, was Carole met with Toi and Luseane early in 1989 to discuss created to present to the host city of the next Games. With the format of the work. They would be working with the precedent set it was the turn of the Auckland 1990 several different women’s groups towards an immovable Festival Committee to respond accordingly; to facilitate deadline. Monthly meetings where information and food the making of a quilt that would be sent to Victoria, were shared became an integral part of the process even Canada, in honour of the 1994 Commonwealth Games. though some of the women had difficulty in attending. Commonwealth Quilt, designed and made in Auckland, is The Auckland Patchwork and Quilters Guild and the the vision of artist Carole Shepheard, who was first ap- Embroiderers Guild were also invited to participate, and proached in 1987 to submit ideas for the project. both groups agreed to be part of the project. For them, as Originally there were suggestions that the work be Maori, for other people involved, it was a major learning experi- or perhaps that there be two different quilts. Joan Caul- ence, and they expressed pleasure at having the opportu- field, a member of the Northern Regional Arts Council, was nity to work on a major project designed by an artist. invited to co-ordinate the project, and she played a major role in determining that there be one quilt representing the whole country. It was decided that the work was to reflect where Auckland, and in fact New Zealand, was at that stage of its history, and to identify its place in the Pacific.

16 Winter 1990 NZ Crafts 1 7 The accompanying works on show at the Fisher Gallery, where the quilt was first displayed, reflected not just the calibre of the artists involved in the project, but also their diversity. Harnessing this talent, and focussing on it, takes skill beyond artistic ability alone. Documentation of Judy Chicago’s massive collaborative projects in the United States suggests that the collaborative journey is not to be undertaken lightly. Carole pays tribute to the hard work and dedication of the women involved, not only to meet the deadline, but to take responsibility, to rework some areas, to set high standards, and to produce exceptional work. From the start, although the design was distinctively Carole’s, she let go a good deal of the control. There were no compro- mises to be made in the structure of the work, but she left the decisions like design, colour and materials to Toi, Luseane and Tai'i regarding their respective components. The design features a central panel representing the land, sea, sky and conservation of our natural heritage. The realism of the carefully chosen elements (not a sheep or kiwi in sight!) is visually balanced by the abstract back- ground representing water as the life force and the rich borders representing the cultural mix of the country. The bush and shore elements are graphically illustrated. The native clematis flower is a healing plant and grows on the ‘roof of the world’, while the flax flower represents strength of the people and the land. The Great Barrier Island lizard is almost extinct, and in contrast to the fern leaf which is universal, basic rather than spectacular, and is able to grow in a variety of environments. Paua is a food source, and the rock which Maori inscribed in pre-Euro- pean times represents civilisation before colonisation. SHEPHEARD Each of these elements is meticulously embroidered and quilted, and the selected fabrics give strength to the im- 5&5... CAROLE ages. Delegation of tasks by no means diminished the Pat Britton from the Auckland Patchworks and The ”team” - left to right: Carole Shepheard, standards. The work is exquisite in its detailing, as in the Quilters Guild doing final finishing on the Luseane Koloi, Toi Maihi, Tai’i Carpentier. minute red French knots on the muted green fern leaf, and Quilt. She possibly did more than anyone on the delicate fine stitching of the clematis flower. this project and, says Carole Shepheard, was a But it is the sparkling minutiae of the red flax flower, the joy to work with — committed and supportive. shimmering paua shell, the solid rock, and the scattering of tiny shells stitched to the intersection of quilting lines that gave Carole credibility regarding her knowledge and ability to sew, for these were a direct contribution by her. Above and below the centre panel are borders of pieced n either side of the central panel are the contribu- verse”. This was because she wanted the visual impression he traditions of Fiji, Niue, Cook Islands, Samoa, and of triangles that represent the migration of peoples. This tions by the Maori and Pacific Island groups. Origi- them stretching "from here to infinity”. Tonga are represented in the double panels along- Work flying geese pattern, a repetitive triangular motif, is a nally the brief was for single strips on both sides. on these panels was done by a group that included side the centre panel, and the patterns reflect the en- members of strong design element in itself and one that Carole has When Toi was presented with the brief however, two Toi’s family, Christine Coley, a Craft Design vironment. The processes involved in tapa, weaving and ti- student used in previous works. The idea was to give a finish and themes immediately sprang to mind. “The first was ARA- who was working with Toi during this time, and vaevae are complex and great care was taken to use only the lushness to the piece without intruding on the central MOANA, Paths of the Sea, an abstraction of the movement people at the Papakura Marae, where the work was being finest of materials, many of which were brought especially done. image, and at the same time, making design connections of the sea that both unites and divides of the nations of the But she consulted further afield, especially as piecing to New Zealand. with the rest of the work. The fabrics chosen for this Pacific. The second was PURAPURA WHETU, the stylized was new to her, and as she originally thought that her job The Cook Island women represented the people who was just to design the component are from England, Ireland, Scotland, Wales, pattern indicating stars scattered like seed across the uni— panels. Toi admits to a moment of weave with rito, the very young coconut leaves, and they China, India and many countries of Europe and Asia, and verse, for the stars were a major navigational aid of all shock when Joan Caulfield asked her to produce the brought the finest of pearl shells, coconut shell and rito symbolise migration to New Zealand over the past 150 seafarers." prototype strip for people to copy and rang quilter Mal— from Rarotonga. Many worked at night yet they conscien- years. Toi’s dilemma was in having to chOOse only one of these colm Harrison for technical assistance. Toi then learnt the tiously met the deadline. This same group, led by Tai‘i options, and she was delighted when Carole decided that techniques of patchwork on the job, and the panels pro- Turepu Carpentier, also worked on the tivaevae, the quilt- single strips looked meagre and needed to be doubled up. gressed well, and to schedule. ing tradition introduced by the missionaries and taken on As a result Toi’s designs gave strength to the outer edges of The placing of these chintz panels, the fabric chosen to and developed as a characteristically Cook Island craft. the quilt. While Toi developed the themes she decided to be in keeping with the entire panel, was to symbolise the Examples of tivaevae manu - plain appliquéd work — and add a slow, secondary wave pattern to the aramoana tangata whenua embracing all the peoples represented tivaevae tataura - embroidered panels are included in the design, to indicate the undercurrents below the surface within the work. quilt. Only the tivaevae taorei, panels made up of little level. Those currents are not just physical ones, but are squares of cotton fabric, are missing from this quilt but will social ones as well. be included in the second quilt. Taking further liberties to emphasise the contemporary The tapa traditions, stripping the mulberry bark, soaking nature of the work ‘sun and moon path“ were added to the the bark, beating it, stencil-making with coconut ribs, and purapura whetu pattern, more commonly used in tukutuku dyeing, have been created by the Tongan women and panels, with the stars becoming irregular in colour, size, represent the traditions of all the Pacific cultures, as does spacing “to suggest their distribution throughout the uni- the weaving. For the weaving, which was undertaken. lo-

18 Winter 1990 NZ Crafts 19 I n talking to Carole Shepheard I asked her how she found 1 Embroiderers from the Auckland the project and the process, what were her reservations Embroiderers Guild and what her feelings were about the results. stitching the French ”When do we ever have enough time for large projects?” knots on the fern was her first reaction, and she talked of having some leaf. concerns about how to fit the disparate elements together 2 Detail of the Pacific Island Design - without the work looking contrived. Carole feels that addi- tivaevae and rito. tional work might give the work more richness, and she still has this on her agenda. The reality of the actual work didn't always match the ideas on paper and in Carole's head, with the sometimes unexpected emphases given to the individual panels. For instance dominant elements like the brightly coloured tivaevae had to have an equivalent value to the more muted tones of the weaving and stitching, so the device of using the same brightly coloured threads in other areas was used. ,

