CRAFTS COUNCIL OF NEW ZEALAND (INC) 22 The Terrace Wellington OELU ZEHLHOD Phone: 727-018

1987/88 EXECUTIVE COMMITTEE PRESIDENT: The Crafts Cannril afNeu' Zealand John Scott (Int) is no! responsiblefin' statements 101 Putiki Drive WANGANUI and opinions published in NZ Ci'tgfis 064-50997 W nor do they m'ressin'ily relief! the Editorial 064—56921 H I’lt’II’S ofthe (Int/ix Comn‘il. Crafts Council Magazine No 23 Autumn 1988 VICE “Craft has ceased (however), to be mere decoration, and PRESIDENTS: the Anne Field craftsman has become the rival ofthe fine artist. Craft 37 Rhodes Street objects increasingly tend to be used in precisely the same CHRISTCHURCH way as paintings and scul ture in domestic and other 03-799-553 interiors — as space modulhtors and as activators of Melanie Cooper Introduction by Elizabeth Evans particular environments. ” 17 Stowe Hill So writes Edward Lucie-Smith, one of the world’s finest Thorndon WELLINGTON Craft Design Courses: the Lead-up 04734-887 writers on Art in his introduction to the inaugural by Ray Thorburn and Gavin Wilson exhibltlon at the American Craft Museum in New York. EXECUTIVE COMMITTEE: Exciting words, and having visited the museum at the Jenny Barraud An emerging Divers1ty 10 Richardson Street NELSON After two years. Craft Design courses around time ofits opening I can appreciate the sentiments 05484-619 expressed. One was given the clear impression that craft the country are developing their own hall—marks and art are inseparable, and that craft provided a greater James E. Bowman by Jenny Pattl'ir'k 103 Major Drive ran e of opportunities for artistic expression than the Kelson WELLINGTON Fientje Allis Van Rossum — a tutor profile by Eric Flegg traditional “fine arts”. 04-6724059 W 15 It seems appropriate at this time to recognise these 04-6507268 H John Byrne 7 a tutor profile by his students 17 developments in New Zealand crafts and at the same time Malcolm Harrison sound a warning. It crhaps goes without saying (but I’ll 2/57 Norwood Road Bayswater A student’s View 18 say it nevertheless) tiiat craft can be art but not all art is AUCKLAND Other Full time courses 19 fine craft. Owen Mapp 118 Ruapehu Street Jacob SCOtt — a tutor profile by Dave Waugh The introduction of Craft Design courses into the PARAPARAUMU 25 technical institutes intended to develop the higher 058-88-392 standards of craftsmanship, but the tendency and the trend GBOff Wilson — a tutor profile by Went/y Laurenson 27 overseas is to develop a preoccupation with the David Russell 174 Balmoral Drive A student’s view 28 production of single artistic items. INVERCARGILL Photography and regular exhibition of the craftsman’s 024—893-685 lliniginnii — Kari Shadwell John Shaw a tutor profile by James Krenov 29 products can lead to a beliefin students that “art” items Lill"l’.k liliit'l'til'ili’till t'tll'l‘lll.kl. llvllt’Il I/IL’ )I‘L'i't‘a‘ iii't’ I't‘llltil’t'il Robyn Stewart the bright painted interior nations are ream/ml. (See Kelly Thompson a tutor profile by Pam Smart 31 are more desirable than the functional, the traditional, and Weranui Road Waiwera rni'rr phalo‘qriiph) the multiple additions ofhighly crafted items. NORTH AUCKLAND 65-946 Arts Council Back-up by Edith Ryan 32 Perhaps rather than saying that New Zealand craft is at a crossroads, Alison Taylor Full-time Craft Courses at tertiary level in a a better analogy might be to see us moving 2 Frank Street ROTORUA from a single lane highway to a ten lane motorway. Craft 073-478-117 single medium 35 is developing at different speeds in different lanes, and the introduction ofthe Craft Design courses and the new Corporate Members of The PFOCeSS Of Discovery by Jack Slut/[crass 39 Diplomas has enhanced the profile of craft and should Crafts Council of New Zealand provide Full-time Art, Craft & Design Courses in a body of artists who will change the face of arts KERR 8. CAIN and crafts in this country. SECURITIES COMMISSION New Zealand 40 Lucie—Smith also comments that crafts eople are a society MOBIL OIL (NZ) LIMITED Other Full-time Courses 47 within a society, a society which is perhaps envied by CALTEX OIL (NZ) LIMITED others who see crafts eople as a group who have found a NEW ZEALAND MARKET Part-time Art, Craft & Design Courses 51 very personal way ofpimpacting on a society. DEVELOPMENT BOARD Non Formal Learning Opportunities 52 This double edition which features the craft courses in NEW ZEALAND TOURIST AND New Zealand recognises all the work that has gone into PUBLICITY DEPARTMENT The Resource Centre of the Craft Council 55 putting these courses in place and heralding the beginning AZIMUTH SYSTEMS LIMITED ofa new era in crafts in this country. Staff On behalf of the craftspeople ofthis country, both present Executive Director and future, and of the educational system I wish to Rosemary Shannon acknowledge and thank all those previous Crafts Council Information Liaison Officer executive and staff who worked so energetically and Jean Hastedt enthusiastically towards the introduction of education in Gallery Director craft. Karen Overton Gallery Assistant John W. Scott Celia Kennedy President, Crafts Council ofN.Z. Secretary/typist Christine Walters Advertising Rates Photography: Editorial Board Art Director Ans Westra Edith Ryan — OEII Arts Council Bob Bassant Advertising rates and bookings: Raewyn Smith — Crafts Council of NZ Crafts Council of New Zealand, Originally from Holland. Trained to Ray Thorburn 7 Department of Education Typesetting and Composition PO. Box 498, Wellington, become a teacher of textile crafts, but TypeHouse-John van Hulst Ltd. Tel: 7277018 became more interested in making a Guest Editors Subscription and Editorial living in photography shortly after Jenny Pattrick Printing Enquiries: settling in New Zealand in the late 50s Elizabeth Evans Lithoprint (New Zealand) Ltd. Crafts Council of New Zealand, Compiled several books of her Acting Editor: Raewyn Smith PO. Box 498, Wellington, photographs as well as exhibitions. Photolithography Tel: 727-018 Most of her work is in the Editorial Assistance Colourcratt Reprographics Ltd. documentary style, concentrating on Deadline for copy for next issue Geri Thomas 25 March people. Two views: Ray Thorbum an educator and artist and Carin Wilson a craftsman look back at the years leading up to the introduction of Craft Design Courses in New Zealand tertiary education.

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Have you ever thought what it would be like if Some have family help but most have part—tiiiie S33‘12 'i ,-., ‘ there were earthquake shocks simultaneously Jobs to help with money for materials and travel. flowing through the whole of New Zealand? Most courses have few full—tiinc tutors in That is what it feels like visiting the Craft Design addition to the Course Supervisor. They usually Courses (CDC) from Whangarei to Southland. The Lead-up depend on part-time tutoring by local artists who The energy and vitality ofthe students and tutors are highly skilled in their craft and often bring in is evident when considering the wide variety of artists from other parts of New Zealand. skills achieved and media with which they work. Sometimes it is possible to bring people from The Polytechnics chosen to start CDC in overseas or use those brought in by the Crafts February 1986 were Carrington, Hawkes Bay, Council or the national guilds to take workshops. Nelson, Northland, Otago, Southland, Waiariki, This means that students have access to the best Waikato and Wanganui followed in February 1987 possible media experience. with the addition of Christchurch and Important areas are drawing aiid design and Parumoana. several courses spend most ofthe first year on this discipline. Others give as wide an experience — cognitive dimensions and demands of The character ofthe Institutes is as varied as the as possible in media/craft skills and relate design VOCATIONAL TRAINING IN their chosen field. Whatever the reason students who attend them and the environments development to them. The final aim is the same — art and craft is much more than divine in which they are placed. Some are very large, CRAFT DESIGN: A PATHWAY inspiration. It is hard work albeit very to help students develop skills of research, NEW HORIZONS like Waikato in the middle ofthe fast expanding experiment and design consciousness to enable TO rewarding for those capable of City of Hamilton to the very small in Wanganui. them to create work to the highest possible — producing it and sustaining the energy Waiariki in Rotorua has named their course, standard. level. “Craft Design Maori” and Southland, although The realjourney began in the 1950s situated in Invercargill, used over three hundred Evaluation of progress is ongoing and positively under the inspired leadership of Dr Encouraged by the leadership of part—time tutors in term 1 last year to cover integrated into the courses. Clarence Beeby, Director General of William Renwick, the recently retired the outposts over Southland and as far North as Education. However, ever since then a Director General of Education, Students have time off campus every year for naive beliefhas lingered, ie that art and “fun but not work” myth was swept Queenstown where they started their Southern worksho /studio experience and they spend it Art School ten years ago. craft education was alljoyful discovery. aside by a courageous and far reaching with cra tspeople and in businesses gaining Fun to do but not a serious classroom Government policy decision, Many ofthe courses started without suitable experience by working alongside artists who earn pursuit. Creative talent it would seem announced by The Honourable Russell accommodation, but slowly buildings are being their living from their craft. This is a very was a mystical power source deep Marshall, Minister of Education on 14 developed, built or planned specifically to popular part ofthe course and students are inside us all, patiently waiting to bloom june 1985. He stated that “the potential provide workshops and classrooms for the introduced to the realities of survival. into innocent imagery, untutored and value ofthe craft industry for students. In the process oftheir research students become untarnished by adult intervention. Such employment and as a major earner of involved with the community and it is important a view not only misrepresented the local and overseas funds is recognised Waiariki, in addition to existing rooms, have that they do not lose touch with people or other holistic approach espoused in the 1950’s in an important feature ofthe Budget opened a large new complex which houses wood, students in the wider institute—they must become but it cannot be substantiated. education package with the funding of painting, fibre, gallery, student area and space for self—motivated and their observation, experience Nevertheless the myth lingers on. certificate courses in craft education All successfuljourneys require inulti—inedia projects. Waikato has moved into a . . this whole programme is an considerable planning. This one even and education wide. Sometimes it is difficult for The “art is fun but not work” yndrome new multi-storey block and Institutes and tutors exciting concept which I believe should more so because it was traversing new people to realise that learning is notjust is still widespread. Craft was also view suitable factory and hospital space with have far reaching im acts on the quality ground, opening up unexplored classroom orientated, but what appears to be same brush. Moreover, more thanjust a gleam in their eyes. tainted by the and quantities of crafts being produced territory. It required a new approach informal is usually part ofinteiise research and articles in glossy romanticised in New Zealand as well as a potential and a multi disciplinary, participatory individual discovery important to the student and publications haven’t helped demystify There are many things the courses have in employment creator”. a proach to lanning was adopted. At artist. this image. The fact that craftspeople common. The selection criteria for entry to the aii times int e re—im lementation an important contribution This was a landmark decision, a turning courses for The Certificate in Craft Design are Full—time tutors attend tutor training courses and are making plannin period? a wi e range of people to New Zealand’s economy has been point in the history of New Zealand art similar, asking students to present folios of work, it was very quickly recognised that some ofthe with diéerent views, backgrounds and in favour ofthe more education. It meant that art and craft attend interviews and state reasons for training was not applicable to the CDC tutors and down played cultural values provided a rich bank of colourful human interest stories about be dismissed as application. The unusual aspect is that applicants the tutor trainers are recognising that often the could no longer ideas to work from. need not have specific academic qualifications and art tutor/student relationship must be on a one to lifestyle. innocent fun. It had grown up. New this has opened the courses to intending students one basis and they have agreed that it is necessary horizons were ahead. Following extensive discussions with Crafts eople however know better. polytechnic tutors and craftspeople from all backgrounds and age groups, and levels to cater for this. As students grow to the point Each day they are reminded of the Be February 1986, a mere 7 months throughout the country, a strategic of skills — BUT — they must be highly motivated where they need to pursue their own research to give significant budget announcement, 9 discipline required after the outline was prepared. It included a key and dedicated. the tutor becomes a facilitator. form to their ideas while earning a year craft design courses fulltime, two meeting in November 1984 between and built Students between fifteen and sixty years are There is a wide diversity of media study living. Yet they too may have had been designed, resourced the Crafts Council of New Zealand and to the myth Spanning the country, eligible for Tertiary Assistance Grants and those throughout the courses and information can be inadvertently contributed from scratch. the Department of Education attended Whangarei in the who must live away from home may be eligible found either in this magazine or by applying to by, according to Gardiner (1983), they spread from by the Director General. There was conspiratorial silence Invercargill in the deep south. for a further accommodation grant. Life is very the institutes for a prospectus and further maintaining a north to 511 port to develop a proposal for a and a great basic for those whose only income is the grant. information. about the arduous training, mental A remarkable achievement fu ltime vocational craft education to Council of New effort and range of skills and abilities credit to the Crafts course. From that point, planning for tutors and produce craft on a regular basis.1 Zealand, polytechnic thejourney ahead began in earnest. Maybe it is because most craftspeople administrators and craftspeople whose in New Zealand are selftaught that few cooperation and dedication made it A seminal meeting was held in have publicly acknowledged the possible. December 1984, at the New Zealand Police College, Porirua, as a follow up Courses began in 1986 with a flourish, action. Some groups, like Details to the Department of Education's needs despite the fact that in some instances representing the interests of the craft analysis. All polytechnic tutors the builders were still sweeping Lip. jewellers, held their own meetings and involved in the survey attended as did Everybody was enthusiastic. At last it . «as» » . started to pull together their own representatives of the Crafts Council. was real. However the euphoric bubble outlines for training. Visiting artist “THAT LYF SO SHORT, THE The purpose was to discuss the next burst mid-year due to Government programmes were always evident, steps. After detailed discussion about budget cuts. This meant that the second CRAFT SO LONG TO LERNE” answering the thirst that had developed craft industry and educational year ofthe course could not be Geoffrey Chaucer for contact with personalities with fresh requirements, course content and resourced as anticipated. In the ensuing input and new material. Norman ‘ structure, two key decisions were months the department tutors and their Creighton reappeared on a brief private made. Firstly that there should be a management went to extraordinary visit and added encouragement to the broadbased two year vocational training lengths to accommodate the What was he talking about? Is it that efforts being made. certificate course in craft design with unexpected situation. Everybody from this is a universal truth about the media specialisation in year two to be the Minister of Education down learning process? It may be that since The event which actually sealed the followed up by a two—three year searched for ways to save the situation long before yours and my time artists end of this period of speculation and diploma course for “those who have and they did so by re—adjusting were already born into a structure heralded a leap toward the introduction have shown outstanding promise or are institutional priorities to ensure the where there existed a compulsion to ofthe present programmes may established professionals”. Secondly, courses would succeed. learn. Where the merest suggestion of been an impromptu meeting at the that a national advisory committee be craftsmanship implied engagement in a 1984 Lincoln conference, or it may established that would include This setback overshadowed another lifelong inquiry embracing skills have been the election ofthe Labour representatives from the craft industry planning milestone. Whereas the development and discovery. Michael government injuly ofthat year. Maybe and interested organisations. The Craft Government could not fully resource Cardew said it very concisely with: it was the combined impact of both. Education Advisory Committee the second year ofthe certificate “The training ofa potter is a process Regardless, this was the year in which includes two representatives each from courses, it did approve a further limited only by the s an ofhis life. ” there was a real shift in the progress. the Crafts Council of New Zealand and certificate course at the new Parumoana For potter read any cfiscipline you wish, Community Polytechnic, Porirua, that The change of Government brought Department of Education, and interpret training as widely as I one each with it a fresh optimism, and a hint that from Nga Puna Waihanga (Maori would pay special attention to Maori believe Michael intended; that is, and Pacific Island cultures, making a a different kind oflistening was now Artists and Writers Association), involving ANY activity to do with total of eleven certificate courses available. Crafts Council Directorjohn Association of Tutors in Technical growth in your work. Schiff was quick to arrange meetings Institutes (ATTI), Technical Institutes nationwide. Furthermore the Or maybe Chaucer’s lines that would help inform the policy Association (TIA), Queen Elizabeth II Government also made a commitment express a sense of frustration at the realisation makers, and reams of paper containing Arts Council, plus a co-optcd to establish the first two year fulltiine that at no time is the learning ever submissions and recommendations and craftsperson and a designer. diploma in craft design beyond the certificate. The original approval for done. That new and enlarged arguments and outlines began to one centre was extended to four due to educational opportunities will always accumulate. Looking back through the The Porirua meeting was pivotal