Am..: Technical supervision was sporadic, which meant that the work was not always of a consistent standard. No SHEPHEARD compromises however, were to be made here, so it meant that some stitching needed to be reworked. To everyone’s

CAROLE credit, this challenge was never avoided. Carole acknowledges that it might have helped the individual groups if they had been able to see what others were doing, as they couldn’t always visualise the overall work. Scheduled meetings for everyone were unhappily thwarted by strikes. Toi also talked about this aspect of communication. Although she had met with Carole she would have liked everyone involved to have met at the beginning of the project to get a real overview. Yet Carole’s conclusion is that within the parameters

SHEPHEARD that were set the work went far beyond anything she could have hoped for. On the other hand, she did express some

CAROLE regret that the consciousness of doing ”women’s work" - in Detail of Maori design. this case stitching - and feminist issues, were not raised. But Carole maintains however, that the dialogue that did take place was important, and the process of getting to know each other was an essential ingredient, as was some finan- cial recognition to all the groups and their leaders. cally, white strips of pandanas were produced in time- The Commonwealth Quilt could have ended up being honoured traditional ways that included removing thorns, politically correct but totally chaotic visually. However the boiling and soaking in the sea, splitting through their layers, and drying. The brown strips were left, covered, to work is a tribute both to the inspirational design, meticu- lous attention to detail and cultural sensitivity of Carole darken in the shade and then to dry in the shade. Shepheard, and to the women who worked with her. As a Preparing the individual panels was one task, but the job statement about who and where we are it speaks volumes, of assembling the components had its own set of problems, and as a work of art it is a piece of magic that will enhance especially as adjustments had to be made where sizes were the lives of all who see it. not adhered to exactly. This was when time constraints showed up most. A tan border stitched with fluid wavy lines to echo those of the water in the central panel - the stitching being a decision taken by the quilters - encompasses the whole work, much as border does on a Maori cloak. The serrated edge relates to the finish of woven mats in both Maori and Pacific Island work. The juxtaposition of materials and techniques is as important as the individual elements and is equally well handled. Tapa, rito and pandanas weaving, shells, strong linear geometric elements, finely wrapped loose tendrils, intricate embroidery, crisp piecing of fabrics and flowing painterly effects have been integrated with skill. A final touch that gives greater strength to the collabora- tive process and identifies the otherwise anonymous con- tributors is the backing of the quilt. Each of the contribu- tors was given a handprint which they signed, stitched and SHEPHEARD completed in their own style, and the backing is a collage of these “signatures”.

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20 Winter 1990 NZ Crafts 21 - 32% Rob Levin. Motion JOHN SCOTT Vessel #14. 7 1/2" high. 1983. Rob Levin, glass artist at Wanganui

ob Levin is an environmentalist, attraction is in the references to the a family man and a glass artist as technological environment of the 20th 3 .,,~.a_ well. I met Rob during a visit to Century rather than the traditional North Carolina. During the \fi: Fulbright vessel forms, although they feature LEVIN Scholarship to investigate Craft Edu— stronglygThe strong \v" " use of colour, ROB cation in the USA, I gave special atten- particularly reds and oranges, has now tion to the teaching of glass art and diminished in his work not through glass blowing. Apart from Mel lack of interest so much as in response COURTESY Simpson’s work and his. furnace at to health concerns resulting from reac- Elam, no glass art teaching was being tion to the chemistry of such colours. very droopy and gooey, kind of squishy wasn’t using those and I was real in- of building; you know putting the done in an educational institute in Rob’s concerns for health are not just looking. Those kind of things are pos- trigued as to how you make your own building together and doing the wir- New Zealand, and it was the intention personal protection, but reflect his sible to do in clay, but you have to stuff. So Wanda and I talked about ing and all that stuff, so I did that for of Wanganui Regional Community broad understanding and knowledge make the clay look like something what would work, and we decided, four years at Penland in what I guess College to specialise in glass. Where of world health and environmental else, so when I went down to Penland even though economically it would be you could say was a subsidised situ- better to visit than the heartland of the issues. in 1971, I went down there to take a harder, to go to Iowa and work with ation. The whole programme is set up American glass art scene - North Caro- Born in 1948, in Maryland, Robert pottery course, just to get another Fritz, so that sort of solidified the whole to help people get their feet on the lina and Penland. Penland Craft School, I: Levin graduated B.F.A. from Denison perspective. glass thing for me - we were definitely ground in terms of making their work nestled into the trees of 0 North Caro- U University, Ohio, before completing Well that is where I saw glass blow- on the path from that point. and finding a market for it and just m lina, is surrounded and supported by z his M.F.A. at the ing for the first time and it looked very John How did you make the transition kind of establishing themselves. Then I University of South- many of the world’s major glass artists. 2 ern Illinois in 1974. Originally trained intriguing. I decided to try it and burnt from working in a University setting, you move on and somebody else comes Harvey Littleton, the ’father’ of studio as ceramist Rob moved naturally to my hand and did all the stuff you do to working with somebody else, to setting up 1n. glass, lives not far from the School, and glass, before setting up his present yourself, but there was something and establishing your own studio? John So that scheme is available to as- Blue Ridge Parkway, the scenic drive studio in 1980. about it. I think it was the liquidness of Rob It was a really smooth transition piring craftspeople or artists for how long? which runs along the ridge through The following interview, in which it which attracted me and that it in some ways because what happened Rob Well when I was there it was the mountain forests, is a great starting Rob Levin talks to John Scott, reflects seemed real appropriate for the ’gooey’ was I went down after the year working very much open-ended, but now, I place if one is visiting local glass artists. discussions spread over some weeks kind of drifty forms that I wanted to with Fritz, to Penland, and taught there think it is set up as a two year pro- This setting is the home of Rob Levin. along with postscripts sent by Levin do, that I was trying to do in clay. I got for the Fall and then the Spring. One of gramme with a third year option, and His natural timber home and studio, after he had given further thought to into Graduate School on the strength the arrangements that came with tak- the only qualification for the option reflect a sensitivity to the environ- the questions put to him. of my clay work and when I got to ing the job was that in between the fall that I can see is that somebody who is ment, and seem an extension of this graduate School, there was glass. We and spring session there was three there is working and not just goofing artist and his family. The twin daugh- John Rob, could we follow on from what all kind of worked on getting this months where whoever the instructor off. I found it to be a wonderful pro— ters chattered around as Rob concen- we were talking about before - your devel- glassblowing set up, so I blew glass and was would get a studio to work in. So gramme and it made me feel very loyal trated on getting his daily quota done opment from ceramics into glass. worked in clay for two years there and basically the school studio became my or attached to the school. before we went into the house to spend Rob I got involved in clay I guess it really came down to a decision after studio for three and a half months John There are probably two significant time with his photographer wife from two different directions - one was I finished Graduate School as to which during the winter so that was my first characteristics ofyour work thatstand out Wanda. a functional approach. It dealt very direction I was going to go. experience with kind of running things for me and one ofthem is the use ofopaque Rob was invited to New Zealand to much in vessels; especially jars - lidded Well, I was offered a job as an artist- for myself outside of a teaching situ- glass in particular, and opaque colours, participate in the Wanganui Summer jars had their attraction and I was very in-residence in one of the schools in ation, and there are things about it which seems to get away from that sort of School of the Arts for a number of much interested in the texture of clay Michigan, and that would have in- that worked real well and some things very seductive side ofglass and just deals reasons. He relates quickly to new and felt a real affinity with that mate- volved setting up a pottery studio and I had to figure out. But basically that with it in terms ofthe pure colour, and the people, he uses colour and form in a rial. And then on the other side of that, working with the community and was my first taste of it and then of other is the sculptural nature ofyour work personal way, his work is innovative, with clay, was this much more sculp- working at schools, and that was a course Penland has a resident crafts- in contrast to those who produce highly and involves a high degree of skill and tural approach which is basically what salaried position. The other thing that man programme, and at that time I functional domestic glass. lots of fun. you call ’funky’ stuff, humorous pieces, l was offered was an unofficial teach- was teaching there Richard Ritter was Would you like to comment on why you Rob’s work accentuated the use of 2 Rob Levin. Motion Vessel #27. 16" high. usually having to do with machines, ing assistanceship in Iowa, working in the residence studio. Richard and I have chosen those directions and how opaque colour, thereby reducing reli- and they were all usually finished with with Fritz Drysbach, who is one of my were friends, and it turned out that he your work has developed because ofthem? ance on the seductive quality of trans- brightly coloured glazes and lustres heroes in the glass studio, and who was leaving late spring early summer Rob Well we could talk for a couple parent glass. His work concentrates and stuff like that with little metallic used glass in a way that I felt a real to move up to Michigan, and so it just of hours on that, but I think one thing more on form and sculptural relation- parts on them. So there are really two affinity with, which is that very fluid worked out that when he moved out of with the opacity is that I was always ships. Colour, similarly, must stand on sides to what I was doing and on the kind of approach. Also he had gotten there and I was finishing my teaching, interested in form. Before I even got its own and relate in very direct terms sculptural pieces there is usually at into using a lot of colours that he was that place was open. into working with clay, I was making to the other elements of his work. The least one or two elements that were making himself. Some of the commer- It was all very similar to running sculpture in wood and welded pieces Cial colours were available then, but he your own shop without the headaches and stuff like that, and then I got in-

22 Winter 1990 NZ Crafts 23 4mm"

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COURTESY volved in clay and there was a sculp- there and it goes to the brain, but it of the opaque glass and of the colours tural aspect to that like I said before, doesn’t necessarily go through the comes in. Now the other thing is just and I think when I got into glass the verbal interpretation centre. That was with the particular types of forms and overall shape, outside shape of pieces, really interesting to me. When I was a things that I like to deal with. Glass was of much more interest to me than teaching assistant with Fritz at Pilchuck really made sense for those kind of the transparency, the way the light one of the things we did for at least one pieces because they were generally came through. I was more interested in month (probably longer) was almost playful forms and playful or whimsical how light kind of bounced off. Then every day we would melt colours and images. It's just a little funkier, more along with that (I think this came just do tests; and because of the work fun. partially out of working with Fritz) that he was doing, we were using And then why I use those forms, is there was a real interest on my part opaque glass, actually opal glass. It that part of the question? It’s a little with playing with colour.This didn’t wasn’t totally opaque glass but it was a harder to articulate. I think part of it is strike me until later, but I think there very rich opal glass that had a certain that I have had periods of time, where was a kind of an intuitive sense about kind of depth to it, but that really I have tried to work in very tight ways; colour being its own language, and wasn’t transparent. The colour possi- really straight sided vessels and in very that is a quality that is hard to define, bilities seemed well pretty much un- precise ways. But I keep finding that because this language that I am talking limited, especially in the warmer ranges the appeal of glass for me goes back to in now is not that language, so you are of colours, which generally most people the liquidness of it, so the pieces that I dealing with a much more directly weren’t doing too much with at that like the most when they come out of Visual input. The light rays hitting the time. You know this was the mid 705, the annealing are the ones that have a retina make some little synapse active so I think that’s part of where the use little bit of flow to them and maybe

1 Rob Levin. Bottle 4 form, blown, sand- blasted, painted. 15" high. 1989. 2 Rob Levin & Ken Carder. Trout Goblet #9. Blown glass. 17“ high. 1988. 3 Rob Levin. Basket Forms. Blown, sand- blasted. 15", 13" high. 1989. 4 Rob Levin. Odd Creature #2. 8 1/2" x 191/2“.1989. 5 (Facing page) Rob Levin. Dr Suess Goblets. 13“, 14“

high. 1987. LEVIN

LEVIN ROB

ROB COURTESY

COURTESY

24 Winter 1990 NZ Crafts 25 someone puts something ofthemselves you have seen or picked up in New Zea— artwork in general is that which con- into their work, that is not necessarily land? tains some of the idiosyncrasies of the what it is going to look like to someone Rob About the glass scene in New maker, and with a material like glass, else and that aspect interests me; of Zealand - It seems to me that glass and those things can be conveyed through communicating something of your- crafts in general reflect the larger soci- the hand. So it’s a way of touching the self through the work to someone ety that they are part of. New Zealand material as well as a way of thinking viewing it. It is not necessarily what seems to be a pretty conservative coun- and seeing. Anyway, somehow I guess you think it should be and it is not try, at least aesthetically, and I see most I’ve been successful at dealing with necessarily what they end up seeing, of the work coming out of the context, these kinds of questions when I work but as long as there is a connection and there’s really no glass making tra- with people - at least that’s the feed- made, then that means that the piece, dition here - no historical context like back I've been getting from students. the work, is successful. That can hap- you have with wood. Economically, John Let’s finish with one last question. pen with anything from a well-made most glassblowers are forced to deal Being asked to come and visit another coffee mug to a piece of glass sculpture with that reality, and also with the fact country has an interest in itself, ifyou like or bronze or whatever, if there is that much of New Zealand’s craft econ- travelling, but when you were asked to something of the person in there. omy is based on creating work for a come and teach in New Zealand, what John Just picking up on that, you made tourist market. What this means is that was it in particular that attracted you to a mention ofa well-made coffee mug or a the glass artists are often forced to the prospect ofcoming and working here? well-made piece ofsculpture and it sort of make only what they know will sell. Rob Frankly one thing was that I had raises that debate again about art and It’s really hard to (experiment or try to never travelled outside the United craft. Glass tends to be seen as being one ’push the limits’When you’re worried States before, so that sounded great, of the craft areas. The way you have been about paying your gas bill each month. and another thing was that my parents describing it sounds very much that to you I deal with this same issue in my stu- had visited here and spent at least a it is your art medium; but you are a very dio, but the difference in the United month, maybe more travelling around highly skilled craftsperson. I wonder at States is that 5 we have a collector’s and they loved it and just had wonder- times (particularly having seen some of market that is very interested in experi- ful things to say about the country and your other work which has been very sculp- mental work, and they have the afflu- the people who live here so neither of tural, the way you have pulled glass over ence to afford it. There has also been a those things has a whole lot to do with

logs and burnt them, and use large tim- great deal of effort made to educate glass. 1 have enjoyed the teaching that LEVIN