in further funding. All four diploma exist as part of the vision for human papers is something ofa revelation, for laying the foundation for the new courses began in February 1988 at growth. it is clear that a huge amount of energy policy proposal to Government that Carrington, Waikato, Nelson and was directed at the task of winning the established ten fulltiine two year craft No wonder then that my own Waiariki polytechnics. The latter will result, and the exceptional design certificate courses and memories ofthe beginnings of our offer the first ever fulltiine course in contributions ofthe front—liners in the acceptance in principle ofa two year quest for craft education programmes contemporary Maori craft design. This ! action is plainly obvious. I have to take diploma course for selected students. are blurred by a sense ofhaving walked was a significant achievement the opportunity here to acknowledge into something that already had )articularly when thejourney only Norman’s contribution to the Council/Crafts Council survey of the enormous efforts ofthose people momentum; and of catching From the outset the Crafts Council and began two years ago. It exemplified the a pass or conference was crowned with the vocational opportunities in the crafts whom I was privileged to meet and taking up the loose ball and pressing on polytechnic tutors had an important Government’s commitment to Resolution that ‘The Crafts Council was launched. All ofthis added weight work with during this period. for the goal. role in plotting direction. Carin Wilson vocational craft training. makes education its main riority in the to the sense of purpose that had been had driven our effort and Campbell Hegan, both past You want history? OK, I'll tell all I year 1980—81’. After it hadpended he developed at the Hastings conference, The vision that The intended outcome is a new around what we had seen presidents ofthe Crafts Council know. The Crafts Council in its present went on to talk to many ofhis own and the talk about programmes became was formed generation of craftspeople who can programmes in deserve special mention. After the form came into being at a meeting colleagues in institutions around the more aligned with expressions of and heard of successful produce forms ofthe highest aesthetic Ireland, the USA, Minister’sjune 1985 announcement. gathered at the Dowse Gallery back in country, encouraging the inclusion of ‘when’ rather than ‘if. A much clearer England, Scotland, quality with cultural integrity, equal to Australia. All of these three further meetings were held in 1977. Three years later its first ever craft training opportunities in existing articulation of what was wanted was Scandinavia and anything beyond our shores. Idealistic? themselves to be quick succession. On 2 August 1985 the conference was held at Hastings — local education programmes. His beginning to emerge from the internal countries had shown in the National Craft Education Advisory Certainly, but why go for second best. August 1980. efforts. though not always dialogue, and the spokespeople for the several steps ahead of us Committee held its first meeting. Its oftheir craft training The craft industry is a multi—million sympathetically received. almost movement were occasionally graced development Guest speaker at the 1980 conference programmes. It’s fair to say that the purpose was to advise the Department dollar business. The need for well certainly sowed seeds that would bear with opportunities to put their views. of Education on the implementation was Norman Creighton. Australian, of such programmes were trained artists and craftspeople is fruit later. benefits and development of the craft design jeweller, Educationist, Dinkum. This there was very evident in the work being produced at urgent. We look to the graduauds of Interestingly enough, courses. may or may not have been his first jenny Pattrick was the Crafts Council's of levels in those the new polytechnic certificate and little dialogue with the Department student/graduate contact with New Zealand and with the President during this period. She time. It was countries. A uniformly high standard diploma in craft design courses for Education around this The next week a conference for key Maori people, (many ofthe conference responded to the call ofthe conference of an established through their inspiration and example. commonly seen as something had been tutors was held at Wanganui Regional delegates were magnificently hosted on with some gusto, first visiting several impenetrable monolith. I remember a influence on the community perception Community College, at which national Ka pu te ruha, ka hao te rangatahi. a local Marae) but I remember that he institutes with an existing track record meeting with Curriculum Advisory of craft as vocation/creative activity in objectives were formulated and later threw himselfinto the activity of that ofinvolvement in either art or craft Officer Peter Bleakley (who was the lth century. ratified at a national course in Dr Ray Thorburn weekend with tremendous enthusiasm programmes, then producing a _ very sympathetic) and his himself Our enquiries didn’t reveal any September 1985, at the Lopdell and energy. His message had largely to discussion paper suggesting an outline perfectly frank and embarrassed universal formula for success, but Inservice Centre, Auckland. This References do with the value of a sound for a Diploma programme. in his time in the confession that certain common elements kept meeting included representatives from 1. Gardiner. H. Artistic Intelligence. Art educational foundation as a springboard he had seen it use up to 14 A regular flurry of activity followed Department reappearing, and seemed to have each national craft organisation. Education. National Art Education for the dissemination ofskills and an idea for something new during the next two years. Most years to take worked. We had collected these Outcomes included an implementation Association. Virginia. March 1983. aesthetic appreciations. and his turn it into an ongoing visiting artists or arts bureaucrats would like this and together under the central objective of plan and agreement to work together, id Notes froui Art Craft &‘ Design in Technical admonition to us was that we were have something to say about the need programme. an institute that would stand alone, and pooling expertise to ease the burden of Institutes Conference. 4—5 December 198-1. foolish to accept what we had (next to for educational opportunities and were become the focal point of craft designing courses, preparing New Zealand Police College. Porirua. nothing in the way of committed years through roped into interactions where they You might say that the education in this country. architectural briefs, ordering materials, support from the education would have a chance to express their 1983—84 were spent keeping the advertising and promoting, selecting .\'nlr: Dr T/IOI'IHH‘H I.\' [he Iii/intuit)“ Qflii’cr and establishment) as to status quo. He views; the new executive of the Crafts momentum rolling, looking for Among the guiding concepts, the students and a myriad oftasks each National Spokcxpcrxiuijiu' iirr (raft and design showed how the emergence of the Council reaffirmed education as a openings that might help us to edge following appealed strongly: demanding instant attention. Against all cdilrariim in Ici'ri'ary i'dnriuimifln' [/IL' crafts in Australia had been accelerated priority goal; the keynote speaker at closer to the goal. Locally, people were — a figurehead director, with good odds, due only to the amazing resolve I.)cpurrmcm (I/‘iEdHl'LIIIUH. by the importation of well—honed the next biannual conference at talking to their Institutes about getting visible credentials in the quality of and cooperation of all participants the making skills into that country‘s Hamilton was Carinon Slater, a the content oftheir ‘hobby‘ his/her work as a practising artist and doors opened on time in nine teaching community. and counselled us prominent American fibre artist and programmes right. The Crafts Council as an educator. one exception. to look for a hearing in some of this polytechnics with the educationist', an international had its Education subcommittee, which — an advisory board made up of figures The tenth at Christchurch Polytechnic country’s institutions so that similar conference on Apprenticeship was held spent much ofits time trying to help ‘ selected from within the craft was not due to begin until 1987. openings might be created here. at Sydney; and the Vocational Training turn the VTC report into a new plan of community, appointed with the 4 ap roval of the Director-General of actually engage from the beginning fastest fast—tracking of any new course are E ucation (who would also have his in the enquiry that would enable implementation ever. Phase two, if we After two years, Craft Design Courses around the country own representatives on the board). them to achieve a strong and original can call it that, began when the first at staffing by practising professionals, style oftheir own. Diploma course got under way in 1988. developing their own hallmarks. Jenny Pattrick visited four — who would bring an explicit fostering links with industry, so that So there’s the history. A year and two master/a prentice relationship to the the centre would act as a catalyst for Hamilton (Waikato Polytechnic), Rotorua (Waiariki Polytechnic), terms later, its time to examine what process, but not at the expense of the cross—fertilisation ofideas and we got, and whether it was worth it. Is their own work as artists, which energies (a sort of mini—DSIR for the Regional Community College) and this cause for celebration? Is any Wanganui (Wanganui would be expected to continue as a crafts?) and achieve results that education programme better than none source of inspiration for the students would flow on into the community: Invercargill (Southland Polytechnic). She found different identities around them. similar to what is being achieved in at all? a multidisciplinary/multimedia bias. Scandinavia with companies like Clearly any programme so hastily emerging. Of all ofthe developments seen in Arabia and Marimekko, and also in brought together will take time to the evolution of craft as expression in line with the Irish project at Kilkenny shake itself out, and there exists a great recent times, the drift towards a and the follow-on Scottish deal of goodwill and a strong cross—fertilisation ofideas and mixing counterpart to this at the Highlands committment to see the programmes of materials had been very evident, and Islands Development Board, achieve brilliant results. It’s Iny bet that All of the established institutions Inverness. the next five years will see only four or seen had shown a preference for also strongly articulated at this time five institutions promising their exposin their students to as broad a was an intention to have a two—tiered students something more than general range 0 approaches to the making structure established in the education competence, and it will take longer process as possible, and encouraging process. This would recognise that than that for the community to see the experiment with combining craft is practised at a level that has tangible evidence of the value ofthese JENNY PATTRlCK materials and developing skills in mainly to do with making as a courses. The programmes have still to several directions at once. This repetitive and mechanical process on acquire an image that will make is a ieweller and a member ofDetails Group. approach has led to a much more the one hand, and also at a highly students of exceptional talent compete Her work is widely exhibited both within diverse language of expression in creative and innovative level on the for places in the classes, rather than New Zealand and overseas. craft in this age than at any time in other. We envisaged that the electing first to have a shot at entry into history. She is turrently Deputy Chairman oLiII structure of any programme should Ilam or Elam. We have yet to establish Arts Connril ofNew Zealand and low teacher—student ratios; ideally accommodate the quite distinct needs the perception that the crafts are a Chairperson ofits Craft Panel. From expressed at around 1:8 but not ofthe latter, and elected that this viable and rewarding alternative to any 1979-81 she was President ofthe Crafts exceeding 1:12 to ensure attentive should be given greater emphasis in ofthe regular career options available Counril ofNew Zealand. interest in the students’ growth. the diploma course structure during today. On the (duration side,]enny is a trained em hasis on creativity and the second two-year training phase. leather with a degree in English. She has sel —expression, with quality Carin Wilson lertured injewellery at Wellington 'I'eaehers remaining foremost in the mix. The The certainty that a Certificate course rollege and presently tutors part-time in the idea was not simply to have students in craft education was assured for 1986 Craft Design Course at Paritmoana Note: Carin I'Vilson is a woodworker and a past Community Polyteehnir. develop manipulative skills or a became public knowledge on 14june President of the Crafts Conneil of New literacy with the materials, but to 1985, and there followed probably the Zealand She has also been a ro-editor ofN.Z. Crafts magazine and has written many artirlesjor it.