LEVIN bers to construct sculptural pieces) ifyou people about glass both in the market I have done. I have always taught a ROB ROB find the dimension of a craft medium, place and in College programmes. little bit, and I thought it would be glass, limiting in its ability to allow you to Something that might be helpful here interesting to try it somewhere else

express that spiritual and mysterious side in New Zealand would be to establish and see what it was like, and see what COURTESY COURTESY of your personality. one or two more full time glass pro- my colleagues in other media would Rob Not at this point, I don’t find it grammes at the tertiary level, say in be like and things like that, but basi- 1 Rob Levin. Basket Form. Blown, sand- bend a little bit. You know, pieces that an outlet for both my sense of humour limiting because I don’t feel I have Dunedin where they already have a cally I will always jump at the chance blasted. 13" high. 1989. were made to look like they were and also a way of dealing with the part 2 Rob Levin. Mezuzah. 7" high. 1989. reached any limits with it. I feel like in strong sculpture programme. Also, from for a free trip - that’s what it comes moving along or sort of falling over or of me that sometimes doesn’t have a the end the limits that you run up my own experience, I know that free- down to. being blown in the wind or something sense of humour. against are usually of your own mak- ing up grant money for individual John Well that’s apretty honest, straight- like that, to try and capture some of the What is interesting to me about all ing. One thing that interests me about artists is a great way to promote experi- forward answerRob, thank you very much. flow of the hot material in the finished this is that there is something innate glass is it does seem very open—ended mentation and growth. piece. And then also there is some- about the material that allows that; in terms of what you can do with it and John Ifyou are asked to come back and thing just a little more light and maybe and it has to do with that liquid qual- you can see that in the work that is work again with New Zealand artists and even a little elegant in pieces that have ity of material. It’s that there is this being done around the world today. craftspeople in glass, how would you get some movement to them. I don't know mystery there. Now you can’t quite People are doing all kinds of amazing them participating, how would you ap- where the dividing line is between put your finger on just what it is, and things that are pushing limits, but you proach it? What would be the sorts of something that is lyrical and some- in the teaching I have done, like here know that everybody has their own things you would be wantingPWhat mes- thing that is whimsical - that is an in New Zealand, that is one thing that definition for what is art and what is sages would you be wanting to get across? interesting question. I have tried to periodically bring up to craft. I make no bones about feeling a Rob Glassworkers in general (not just John It is quite noticeable, looking at the students. Sometimes I think they very strong affinity for this material in New Zealand) tend to fall into fairly your work that even though some of the just end up scratching their heads, but and I don’t know whether that defines tight ways of working, regardless of items thatyou make have a functional ap- I think that it is important to be aware me as one category or another, but I skill level. Many people, I’ve found plication such as a goblet, you seem to use of that element of mystery, and no also think that one of the biggest battles out, want to break through the para- that as a way ofcommunicating this sort matter what your art work is, no mat- that an artist or craftsperson, object meters they’ve set for themselves but of humour, this way of looking at things, ter what your medium is, because that maker, fights, is the battle about self- aren’t able to devote the time or justify ofhaving a bit offun with the images. 15 is where art work, the material, and the definition, and again that gets into a it from a cost effective basis, especially that something you do consciously, or is other side, which is the spiritual as— longer debate. if they are running their own studios. that just what you tend to find interests pect, come together. John I know you have been here for just Somehow, since I teach as well as run you or excites you? Once you start talking about mys- overa week and it’s a bit like dumpingyou my own studio, I have evolved some Rob Yes it’s a combination of both, tery and mysterious elements of life, in at the deep end to ask you this question, ways to help people loosen up so ideas but then also I am real aware of two it’s not too difficult to step from there but, having had the opportunity to spend can flow a little easier. Some of this sides of me. One is that I do tend to be to start talking about spiritual things. some time at the Summer School and to involves some glassworking techniques silly. I feel like I have a pretty good Of course in some ways that is a real meet with some people from the wood and what I guess you’d call ’tricks’ sense of humour and I like to laugh bizarre thing for me to say, as people symposium, to work with a few in New (every glassblower has some of these!) and make jokes and stuff. But the other only know me through some of my Zealand glass, and having talked with but more importantly I think it's a side of me is that I often tend to take work, and I make these things that are variouspeople who know somethingabout question of attitude. When you think things, certain things about the world kind of goofy looking. That fact in it, what sort of observations have you about it, that’s where everything else around me, very seriously. The work is itself is interesting too because when made about the art and craft scene that comes from, isn’t it? I think the best

26 Winter 1990 NZ Crafts 27 — — RECENT WORK RECENT WORK

In this section, the works are selected 1 from slides sent in to the Craft Council’s Resource File. The file is open to all craftspeople, and it acts as a Visual resource for Council staff, researchers, and by intending commissioners of craft. Slides, with full descriptions of the work, measurements in millimetres, date of the work, and the name of the photographer, should be sent to —

Resource Centre Crafts Council of New Zealand Inc PO Box 498 Wellington

1 Warwick Freeman. Pacific Star, M.O.P. oxidised silver 50 mm x 50 mm. 1 Vic Matthews. Writing Desk in Ash, 1990. 2 Blair Smith. Sterling silver, yellow gold (18ct) shukado brooch, 2 Warwick Freeman. 4_ Star Brooch, paua, approx 100 mm. M.O.P. oxidised silver. 50 mm x 50 mm. 3 Anneke Borren. Flaired vase 25 cm high, stone ware, coloured brush 3 Carry Arthur. Detail of a tail clock for work (oxides) on white glaze. Christchurch High School in red beech and 4 Anneke Borren and Owen Mapp. Drinking bowl/cup 8 cm high, silver pine. high fired terracotta, hand carved in presentation box and silk liner. 4 Stephen Mulqueen. Brooches, silver birch, painted, silver pins. 5 10 Cornwall. And Dance by the Light of the Moon. 184 x 220 quilted. 6 Elena Gee. Brooch and earring set in container. Beach pebbles, titanium, silver, driftwood paint. Container 30 cm long. 7 Maureen Kelly. Flat weave wall rug, 100% white and coloured fleeces, hand—dyed, handwashed, handcarded, handspun, handwoven 7' x 38“. 8 Erlanda McLeay. Ceramic Sculpture.