An emerging diversity

to study at Sydney College ofthe Arts in 1988. graduate WAIKATO POLYTECHNIC Daniel Clasby, an American with post THE training in Amsterdam, teaches tlieJewellery A BACKBONE OF DESIGN classes. Aime Gaston, has a New Zealand Certificate in Energy and drive are almost a phyiscal presence Weaving from Nelson and teaches in the fibre at the Waikato Polytechnic Craft Design course. area, while Sue Flight, also New Zealand trained, Mind you, I arrived on deadline day for end of teaches batik, shibori and printmaking. vear assignments so there was a certain amount of An international exuberance and a strong the students. barely controlled panic activity from emphasis on design are features of the Waikato I’m That’s healthy and lively. But the energy Craft Design course. As a staff the tutors get the talking about here comes particularly from together weekly, though they are nearly all staff. part-time. This is definitely not your run—of—the—mill, “With all our backgrounds, there is a kind of Waikato’s best—of—New Zealand—craft—scene staff. explosion ofideas — theories bouncing in all symposium stafflist sounds like an international directions” says Fientje, gesturing Wildly to for art educators. illustrate. “We’ve had some great arguments, but Fientjc Allis—Van Rossum tutors in design and we all agree that design should be the backbone

fibres. She is North American-traincd—Dutch. Art of the course.” WAIKATO of history and drawing is the responsibility At Waikato the media—based tutors don’t teach in Maurizio Sarsini, an Italian artist Ph.D blocks of time. They tutor at least one day a in Fine architecture with additional qualifications week through the whole year. Fientje Will javier Meade, Arts and Archaeology. A Mexican, introduce one aspect of design — texture, colour, this tutors in graphics. He is going overseas positive/negative — and give the students an of ” coming year. “A great loss” says Head assignment which they can carry out in . back. Department Desna Jury, “but he’ll be whichever medium they choose - or a mixture. her Don Thornley has researched innovative ceramic So the weaving tutor for example will align has been teaching that week or fortnight to that particular Waikato — Rosemary Booth. .\Ii.\‘ed possibilities over a number of years. He ".Marle Onre” .Media ahstmrt oftar — sterling silt/er, rapper, dyed silk, concept. amethyst (771d pt’t'Spt'X. awarded a QE II senior artist craftsman 5 award design Fientje talks animatedly about her holistic Vicki Smith and Sally Rains on war/e experience with approach to design: “You need to develop both Myrtlee Piebenga at Mahoemti- your intuitive and your rational qualities” she says. “In New Zealand crafts people have tended to rely on intuition to tell them when a piece works. Many crafts people here have a finely developed intuitive sense of design but I believe : till Wl __ the time has passed when that is enough. You 4 also need the rational, learned design skills. Then when you get stuck, or a design doesn’t work, you can use your theory as a kind of checklist.to get you out ofthe hole.”

This insistence on the importance oftheory and reason, claims Fientje, develops the left side of the brain — the ‘logical’ side — and improves other skills too — especially verbal ones. “I make the students “sell” their finished assignments to the others in the class” she says. “It’s no good for a crafts person to take their work to a shop or a client andjust dump it down, mumble something apologetic and retreat fast. You’ve got to be proud of your work. You’ve got to be able to say “Look, see this lovely line here? I put it there because I felt this or that. . .”. You’ve got to be able to put a value on your work both in money and aesthetic terms.”