28 Winter 1990 NZ Crafts 29 answer the questions it raises - by itself, unaided by rhetoric Notes on contributors and support material." Having identified the semantic BOOK REVIEW image and object in the links between text, photographic GAYNOR CARDEW was cartoonist-in-residence at the to document this experience. A exhibition, the article fails Wanganui Regional Community College Summer School single example may have countered the stand that the in January this year. Her visit was sponsored by both the jewellery objects work in isolation. The articles in the Wanganui College and the Australia/New Zealand Founda- of manufac- monograph demonstrate that the contexts tion. ture, partnership, exhibition, wearer and publication all Jewelleryin Australia form their meanings around our seeing. The words that are SUE CURNOW is a quiltmaker and tutor who lives in clarify perception and used to clothe objects can cherish, Auckland. She has written about quilts and other textiles They can connect us with those objects and each other. for Pacific Quilts (previously Quiltalk), The New Zealand Geczy’s descriptions do. His writing by Graham Price also confuse, as Adam Herald, and NZ. Crafts. Her first article for this magazine, is full of self-conscious polarities - ’solipsistic flirtations’, entitled "The Honourable Art of Quiltmaking", appeared in While in ’tool shed stuff, occupational accoutrements.’ the Spring 1989 issue. harmony with the ’fraught duality' of his subject matter, Jewellery Australia Now, ed. Bob Thompson. Craft Australia Series perception. his style distracts from, rather than enhances MATTHEW KANGAS has written widely about fine arts and Publication. Crafts Council of Australia, 100 George Street, Sydney, NSW Melbourne City Council’s study Anne Griffith’s review of crafts, winning the 1989 Manufacturers Hanover/Art World 2000, Australia. of inner city manufacturing/retailing patterns is a useful award for distinguished art criticism. He is chief art critic ISBN 0311-046X. balance to such excesses, as is the strictly prosaic an- for The Seattle Weekly and is currently the third Renwick and Silver- nouncement of the establishment of the Gold Fellow in American Crafts at the National Museum of T his publication speaks well of itself. ”The first mono- Burch, writing on Barbara smiths’ Guild of Australia. Anna American Art, Washington,DC. graph in a series of critical writing about contemporary Heath and Sheridan Kennedy’s 1987 exhibition, provides crafts in Australia. It documents the work and profes- on a lucid, informative journey through observations GARRY NASH is a partner in the now famous Sunbeam sional outlook of several established and emerging jewellers, of material concept, personal style, the inter—relationships Glassworks in Auckland, and has for some time been an surveys in words and pictures a large national sample ofrecent contempo- and idea, and the relationship of the objects to active officer in the NZ Society of Artists in Glass. work and offers students, teachers, practitioners and the general rary social issues without becoming proselytizing or lamely reader a stimulating commentary on the nature ofjewellery.” descriptive. In David Walker’s overview of Australian jew- ANN PORTER is a partner in the Masterworks craft gallery I find the blurb both accurate and modest. Of the thirty- “the dearth of signifi- ellery in the eighties he comments in Auckland, and was the Co-ordinator for the 2nd Crafts seven jewellers pictured, approximately one third are cant commentary on contemporary jewellery is one of the Biennale in 1989. This is her first article for this magazine. emerging jewellers not attended to in Patricia Anderson’s major factors holding back (its) continued development...”. Contemporary Jewellery ~ The Australian Experience 1977 - offered here, A collection of critical analyses has been GRAHAM PRICE teaches art at Dunedin Teachers College, 1987. It may seem unfair to compare a book with a 100- and as the first in a series the monograph promises more. is a jeweller, and he's written on the work ofJohn Edgar in page monograph but the two publications are very compli- of this writing to be evaluated. I I would like the influence NZ Crafts. mentary, each extending the other and offering a wide celebrate that a forum has been established for Australian View of contemporary Australian jewellery. Photographic- writers to practise their craft. I believe that those interested PAULA SAVAGE has just taken up a new position as ally and in terms of judicious scale and layout, Jewellery in the communicative function of their art will celebrate director of the Wellington City Art Gallery. She has previ- of Australia Now is a pleasure. It is a relief that Crafts Councils the involvement of a creditable audience. ”The glimpses ously directed The Bath-House, Rotorua's Art and History have taken a lead in avoiding the awkward juxtapositions a real critical eye” brings a maturity to the relationship of Museum. This is her first writing for NZ Crafts. that were once the norm. maker and audience. A close reading of this publication has The major focus of this issue has been the encourage- enriched my teaching and stimulated students to a fruitful HELEN SCHAMROTH is a textile and mixed-media artist ment and recognition of the value of quality critical writ- search for articles referenced. living in Auckland. She currently writes a regular column ing about jewellery. Several contributors bemoan its rarity in the New Zealand Herald, and has published several times while others are content to demonstrate its effectiveness. for this magazine. Bruce Metcalf’s article ’On the Nature of Jewellery’ is a thorough and interesting excursion through the functions JOHN SCOTT is a major figure in both the craft and craft of jewellery. It reads as an illustrated introductory lecture education fields generally. President of the Crafts Council which unfortunately lacks the accompanying slides.The of New Zealand and director of Wanganui Regional Com- pictorial references are given at the end of the article and munity College, his writing has frequently appeared in remain enlightening only if one has a clear visual memory these pages. of the last reading of Angela Fisher’s Africa Adorned. Surely there are Australian jeweller/teachers/writers capable of Black Light Press giving a succinct account of the nature of jewellery that connects more strongly with a contemporary Australian finely printed books setting. While acknowledging the international culture by Alan Loney and anthropological generalisations I would have expected the lead article in a monograph subtitled ‘Australia Now’ to write for catalogue reflect the title more directly. 47 Durham Street, Wellington In contrast, the remaining eight articles are firmly con- nected with the monograph’s intent. A poetic and sensi- tively interpreted review is given by Anne Brennan of the work of Rowena Gough. The photographs are well inte- grated with the text and enhance the reading of the work. It is a pity that the review of Ann Brennan’s exhibition Zero at the Bone is not handled as deftly by Nola Anderson. The essay covers the scope and intent of the exhibition but suffers from a lack of visual documentation. A challenge of responding to Anne Brennan’s work was given in Patricia Anderson’s bookz"... [Brennan’s jewellery] must be able to

30 Winter 1990 NZ Crafts 31 A hot, arid spot on the Mexican border seems an SUE CURNOW unlikely place for such a craft to flourish, yet here, as elsewhere in the United States, quiltmaking is not only alive, but also making headlines - admittedly, often of the ’What would Granny say‘ variety. The AIDS Quilt, for instance, the subject of a film, Common Threads: Stories from the Quilt, consists of approximately 1,000 huge pieced, em- broidered, appliquéd patches, testimonials to the friends, The state 0f quiltmaking relatives, and lovers of those who made them. Recent research into and study of Afro-American quilts is leading to discoveries and speculation regarding the role of black seamstresses in white households, and the origin of some in America types of design. Proponents of Afro-American culture make much of such ’other’ stylistic tendencies as violently op- posing colours and ’wonky’ construction. San Diego itself, with a population similar to that of Auckland, has fourteen Quilters’ Guilds (Auckland has one). In San Francisco, several corporations have collec- tions of antique quilts - most notably, the Esprit Corporation’s 200 marvellous antique Amish quilts. These are distributed throughout the warmly-timbered office complex, for the pleasure of employees and visitors. IMO“ fl." ‘ Most public art galleries or museums throughout the "d‘fi'lié ~ .' An antique Amish quilt United States have collections of old quilts, usually kept in in the foyer of the storage; appointments may be made to view them, under Esprit Corporation's supervision. Of course, this makes good sense, given the offices. Others are distributed throughout fragile nature of textiles, but anyone travelling there should the building. be aware of the need to plan ahead. Some museums and galleries have a particular focus on quilts. For instance, the Textile Curator of the Los Angeles County Museum of Art,

Sandi Fox, has been instrumental in establishing a Centre CURNOW

for Quilt Research within the museum. This has been in SUE operation since 1988, with a large and growing docu- mented collection of historical quilts and related artifacts, and educational and research facilities. There are Quilt Museums in San Jose, California, and Lowell, Massachu- setts (to mention only two) which continuously feature exhibits of both historical and contemporary work. Increasingly, museums and collector/researchers are col—

CURNOW laborating on special exhibits, frequently with a regional 2 e ._ 3"» SUE focus. For example, a five-year effort by the California Heritage Quilt Project resulted in ”Ho For California”, an A grant from the QEII Arts Council enabled Sue Curnow exhibition of quilts made in or brought to California before to spend 3 1/2 months travelling, researching, and 1945. This massive undertaking necessitated travelling throughout the state, documenting 3,300 quilts, and col- attending the Road to California Quilters Conference lecting relevant memorabilia. The most beautiful of these in September last year. Here, she says, she was able to works are in the exhibit, which was presented by the Fresno Art Museum, and will tour this year to other parts of the indulge in her passion for quilts and quiltmaking in the state. An accompanying book, illustrating these and many land which, while not the birthplace - or even the cradle - of the other documented quilts, has been written by well- known Californian quiltmaker and lecturer,]ean Ray Laury. ofquiltmaking, was at least the place where quilts learned The quilts themselves speak of adventure, courage, heart- to talk. ache; birth, marriage, death; fund-raising, politics. Fabrics include printed flour bags, silk cigar and political ribbons, and a variety of early American and European cottons. Writing features strongly in many quilts - documenting a journey, expressing hopes, vowing love, stating friend- ship, imploring remembrance. The human side of history - about women and children, about food and love, starvation and loss, community and sharing, loneliness and deprivation - is not told in history books. These truths are told through whatever survives of domestic life, and quilts are proving to be a fertile ground EMERY

for research into these matters. It’s too easy to sentimental- LINDA ise quilts, or to dismiss them as the work of idle hands. 1 Detail of Road to California participants quilt of 1988. Each year Studying and researching them is like studying Art history; everyone contributes one 6-inch block, and a new quilt is made. finding out what makes them look a certain way reveals 2 Block winners. Blocks by 1989 Road to California Conferees to be contributed to the next year's quilt.

32 Winter 1990 NZ Crafts 33 much about the social, economic, political, religious, and made by the people to restore democracy, and to cope with other aspects of the times. the terrible Violations of their rights. These appliqués, with Another regional exhibit, at the Philadelphia Museum of their powerful images, worked in bright cloth and other Art, of 19th century applique quilts from the Delaware materials, are both a means of survival for those who make Valley, provides an extraordinary insight into the life and them (in craft-workshops organised by the Catholic times of pre- and post-industrialised Pennsylvania. In- Church), and a way of conveying their painful message to creasingly, at this time, women were encouraged to pro- other parts of the world. vide calm, stable, harmonious homes, to counteract the It is to be hoped that quiltmaking will continue to grow, evils brought about by the rapid erosion of economic and too, while maintaining a healthy respect for the past. moral standards amongst much of the population. Needle- Quilters conferences, symposia, and the like, play an im- work was perceived as teaching the Virtues of patience and portant role here. I was privileged to attend the fourth grace; equally, of course, it was, until the advent of the annual Road to California Quilters Conference in Septem- sewing machine, an essential skill. Signature quilts, as ber. Organizer Brenda Werbelow’s stated aim is to make fund-raising projects for charitable work, and friendship this the ”Quilters’ university, (with) the very best quilts, as parting gifts for families leaving to find work instructors...(and) outstanding class content. I want all the elsewhere (California, perhaps), became popular at this participants to learn and expand their horizons within the time. The technique of appliqué was especially popular in field of quilting”. This three days-and-nights event was this region, amongst both English and German settlers. charged with intensity: a non-stop schedule of workshops,

CURNOW Many of the designs relate to those of ornamental paper lectures, slideshows, exhibits, ensured the total involve-

SUE cutting, which in turn relate to the rich cultural and ment of the 250 participants. Well-known tutors such as religious symbolism, based on natural images, originating Harriet Hargrave, Judith Montano and Elly Sienkiewicz in Germany. conducted workshops in colour illusion and theory, fabric Quiltmaking in America was, and is, a culturally-charged printing and dyeing, geometric and free-form design, vari- activity. There is such a profound certainty of its vital part ous old and new piecing, applique, and quilting tech- in their heritage that amongst quiltmakers of our own time niques, challenging new approaches to familiar themes. A there is a clear acceptance of the value of ’doing' traditional lunchtime fashion parade - the Fairfield Fashion Show - patterns, utilising modern fabrics and techniques. A Visit to showed an appreciative audience a range of pieced and an exhibition of recent work by Guild members - such as appliquéd clothing which defies verbal description. Now the 1989 San Diego Quilt Show - very quickly confirms this. there’s wearable art! So, incidentally, does conversation with the many people, What struck me most about the content of this confer- in many fields, who belong to a neighbourhood group, or ence was, first there’s a growing interest in dyeing, print- who surprise a Visitor by bringing half a dozen family ing, or otherwise creating one’s own cloth for quilts. quilts. Image-producing techniques which have hitherto been Those who challenge, or seek to expand, the boundaries, used more in other media, such as photography, screen and are, as here in New Zealand, relatively few, and frequently block printing, marbling and other sophisticated dyeing defensive about the labels used to describe their work. San techniques, are giving current quiltmakers more scope for Diego-based New York ’fibre artist’ Deborah Felix, for in- innovation and exploration of ideas. These quiltmakers are CURNOW stance, is adamantly neither a craftsperson nor a quilter, responding to their own time, just as others in the past. SUE despite the use, in her art, of materials and techniques Secondly, I was particularly impressed, and encouraged, Chilean Arpilleras - appliquéd depictions of social upheaval caused by appropriate to these descriptions. Yet surely they are con- by the highly developed technical skills of both tutors and the military coup, and of some of the ways in which people are coping. tributors to the on-going saga of textile production and participants: ’creativity’ does not necessitate getting rough consumption, women who are speaking in their own time with the materials among American quiltmakers. On the of their own society’s concerns. And while, in our own contrary, Jean Ray Laury’s screen printed traditional motifs time, there is a more indulgent attitude toward self con- are meticulously executed, in every detail. Jan Myers sciousness and, overt self-expression, in any medium, Newberry’s hand-dyed cottons are skilfully and elegantly quiltmaking has always provided a legitimate means of manipulated in shimmering designs, and many more expressing feelings - frequently, as now, with words as well examples abound. as pictures. Thirdly, with very few exceptions, quiltmaking in Amer- Indeed, textiles generally world-wide, have long pro- ica is considered to be a genre on its own — not ’lumped in“ ERY vided a vehicle for statement and communication. From with all the fibre arts. This is an important aspect of its EM the Bayeux tapestry to the AIDS Quilt; from the appliquéd revitalisation in my View. Although certain attempts-have

DA banners of Dahomey to LIN the Tivaevae of Eastern Polynesia; been made to produce collaborative efforts between artists and from the Arpilleras of Chile to Hmong story-blankets. and quiltmakers, these must be seen as experimental. In 1 Detail of Lone Eagle quilt, family name of which is Lindy’s Plane 1930- Living in South-Western California, one can hardly help many ways, the assumption that a quilt designed by an 40. This quilt was in the Ho for California show. being - as Iwas - constantly aware of, and curious about, the artist is ’better’ than one designed by a quiltmaker is 2 The Machado Quilt, made in San Diego c1850. Shown here at the Ho rich textile for California show. heritage of Central and South America. Mexi- harmful - even insulting - to the perception and reputation can and Guatemalan weaving and embroidery, Chilean of quiltmakers. Several art galleries on the East Coast are and Columbian applique: so much to discover, such a now specialising in the work of contemporary quiltmakers, wealth of vital, living, growing textile endeavour. A vivid whose work is based on their own ideas, not on other forms example of this was an exhibition of sixty colourful and of art or even other quilts. Certain New Zealanders are also moving works of folk-art, presented by the Latin American working in this way, and achieving recognition here and Cultural Centre at the University of California, San Diego. elsewhere. The 19905 will be an exciting time for those of Arpilleras (r-p-yer-as) are small appliquéd pictures worked us who enjoy, admire, and create quilts, of every sort. on burlap (hessian). They depict such subjects as forced un- employment, lack of food and shelter, and other adversi- ties faced by the majority of Chile’s population since the military coup of 1973, and also show the efforts being