Desna jury enters the discussion here. She is Head ofthe Design Department which encompasses graphics, media studies, display, retail and hotography courses as well as the craft Another interesting opportunity for the students design andynew craft diploma courses. Desna’s arose in their first year. For the Cambridge particular teaching skills are in communication — centennial the Cambridge Spinners and Weavers media studies. She is proud ofthe way the craft asked the students to design a large woven wall design students have improved as communicators hanging. The Society chose one design and wove as well as in design. it as ajoint project, consulting with the student whose design it was. At the opening, the whole As we talk in her office tutors with varying course went to Cambridge and shared the WAIARIKI POLYTECHNIC DESIGN FROM THE HEART thicknesses of accent pop in and out with queries celebration. The Cambridge Spinners and — and problems. Desna asks Don Thornley to check Weavers couldn’t afford a design fee but donated that the students clear wool and fleeces for the students’ use. up the craft design rooms Maori art and craft emphasis is the centre pole of other is an awareness of Maori design values but as this is their last day, A few minutes laterjavier It was obviously a high point for everyone, the Waiariki Craft design course. This does not applied in a contemporary way. Where applicable informs us that a couple of students have thrown especially George, the designer. The woven rug mean that Pakeha students are not acceptable. we teach traditional skills and ifa senior student a tantrum because people are trying to clean up was strong and symbolic of Maori tradition and Any student may apply as long as they can accept wanted to train in traditional design we would while they are desperately finishing work. Desna its blending with Pakeha ideas. George is a the Maori focus ofthe course. At present 80—90% make it possible for him to go outside our course deals with this calmly. She is obviously a Tuhoe Maori who plans to return to his marae of the students are Maori. to get these skills.” respected administrator. The craft design course and teach crafts. He explained the two is her particular baby, she says, since it’s a course is not a traditional course”, says senior Ross explains that you can look at contemporary multi-media wall panels that formed his final “This that she’s seen develop from departmental tutor Ross Hemera, “but we see the maintenance Maori art in two ways. One is to recognise forms design assignment. They symbolised, in . - .t discussion culture as central in all our work. that have been adapted from traditional Maori right through to Diploma. part—Maori part—Pakeha of Maori forms, important stages design; the other is to recognise Maori values of his two year course, The components This year Waikato was one ofthe four — carved I ask him how the design course differs from that inherent in the work. The latter is the most wood, dyed fabric, perspex Polytechnics given the go—ahead for the two—year and copper wire — of the New Zealand Maori Arts and Crafts important to Ross, though both are valid. To were set out in the large Diploma in Craft Design. Desna is openly multi—purpose workshop Institute down the road. illustrate he shows me two pieces of student awaiting their last minute amalgamation. ambitious. “We want to develop as a centre of “We look at Maori art and craftt in a work, both sculptures in wood. One is based on excellence” she says. “There’s no reason why Another, student was finishing the ends ofa very contemporary way” says Ross. I see our design the koru — an unfurling fern frond shape. This is good courses cannot develop in the regions.” competent tapestry weaving — strong colour, philosophy as two pronged. One side is an recognisably Maori. The other is made up of two

confident design. She explained the evolution of WAIARIKI awareness of universal design principles; the chunky half circles, balanced snugly together Desna firmly supports her staffs design the design from drawings of maize stalks to the back to back. This, says Ross, speaks to him of orientation. “You can pick up skills quickly abstraction in the weaving. There was a piece of Maori values. anywhere” she says “at night classes and perspex and man—made fi bre using tukutuku Ross Hemera tutors at Waiariki in design, wood weekend workshops if need be. The students are techniques with a new 3D approach. A set of and ink. He is Southern Maori — Ngai Tahu — and here for something different; for the things they small wall hangings explored texutres in ceramic, trained in Fine Arts at Otago Polytechnic. Tina can’t pick up outside. It’s the ideas and design loom and tapestry weaving. skills they evelop now that will make them Wirihana teaches fibre and Maori design. Her successful craft artists in the future.” Another Nukupera, developed a ceramic wall skills have come from her family and tribe. The ‘commission’ for the main Administrative other tutors are Pakeha: Barry Dabb for painting, The Design Department has recently moved into Building using press mould ceramic modules Waiariki — Paerau Corneal art history and general design, George Andrews a new block. This is a big institutional building in based on the fish in Maori mythology — all sorts The set assignment was to for clay (with bronze casting as an extra skill) and a big institution. The city—base influences the of practical and aesthetic problems needed to be prodttre two litzkedfln'm: John Byrne for bone carving. In 1988 there will work. Sent out to collect textures for a design, resolved. related to the head. be two extra tutors, at least one ofthem to teach the students came back with man—made, city Paemxt thought oft/lent as maori art and craft. These tutors are all full—time Suspended above textures — “not a blade of grass or branch among the students and pinned to the being male andfenmle and at Waiariki, taking part—time courses to make up walls were (awed the two pieres ht them!” These students are individuals focused on the weird and wonderful structures of their extra tutoring hours. This is rather different past design exercises. totam. The topfiirm is male their own work. They are not close knit as a and the linked romhination from most other craft design courses which tend group or politically active in the college. They Deadline time might also have been looming produres a (ompletehexs. to use practising craftspeople who come in have a great many trips out of Hamilton — mainly unseen over their heads but I saw no panic part—time. Ross Hemera says that with full—time to Auckland to visit exhibitions and galleries. All activity. The work was purposeful and focused. tutors you are more flexible with timetabling and tutors and students started 1988 with a week These students know where they are going. it allows working across different media. together at Raglan, getting stuck into problem The multi—media aspect is a feature of Waiariki. solving on a large outdoor scale. jenny Pattrick Photograph: A HS Ir'I/Iestra. In its Diploma course students at Waiariki may 2. Stone — Bonejewellery project that was a highlight for him personally I Workshop. and for the whole group. His mother’s family is Waiariki — Paerau Corneal Soutlzland Polyterlznic. from Kawhia, the place from which the Tanui Three small bone and muka people spread through New Zealand. Erin (flaxfihre) srulptures. They designed a three part wall mural for the new represent the essente of? on the let? — something mnsiral, eating hall at Kawhia. It symbolised moana, kai in the middle —female and on and tangata, three elements Erin felt were central the right — an implement or to his Kawhia people. Some ofthe students came tool. The texturalfinish on to help with the painting and then the whole all three is dijj‘erent and the course was invited to the hui at which the new muka binding adds diffl’rently hall was blessed. Tainui from all over the country to earh form. As a came. It was a time of pride for all those at development Paerau is now Waiariki. working on murh larger 1 South/and! forms. Bronwyn Gillies Ross Hemera sees working communally on a A pendant in tonstrutted project as a particularly Maori way of creating sterling silt/er using dyed, pieces. “When a meeting house is to be li’OW’II and rorded silk. decorated” he says, “sure, you have one master craftsman for the overall design; but then all the choose to specialise in one or two media or they groups — weavers, carvers, painters, combine to may choose deSIgn as their major focus, using all do the work. It is discussed by everyone. The media to Interpret that design. result is a unified whole with all the participants “This multi—media way of working seems to suit understanding their part in the whole.” This is Maori artists”, says Ross. “We find that a barrier rather different from the Pakeha tendency between art and craft makes no sense. Many of towards an individual artist expressing his own New Zealand’s senior contemporary artists — feelings. Both group and individual works are Sandy Adsett, Para Matchitt, Cliff Whiting, seen as equally valid at Waiariki. Arnold Wilson, Selwyn Muru — are skilled in several media: paint, wood, bone, ink, and use whatever medium is appropriate for the idea or .3 South/and 7 design. Here at Waiariki we would like to Jamie McPherson encourage multi—mediarists as well as single Waiariki — Perry Scott — “Seasurge ” Coitglonu'rate medium experts.” Colour Construrtion stone —grey ularke and From initial exerrises in pure granite. Handworked l'lilllllllfl Another strong feature of this design course is stones and (old rhisels. form — the (irrle, the square Photograph: Ans I/Vestra. the building it is housed in. Set behind the more and triangle — Perry designed conventionally Education Department buildings and ronstrurted this talljorm of other courses at Waiariki, the Craft Design in the paint area. He used Building stands strong and warm. This has a drawings ofSt Faith’s feeling of‘house’ rather than ‘institution’ and the Church, Ohinemutu — SOUTHLAND POLYTECHNIC Maori influence though not blatant is a strong esperial/y the helfi'y. The SOUTHERN RESOURCES presence. symbolism is hirultural. The tolonrs (ream and earth red

The building is architect—designed but in are Eurolzn'an/A/Iaori and the 9») consultation with tutors and the Head ofthe Art shapes tomhine to show the The plane to Invercargill was (surprisingly) Department, Donn Hunt. It houses three media relationship ofthe meeting aboard, except me, was an house to the Churrh. There is packed. Everyone rooms — raranga (fibre) kowhaiwhai (painting) a fl’eling ofthe hell, as with American tourist. Like most oftheir kind they and whakairo (wood). It is a happy accident that the karanga, ralling the were thinking aloud at a reasonably high decibel these three media are those employed in the people together and the rate, so I was able to discover their decoration ofa Maori house. (The other media numhers oflouures are organised—tour itinerary: several days in developed earlier at Waiariki and already had symholir ofthe Trinity and Southland. Good news for craftspeople in this workshops in nearby buildings.) The new the Maori steps to heaven. area. And, ifthis is a growing trend, good news building also has offices, a seminar room, There is still a top panel to he for the craft design course at Southland individual workspaces for the students and a added with sails and a woven Polytechnic. Ans central exhibition space that is available for the mat will he plared at the doorway. Perry has worked Head of the Art Department, Peter Methven,

public of Rotorua to use and visit. The mezzanine iraph: on the simplifimtion offarm is heading floors (hardest to get through governmental red meets me and we talk over lunch. He and has researched the away in 1988 and his position is advertised. It tape) give a feeling of openness and ofthe space Photo lzistoriral ai'rlziterture of are a constant attraction to _ being one whole. The open pole construction, various religions and cultures. seems points north is one of the rimu ceilings, the beautiful tongue and tutors and administrators here. Isolation students. As full—time craft students, they are groove floors and the wide wooden verandahs A little distance away is an open shed with a the factors to be overcome in Invercargill. entitled to enrol, at special rates, in any of the series of shallow pits nearby. Students are somehow capture thefl’eling ofa Wharenui ofit, the Art many other courses at the Polytechnic. Their removing their pots from a raku firing. George Despite this, or perhaps because Without being obviously so. It all ties up with Photographs: Ans I'Vestra. Soutliland Polytechnic is not doing course fee gains them entry to the Southern Art Andrews, ceramics tutor, explains that this is an Department at Ross’s remarks about the less perceivable values and craft School. This week—long school, run by the exercise in testing glazes. One student discusses too badly. It runs a staggering 600 art in Maori design. courses yearly, with a complement ofsome 300 Polytechnic in the May holidays, is a feature of the possibility of using silk screen techniques to the New Zealand craft scene and attracts the best This is a most beautiful and well—equipped home get an effect on her platter — another example of part and full—time tutors. Many ofthe craft courses are administered by the Polytechnic but tutors from all over the country. As “work for a SOUTHLAND d051gn course. It must be the envy of many the cross—ferilization of different media. experience” (spending time in a craftsperson’s other Polytechnics. operate in small towns in the area. In this isolated Often the work done by students seems to be part of New Zealand craft courses perform both a workshop) is not always easy to find in I came across a painting class working with tutor sculptural and large scale. I feel that this is the recreational and a social function. Peter says that Southland, attendance at the May school is Barry Dabb out on the verandah. Painting and result of Maori influence. Two fine sculptural many people go year after year to the same counted as a week’s work experience. printmaking are a strong part of this design works by students have been installed in the course, “to gain skills and use the equipment, It is fitting that the three major craft areas offered school. Some of the students’ work is strongly college administration centre. Perry’s large wall sure, but also to meet other people”. Both are in the course are based on the region’s raw Maori in design, some not at all — or not to me. sculpture uses board, flax and colour to create an entirely valid functions. materials. Leather under tutor David Russell and arresting piece. Paerau has carved a simple From another area of the verandah come shouts or thirteen years this weaving with Lena Metcalf(course supervisor) wooden pole, the design minimal but strong and Over the last twelve oflaughter. These are the second year students built up its wide network and both have a high profile with the students. In spiritual. These two pieces, strongly Maori, sure Polytechnic has taking a Maori culture class. They are clearly base probably unparalleled 1988jeweller Steve Mulqueen from Dunedin will a in their design by any standards, seem to now has a community close—knit group; some school leavers, Until the advent ofthe full—time take bone/stone/metal. The combination ofthis others epitomise the strengths of the Waiariki craft in the country. more mature. Many of them will go on the craft tutoring was largely fine craftsman with Southland’s excellent stone to the design course. craft design course two year Diploma course in 1988. for recreational classes. Now, this wide base is a and metal workshop should soon have this bonus for the professionally based craft design medium riding high too. One ofthe group, Erin Tioke, tells me about a Jenny Pattrick 11 10 Lena Metcalf explains that in the first two years ofthe course they, like all the craft design colleges, were feeling their way as to what was the best course content. She felt that the second year curriculum in 1987 was too wide, not focused enough. “Second—year students in 1988 have chosen one major area (leather, stone/bone/metal, or 2. Wanganui —Jan Hackett weaving) and one minor (additional choices of Thefemale torso is glass ceramics, non—woven fibre, creative sewing and slumped over a mould to give wood). We have also increased the design a woven appearance in etrhed element (one and a half days a week on design or sand-blasted strips. jan has and drawin ) and the time experimented with several available for pieces in varying7 sizes before self—directerf work.” In addition to business (ompleting this one. studies, photography, and art history, these students will also do a course on tool—making. I talked with some ofthe second—year students 3 Wood workshop about their achievements and their aspirations. Southland —Jetty Wijstra — These vary Widely. Taniko Bag This [aniko bag was designed Jo has specialised in wood turning. He came with and worked in a Taniko this specialisation in mind and has concentrated weaving umrkshop. I II"'aiigtiiiiii — on it for both years. He had hoped to study a Bis Thorstensen third year at the Polytechnic but Southland was “Taranakifi'om my window " not one ofthe A large redwood piere was four colleges chosen to offer the rarved wet with a rhainsaw, Diploma course. The nearest Diploma college is thiselled out and painted with Nelson and Jo feels he can’t afford to do this yet. blue paint to simulate the blue Westra.

He hopes to work at ‘anything’ in 1988 and try rompound on the primed trees Ans for entry to Nelson or Waiariki in 1989. Jo is one on the rampus. of the younger students. He shows me some nicely turned bowls and platters — “I’ve still got problems with warping” — and some lace—makers’ bobbins which he made as an exercise. He takes Photograph: Ans I/Vestra. Photograph: special pleasure in a set of wooden goblets. “These stopped the power at Clyde for ten — minutes” he said proudly. They are a lovely WANGANUI REGIONAL COMMUNITY strong—grained deep orange wood, and came from an apricot tree. Evidently an orchardist COLLEGE A HARMONIOUS WHOLE felling trees to make way for the new dam — brought down a branch on the power lines and blew the main fuse! Seems like poeticjustice.

Forjamie a highlight ofthe year was winning the Pattrirk Young Contemporary Art Award. The Southland 7 Nicola Price Museum, Nerkpiere Art Society and Polytechnic — sheepskin and combine to present russet leather (with resist dye) environment is a fundamental influence”, these yearly “Our awards. Tutors ofthe craft design Photographs: Ans I/Vestra. says George Kojis, ceramics tutor. The course are also pleased that this year their environment he’s talking about is that ofthe students won two ofthe five awards. jamie’s took the opportunity to enrol in extra courses and

GANUI buildings and grounds of Wanganui Regional

other love is horticulture. Photogi'aph:jeiiny learned the technique of air-brushing. He has set Community College. It’s a statement I hear again Next year he hopes to go to Christchurch, study himself up at home and is now wondering and again, from Directorjohn Scott, other tutors whether to pursue the making and selling of air at Lincoln and finance himself by selling his bone and the students themselves. The first intake ofthe Wanganui Craft Design and stone carvings brushed pictures or to try going back to the at a stall in the Christchurch environment is certainly a knockout. The Course lost only four students during the two Art Centre. joinery trade. Whichever, he has come out of the The course much more confident in his own abilities. administration building is a converted years. This group — about half ofthem “more Several students have specialised in weaving and turn—of—the—century gracious homestead. mature” students, organised a national conference will now got back home to continue their skills For Barbara, a weaving major, a highlight was Spreading out from this are single—story, natural of all craft design students. Course supervisor on a part—time basis. Others will take the her week at the May Art School with Wellington wood buildings, set among gardens, paved areas Chris Gibson takes special pride in this event. year— flbre artist Suzy Pennington. “This really opened of ong home—based Proficiency Certificate in and trees. Craft design students can walk out “ It was the students’ idea”, he said —- “They saw weaving or creative sewing. Learning to sew new horizons for me and has given me a different the ceramics or design rooms to work outside or