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36 Winter 1990 NZ Crafts 37 marketing since, as everybody knows, comfortable in the contemporary art this distinction has certainly collapsed MAITH EW KANCAS almost every article written will result scene, however, she has an acute van- in the 20th century and it is unfortu- in career enhancement and marketa- tage point from which to judge the nate that the craft arts have not taken bility. That’s not the only motivation question of a specialized language for advantage of this situation. for criticism. the crafts. Editor of the leading Ameri— “That is, I believe that many craft “Another reason is more important. can glass magazine, New Work, from artists are reluctant to submit to criti- A serious critical examination means 1983 to 1986, Chambers is also U.S. cal attention. This two-way street of Criticstalk back that you’re at the beginning stage of correspondent for GlassWork (Kyoto, negation of craft criticism has to be being included in art history. Japan) and author of Dale Chihuly: deliberately overcome by both the craft ”Plain puffery is more transparent in Colour, Glass, and Form (1986) as well and general art worlds.” the crafts. One of the reasons I find the as the forthcoming Illusionism, a study Expanding on other comments about combination really reveals as unprece- guage, she responded animatedly. crafts world so fascinating is that of crafts, decorative arts, architecture, the ”special language” issue, Kuspit dented but still insufficient amount of ”Definitely, but because it’s a new craftspeople are more passionate about and design due to be published in echoed Corwin's comment about tech- This article was published in a recent professional media, journalistic, and field, only about 100 years old, there’s their reactions to negative writing. I Great Britain late this year. nical language being the only differ- issue of The Crafts Report (January critical coverage about the nation’s a chance to do this kind of history that find in this more of a sense of what it Chambers argues, ”there is a need ence. He posited ”many languages of 1990), and is here reproduced with oldest, most continuous artforms. utilizes both old and new methods or means to be an artist.” for a specialized language for the crafts. criticism” which could be applied to that publication’s kind permission. With the 20th century drawing to a approaches. There’s the possibility of Passionate, lively, controversial, and Given their history, their relationship the crafts, such as psychoanalysis. The recent discussion in New close, we must guard against a reim- using older traditions and drawing from negative are words that describe ROB to design and decorative arts, there are ”It seems to me that if craft wants to Zealand concerning the perimeters position of traditionally exclusive contemporary art and literary theory BARNARD of Timberville, Virginia, special needs that are not addressed by be taken seriously, and move from of ’art’ and ’craft’ as useful critical hierarchies, as Donald Kuspit points as well as anthropology and material ceramics editor for New ArtExaminer. A painting and sculpture or design criti- artifact to art, it has to be willing to terms has not yet focused on the out, especially in the very century culture. Japanese-trained potter represented in cism. Contemporary crafts fit in be- submit to various critical languages question of criticism in the crafts as a where most categories came tumbling “But, I’ve never understood this talk Washington, DC by the Anton Gal- tween those areas.” that are brought to bear on other art. way of pushing the discussion down, thanks to the avant-garde, and about crafts lacking language. I don’t lery, Barnard is a vivid critic of both the The evolution of crafts criticism still These are often contradictory but if further ahead. If some craftspeople remember that the crafts have much think we need a specific language. A New York City scene and purely mar- faces many obstacles both from read- craft doesn’t submit to any one of are, and many say they are, bored by to offer the contemporary art world. partly different language will evolve. ket-motivated craftsmen. The very ers, and from newspaper and maga- them, it will not be a subject of signifi- the discussion to date, maybe that’s At the same time, significant written There’s enough language already out mention of The Crafts Report brought zine editors. Although one prominent cant discussion and lose whatever ar- because the ’debate’ not only keeps commentary has lagged behind in the there in art criticism in general so if forth an impassioned torrent of words. crafts critic, Patricia Malarcher, the tistic/aesthetic significance it might going over old ground, but also fails crafts because, for example, those art people will use it with a poet’s sense, ”I don’t think a craftsperson who other first year Renwick Fellow, has acquire.” to get into anything like a dialogue, historians to whom the job should then I think we’ll come up with good approaches what they do entirely from long contributed to The New York Times, With this much food for thought, I in which we can actually come to have fallen, decorative arts curators, writing. business concerns should be confused Chambers points out that ”the crafts is am sure The Crafts Report readers will grips with each other’s statements. have written about dead artists. "I think that genuine and perceptive with an artist who puts intellectual covered in The New York Times in the want to respond with ideas and chal- In the following article, the call is for They are catching up gradually but writing can enhance appreciation and philosophical concerns in the Home Section. The writers for the Home lenges of their own. As Karen Cham- more words, more debate, more much remains to be done to codify, better than a deliberately self-con— forefront of their work. If your goal is Section are told not to criticise. They bers urged, a multiplicity of viewpoint discussion, more dialogue, and more preserve, appreciate, and evaluate what sciously complicated language. to make money, criticism is irrelevant. are reporters. Anything that smacks of is crucial because, ”One person real connection between the critical is more and more being seen as one of ”You still have to talk about shiny or On the other hand, if you are an artist criticism is edited out." shouldn’t have that kind of dictatorial languages of art and art history and the most important national artistic matte glazes, twill weave or brocade, and what you trade in is ideas, then Even though she is l’pessimistic” power.” However, she also stresses that the critical languages of crafts and developments of our century: Ameri- cloissonne and casting, but I don’t feel criticism is extremely important." about I’diminishing readership” in criticism is written “to fill some kind of craft history. can crafts. that there’s a need to self— consciously As to the reader’s responsibility with every area of art criticism, Chambers is personal need” and this is where criti- Editor. Perhaps because of the camaraderie invent new terminology." regards to criticism, Barnard is equally still very idealistic about criticism’s cism and craft may meet with open common to craftspersons, they have Though he also has a background in adamant: ”People interested in the role in our lives. ”The real purpose of arms. Verbal expression is just as per- given lip service to the need for criti- art history, JOHN PERREAULT ad- crafts should be more active and ques- criticism is a dialogue between the sonal and creative as artistic expres— cism (read recognition) but have been dresses contemporary issues as an tion others about their points of View. viewer and the maker, and the object. sion and the freedom of independent I nterviews with Bob Barnard, Karen hurt or reluctant to endorse the often independent art critic and exhibitions No one has a corner on any particular It is an educational vehicle. And Iwould opinion must be granted the critic by Chambers, Nancy Corwin, Donald harsh comments or negative judge- curator. Chief art critic for the Village truth. Crafts critics have to be sincere hope it would have no direct impact the reader and artist too. Kuspit, and John Perrault. Five art ments which are a necessary part of the Voice from 1966 to 1974, Perreault is and rigorous so that as a collective on the marketplace. It certainly should A window of opportunity exists at critics were asked to comment on the winnowing-out or wheat-from-the- an ardent advocate of the crafts as an group we can have a voice in the larger not be a tool. There should be an airing this time which could enrich our cul- value of craft criticism: Does the lan- chaff job critics invariably do. antidote to what he sees as the exces- culture.” of opinions but with a very clear idea ture immeasurably in the coming guage of fine art criticism apply to NANCY CORWIN, of Washington, sive hype and frequent vacuity of the Pulling a switch on the familiar fine that nothing is the last word." century. It is the free and spirited inter- crafts? Are crafts losing out in art his- DC, wrote her Ph.D. dissertion at the New York art world. He contributed arts vs. crafts dichotomy, Barnard Moving from insider to outsider, play of critical opinion, and American tory because there is no written history University of Washington, Seattle, WA, ”Crafts Is Art” to the massive Eloquent suggests that some ceramic arts don’t critic and philosopher DONALD KUS- craft. Whatever its relation_ to the or specific language? Can criticism in 1976 on Northern Renaissance art- Object (1987) and has also written ’belong to the crafts’. Pottery is closer PIT rehearses views long held in the art marketplace — sadly, often beyond the affect the perception of an object’s ists, some of whom were tapestry‘de- about Beatrice Wood, George Ohr, to baskets than sculpture. Once you world even though he has been a critic’s control - criticism in its essence worth, encouraging buyers to pay signers and, as the nation’s pre-emi- Viola Frey, Edward Moulthrop, and sort out these categories, you have a sympathetic and insightful observer of as description, analysis, and evaluation more? nent fibre art critic, she is uniquely Elsa Rady, among many others. Per- clearer notion of what artists are trying the crafts. His major theoretical state- is coming of age within the crafts. As the comments of the five critics equipped to relate current contempo- reault is concerned that craftspeople to say. If you are expecting the same ment, ”Art Without Craft/Craft With- Like John Perreault and Rob Bar- below attest, the issue or “problem” of rary fibre practice to both art-historical are ”too thin-skinned about negative gut—punch from a pot as from a sculp- out Art,” appeared in 1979 and he has nard, I sense a turning of interest lately crafts criticism today is a two way precedents and the history of design. criticism”. He got to the root of the ture, you’re going to be disappointed. written generous opinions of ceramic toward functional crafts on the part of street. With the fine arts world also in Staying on in DC. after winning one problem when I asked him about the Again, in a refreshing about face sculptors Robert Arneson and Stephen the critics, yet the modes of discourse flux, not to say disarray, the moment is of the first two James Renwick fellow- fickle reception of craftspeople to seri- among critics, Barnard stresses that he DeStaebler, among others. His latest - how to talk about them — are far from ripe for both crafts’ acceptance and ships in American crafts at the Na- ous criticism in general. ”The problem has “reservations in the crafts field book, The New Subjectivism (UMI Press), clear. As the contributors above have influence. The achievements of craft tional Museum of American Art, she is with the reception issue is that readers about the tendency of artists to seek is a collection of recent Artforum re- demonstrated, the interest in both artists have attracted the interest of completing a history of the American of crafts criticism have been condi- fine art status by abandoning their views and other essays. functional and nonfunctional crafts is increasing numbers of fine art critics. fibre art movement and writes on other tioned to expect a market profile fan- own basic nature.” Speaking from his Chelsea loft, Kus- there. Now, craft artists must guaran- Add to this the more seasoned observ- craft media as well. cied up a bit with technical or bio- Along with Rob Barnard, KAREN pit cautioned "there has always been tee that they present their best work ers of the scene who only write about When I asked her if the crafts were graphical information but what they CHAMBERS of New York City is proba- an implicit prejudice against crafts possible in the new but rocky period of crafts or those, like myself, who have losing out in art history because there really want to read is ‘what's hot.’ bly the best of the critics writing from based on the hierarchical distinction advanced judgement, scrutiny and always written about both, and the is no written history or specific lan- ”The crafts are more up front about deep inside the crafts world. Equally between high and low art. However praise.