WAN a need for this first national intake to get together leather way of working.” Barbara will weave at home, has been a highlight forjoan. Forjetty it have lunch under the pohutukawa. and discuss problems and successes — particularly was the opportunity to build her own loom. not on a professional basis — an ambition which is common to most ofthe mature students who are The newly completed hot glass workshop, jewel with the question of year three and four Diploma not free to travel north for further training in Wanganui’s not inconsiderable crown, puts a level courses still being hotly debated”. “There’s gear here to do what you want” she and who do not feel ready or willing light in tutor Tony Kuepfer’s eyes. Wanganui students sent out the invitations, says. “One ofthe others on the course, Warren, to supply tourist markets in Queenstown and Te Anau. arranged catering, accommodation and agenda. is a cabinet maker. He’s got all the skills and he “We’re the only craft design course with a hot Seventy students from around the country helped me make the loom in the wood workshop A bonus for all the students is a subsidy — to the glass workshop” he says. “There’s equipment responded. By all accounts it was a very which is huge. Now I’m all set up to work at tune of $350 each — ofmoney they have spent on here that’s unique”. He shows me the four successful meeting. “We sneaked into the back to home.” materials during the year. Only an Art roaring furnaces, a slumping oven and a casting listen to them” laughed Lorraine Webb, design Department the size ofthat at Southland oven, huge grinding stones, a sandblasting booth. Warren, one of the more mature students, could tutor. “We wanted to know where they felt we’d organise such a boon to a struggling student. All in a big airy room with space for students or enrolled after cut—backs at work left him without failed so we could adapt the course if necessary. public to view and again looking out onto “But on the whole they were pretty positive.” ajob. Access to equipment and the joint Southland may have problems that arise from its pleasant grounds and low buildings. loom—buildlng prOject were eye—openers to him isolation, but the design course emphasis on raw This first national conference of craft design too. “I don’t mind saying I was pretty doubtful materials, the attraction to tourists of wool, The domestic scale ofthe workshops, the easy students was an indication tojohn Scott of about enrolling, but I had nothing to do, and my leather and bone/stone handcrafts, and the tourist access to outdoors, the trees and flowers, and the Wanganui’s central status — a position he wants to sister pushed me into it,” he says. “And I’ve outlets nearby, should be a winning combination. philosophy ofthe tutors all seem in harmony. foster. discovered all kinds ofthings I never knew I had Southland Polytechnic’s spread of resources and This is a college and a Craft Design Course that in me. I could never draw, but it seems I can equipment should make the best ofthese puts the personal development ofits students “I have offered Wanganui Community College as reproduce something three dimensionally from a opportunities. first. All those involved in the Craft De51gn a national resource for Craft Design courses”, he photo or picture pretty accurately.” He shows me Course consider the growth in independence, says. “We hold information on tutors and work a very competent stoneware rhinocerous. Warren Jenny Pattrick confidence and self motivation ofthe students, to experience spaces, which is available to all the be their proudest achievement. colleges. And we’re prepared to collate 12 13 information from other courses so that we have one central‘ source ofinformation. ” A variety of cultural influences are given a fresh expression through Fientje’s Wanganui’s craft courses are fortunate in their sense of Eric Flegg profiles this fibre artist, design tutor at The Waikato College Director. john Scott is an artist himself and has recently been elected President of the Crafts Council of New Zealand. He is thoroughly Polytechnic design conversant with the history and evolution of the new craft design course and is committed to its success within his college. That this relatively small college has been able to build a coveted hot glass facility is evidence ofthis commitment. john takes special pride also in the Summer School. This is a week—long festival of art and craft courses, held injanuary. The summer 1. Ilr’izitgmiiii —john Wells john was expi'rimr'iitiiiq with school now has a national reputation and is, to hisqiicfiriiig and hegti'lt that john Scott, further evidence of Wanganui’s [Hailing it in thixfai'm brought central position in New Zealand’s tertiary craft out the raw primitive quality education. The Summer School invites the best ofthe tidy and shape. FIETJEN LIS tutors from around the country to conduct courses in arts areas, as diverse as clowning, hot glass and bronze casting. Many courses take place 2. Clay; Workshop with tutor out of doors, and the whole college takes on a Tony Kuepfer VAN ROSUMSa lively, festive air for the week. _-_ I ask whether the craft design tutors are involved in the Summer School. “Oh of course", says Rick Rudd, ceramic tutor. Fibre Artist “You can’t help it in a place like Wanganui — we’re all involved in everything. I’m on the community arts council which runs the summer Conversations with Fieiitje over a When not teaching, she is committed to school; the community arts officer, Libby Grey is period of several years reveal two the develo merit and consolidation of at present using a spare room at the college and clearly-stated fascinations associated her indivitfual artistry — currently so on. The arts community here is inextricably with her work — design and cultural interpreting her work more in terms of tied into the college. resolution. They represent a fusion of expression than in providing her earlier technical—academic study and ‘functional’ products alone. However, In 1988, Bruce Osborne, Head of the Art a sensitive assimilation ofthe form this approach in no way relegates her Department introduced a modular system into characteristics ofa ‘new’ indigenous responsibility and attitude towards the curriculum. This has enabled the new intake culture which she first discovered when contextual design, or for satisfying a of students to choose from a variety of units and she arrived in New Zealand ten years s ecific client design brief. “I love helped to minimize duplication of subject ago, and has since become the catalyst disigning for specific buildings and material by individual tutors. of her own cultural renaissance. They purposes. Although most of my work are also the energy source for an output has been in fibre, I will Lise whatever The design course at Wanganui offers majors in that increasingly requires adequate medium I need for a situation.” Thus, ceramics, wood and hot glass, but for students dimensions in order to release the she safeguards artistic integrity and wishing to major in other areas there is an If expressions they generate. As she says, freedom from absolute imposition. individual contract system. Lynn Kelly, a second “Designing on a large scale is what I (She has recently completed a major year student in 1987 wanted to major in jewellery .‘illi enjoy most. " commission in chrome, stainless steel but at present there is not ajewellery tutor or Fientje was born in the Netherlands and plastic for a new ‘Art Deco’ post works iop. So Lynn arranged a schedule where office in Taupo.) she worked with a localjeweller three days a and studied in Canada and the U.S.A., hiitqgi'aplix: obtaining a Bachelor of University week and took core subjects — business studies, 2| I Whatever the objective, what does drawing, design, art history, photography and Studies degree at the University of occur in her work is the elevation of professional studies — with the rest of the group Utah. She feels, however, that the her expression beyond meritricious greatest influence on her emergence as on the other two days. Lynn says she valued this “You can put all of yourselfinto your work execution in a selected medium because flexibility. a technical weaver were the of her attuned design consciousness. here,” she says. “There are not so many Polish—Canadian immigrant fibre artists distractions for a student as in a big city. You The qualitative aspects are eminently “It wasn’t easy doing a course on my own”, she who transported their exploitations of discernible, even without reference to says, “you miss the excitement you get bouncing don’t spend hours travelling to and from work. colour, texture and expression from just about everywhere is only a few minutes by the work’s context, as the outward and off each others’ ideas. But organising my own eastern Europe. concrete forms ofher vision. programme has given me a great sense of bike, and rental accommodation is plentiful and Fientje lives with her geologist achievement.” For her, other highlights in the reasonable.‘ In Fientje’s work, the well—controlled two year course were the many visiting artists husband, Rick Allis, overlooking distributions of‘emblematic’ shapes (in Lynn and I talked sprawled on the grass under a Taupo’s Acacia Bay. Since completing a and the Lorraine Webb drawing and design many res ects, closely related to spreading poliutukawa. The seductive Hamilton Teachers College components. heraldic divices), textural modulations atmosphere of this college was certainly getting post-graduate Art Diploma in 1985, she and scaled complementary tonings, to me. has commuted to the Waikato Visiting artists — either residences orjust passing represent an emphatic respect for the Technical Institute where she is a through — are seen by the tutors as an important The 1987 end of year exhibition was held in the ordered imposition of sound design addition to the course. prestigious Sargeant Gallery. The planning of the part—time tutor in Design and Fibre Art principles. All the usually appraised in association with the recently exhibition, publicising it and display were a ‘elements’, such as balance, shape, “We make sure we take care of our visitor”, says development exercise for the students. The established Craft Design Certificate. George Kojis”. “Here, with our relaxed unity, proportion and articulation, are standard ofthe end product — the works of art — Design, cultural identity, nature and visible in her work, but it is in the atmosphere, we have time to entertain them, was not considered of primary importance by the show them around, talk about the things that enjoyment of the personal contacts that manner of their presence that one’s tutors. “After two years they’re only beginning” teaching supplies, are the necessary awareness becomes much more matter". “The tutors obviously find Wanganui said the ceramics tutor. “Other things like Community College a good place to work.” ingredients of Fientje’s artistic heightened. Balance becomes more commitment, self—esteem, respect for materials existence. From the personal than the satisfaction of visual are more important at this stage.” “It’s a good place for students too,” says Lynn interaction between teacher and pupils, equilibrium — of one shape or passage Kelly. She and her husband moved to Wanganui This design course puts quality oflife, and the she finds the means of removing the countering another, while the shapes at the beginning ofthe course and bought a house development ofthe whole person in the centre of wrappings from “one’s own mental themselves (the ‘emblems’) mean more for a fraction ofa big city price. Lynn finds living its philosophy. world, in which it is so easy for an than delineated symbols or abstractions. is cheap and fruit and vegetables are wonderfully artist to lose touch with real life and Unity accommodates the entire fresh. jenny Pattrick society which should nurture one. ” complex statement rather than 14 15 Fientje allis van Rossum Water designs: life-growth Fanuwa Etiha, and other students enrolled in Waiariki’s Craft Design Maori, profile their tutor