38 Winter 1990 NZ Crafts 39 RESOURCE CENTRE Many hands make craft work! Become a member of the Crafts Council of New Zealand and help make crafts happen

Out Of The Moving Waves - Synergistic Games - The confi- Safety Data Information - some notes on Chinese Paper- dential exploits of self-deception Compiled by Batik Oetoro this is Aims Articles making byJames Rumford. A brief is the title of one of Louis an important safety guide for represent craftspeople on a national basis The following articles have summary of some exciting an- Mueller’s recent six—foot-high craftspeople handling manufac- The Crafts Council of New appeared in journals recently re- cient techniques. wall pieces. This paradoxical atti- tured dyes. 0 lobby for and negotiate on issues effecting craftspeople ceived by the Resource Centre. Hand Papennaking Winter 1989, tude perhaps describes Mueller’s Craft Dyers’ March 1990, pp 14- Zealand exists to support 0 provide a comprehensive information service of resource These articles can be seen in the pp 6-9 on-going body of work, which is 15 all craftspeople and to materials on all aspects of the crafts Resource Centre or copies can be at once furniture and sculpture, 0 facilitate communication between craftspeople obtained. Requests for copies A Basket Is by Patricia Malarcher. wallmounts and bodymounts, foster crafts. . promote the image of New Zealand craft should be accompanied by pay- The new basketry still reaching sleekly industrial and disarmingly 0 ensure the availability of appropriate craft training and ment of 25c per page plus SAE. for its outer limits. Contempo- vernacular. Addison Parks ex- education rary crafts people add a new and plores the momentum and possi- arrange discussions, lectures, workshops and other Tapestry in America - An Over- vital chapter to the history of bilities in Mueller’s work. and stimulate craftspeople and the view from Slightly Outside by basket making with no limits on Metalsmith Winter 1990, pp 14- /——\ activities to instruct Archie Brennan. "... there is concept or execution. 17 general public nevertheless a wish to try to iden- American Craft Feb/Mar 1990, pp tify emerging national and re- 40—45 gional characteristics in tapestry Benefits and privileges of membership that can be said to be ‘Ameri- VALLEY Join the Crafts Council of Four issues a year of our quality magazine New Zea/and can’”. Mr Brennan retraces the Crafts, to provide you with in-depth knowledge of the development in Tapestry in New Zealand and help us New Zealand crafts scene North America over the last 15 WOOLS with years. h achieve these aims. Regular CCNZ newsletters, to keep you up—to—date Fibrearts Jan/Feb 1990, pp 30—33. the activities you are helping to promote LTD The chance to have your say and participate in the Faience Ornaments by Robert K biannual national crafts conference, a meeting place and Lui. Discovered almost 7,000 — forum for all craftspeople years ago, exquisite samples of We can dye your Additional benefits, such as special offers, discounts and this unique self-glazing siliceous concessionary rates, that we are able to associate with ceramic jewellery are shown here. individual fleeces, Books many of these activities Ornament Winter 1989, pp 16-17 SPUN OR UNSPUN. Print The Magic Potency of Berber Millwood Antique engravings Services Jewellery byJamesJereb. Aback- We also have a range of grounder on Berber folk neck- These are some of the the Crafts Council Gallery, our showcase for the very laces. Some of the most dramatic Brushed Mohair Old maps best of New Zealand Crafts jewellery in the world that proj- Gallery Yarns at factory prices services offered by CCNZ the Resource Centre, maintaining information services ects a powerful statement about Specialists in the benefitting all including a slide library, the CCNZ crafts register and the the unique creativity of Berber and selected Index of New Zealand Craftworkers women. Tumbull Library advocacy and representation on craft issues Ornament Winter 1989, pp 16-17 Dyeing Supplies craftspeople. Books also available reproduction prints Wearable Tapestry - Helen Bane’s needlewoven necklaces are Prints The Foyer Membership subscription rates miniature tapestries that incor— National Library Building Join the CCNZ now. Individual member $41.00 (GST inc) per annum porate beads, coins and precious Paintings Molesworth St Joint members* $56.00 (GST inc) per annum fibres, and the technique isn’t Craft Design Student $31.00 (GST inc) per annum difficult to learn. Antique engravings VALLEY Wellington * Designed for 2 people working together who would re- Threads Magazine Feb/Mar 1990, New Zealand one copy of each magazine and newsletter, but all pp 30-35 WOOLS ceive Old maps Telephone: (04) 743-124 other benefits and privileges on an individual basis Dyeing Fleece Wool In A Micro- LTD wave Oven by Sally McLean. \___f How to dye skeins of wool and 291b Tinakori Road PO Box 40128 knitted garments in a large mi- Crafts Council of New Zealand Inc. crowave oven with a plastic Thorndon Upper Hutt bucket dye bath. Wellington PO Box 498 The Webb March 1990, pp 28/29 New Zealand Phone (04) 279 000 Wellington Telephone: (04) 735-176 \—_/

40 Winter 1990