Sculpture —John Byrne, tutor, I'Ir’aiariki Polyiec/mir

Carving out a Pacific Experience

A typical Aquarian, john works with important step in his evolution. While his hands. From a coach building attending a conference as the tutor of background, tools, devices and systems leather skills in Auckland, john was are commonplace to him. Part ofhis attracted to the beautiful fluid style of apprenticeship with the New Zealand Maori carving practiced by Robin Railways in Lower Hutt (where he was Welch of Rotorua. Rotorua became an born in 1935) was in pattern—making, obsession, so to be appointed tutor at which taught him how to work in fine Waiariki Community College seemed detail with wood and metal. too good to be true. When the Craft Certificate in Design Maori came to john’s emotive personality is deeply providing mere visual comfort, as the She recalls some disappointment at characteristics of Fientje’s particular fruition, john was delighted to be part eye responds to something other than a discovering that many non—Maori New artistry. The initial inspiration and affected by nature; he is sensitive to all ofthe team. cursory traverse across the surface. Zealanders tend to behave and starting point was the Maori creation its aspects and to its materials — communicate in ways that are alien to legend ofRangi and Papa, but the total especially bone, ivory, jade and A three-month leave in 1985, provided To this artist, design is much more than her upbringing and personal work assumes a more universal precious metals. A practicising him with the opportunty to study a ‘tool’ employed in translating ideas philosophy. “Coming in as an invocation interpreted through a deeply symbologist, he sees meaning in museum and cataloguing skills, and to and imagination into workable ‘outsider’, I was interested to learn personal mode in which there is an colours, shapes and other natural come in contact with numerous local technique and accomplishment. In about the two dominant cultures, affmity of opposites. Movement forms. His intense interest in the carving styles. Polynesian design is a many respects the design is the Maori and ‘pakeha’, and how they outwards balances movement inwards. vitality and beauty ofthe life and particular interest, and john is currently expression, because there is a deeper affected one another. In my search I and positive finds partnership in culture ofindigenous peoples, has holding working seminars with the inner and spiritual process involved, have become deeply fascinated with negative — working in unison rather motivated him to work in non—Western University ofthe South Paciflc in Fiji subordinating any impression that a Maori culture, both in its visual than conflict. art forms. As well as tutoring at and in Rarotonga. In New Zaland, he ‘visual problem’ has been expeditiously expression in the arts and crafts and its Waiariki Polytechnic, john operates a has partici ated in many workshops on Fientje provides her own profile solved. underlying sentiments and successful practice making artifacts and maraes, w iere he has observed a summation when she refers to the objects of personal adornment for growing interest in and a greater sense In examining how this comes about, philosophies. I felt instantly at home circle in two quite diverse, yet closely towards carving in one must realise that Fieutje’s origin with Maori art and the way it expresses individual Clients. of professionalism related contexts, familiar to all who bone and other materials. While was in a culture she describes as being itself, possibly because of the Many of his carvings leave New ponder what art and craft is all about. dedicated to the beautiful styles of in many ways closely akin to one in similarities with my own cultural Zealand, en route to Tahiti, whichjohn She mentions it as being in her mind Maori designs, he now also works with which she now finds great affiliation — background.” considers his second home. His first the ‘symbol ofnature’ because. “ contemporary sculptural forms that the Maori tradition. Similarities of not only is that shape inherent in visit there was unplanned: on his way reveal the natural beauty ofthe material social and hierarchical structure and Nature is a major inspiration for to the U.K., hejum ed ship to work as nature, philosophically the circle is ‘no itself. graphic symbolism based on Fientje’s expressive direction. a stage hand on the film set of [Mutiny Obviously, it is also the influencing ending, no beginnning' to things”. john sees his travels in and around the iconography, formalism, repetition and Interestingly, she cites the same symbol on the Bounty. After arriving in London, the ‘grid’ pattern, have created new experience which immediately john worked at New Zealand House as Pacific as vital to the further extension confronts all who arrive in this land of when describing her need to sometimes and ursuit ofhis craft, evident in his responses in her to the ‘discovered‘ modify, or even invent. weaving a finishing hand and then travelled modes. lush vegetation, high—canopied busli through Europe. Back in New wor which encompasses the intricate and “the abundance of moisture techniques to accommodate her designs rope lashings common to Rarotonga; More significantly, they have caused when she says, “This has been Zealand, he worked with Italian everywhere in waterfalls, mists, and tunnellers on the Turangi hydro neck hangings in the Tahitian manner; her to re—value and reinforce her mudpools — added to the textures of especially true in weaving circles and ‘god—sticks’ influenced by Easter Island; “Dutchness” (her term), as the smooth curves, but I think I can now scheme and in 1971, attended Auckland lichens, barks, and mosses." One’s Teacher’s College, where he secured and the beautiful serpentine shapes so realisation ofan affinity with Maori weave a perfectly smooth circle“. concluding impression, however, Teachers' Certificates in woodwork typically Te Arawa. culture has become more entrenched. cannot deny her own statement that Obviously a perfectionist, it has taken andjoinery, and an Advanced Trade john perceives that the material one In synthesising one with the other, she . . design is my life. I am fascinated much of the past ten years for her to in new and Certificate in construction. employs is as important as the design flnds herselfmoving by balance, particularly asymmetric arrive at the point in her career when the itself, and hopes the first two—year deliberate directions, forsaking balance, the play between (and she feels ‘new directions” are becoming His interest in Maori design began on and course of Design Maori rovides a humanistic and figurative forms confusion of) positive and negative more finitely resolved. Her future is when he was involved in seminars her sound base in design andpcraftwork, which she concentrated during shapes and spaces, and the decorative one the crafts movement in New workshops on leather and other natural North American sojourn. Then she was qualities of shapes on a shallow materials at Taita and Newlands and that the further two—year diploma, Zealand should follow with interest. students to pursue influenced by ‘modernistic two—dimensional picture plane." College in Wellington, and his will extend his individualism and personal security”, in D appointment as head ofthe technical excellence as quality craftspeople. which expression of‘self supercedes Her recent painted design for an department at Te Aute Maori Boys A typical Aquarian, john works with cultural affiliation or connection. ‘Aorangi Seriess encapsulate the College in Hawkes Bay was an his hands. From a coach building

16 17 background, tools, devices and systems working seminars in leather and natural which he sees as invaluable to the are commonplace to him. materials. It was here carving of things resident course now in its second year Maori started. As well as tutoring at Waiariki with a further 2 or more years to come. Polytechnic, John operates a successful An appointment to Te Aute Maori Polynesian design rates high with him and currently held working seminars practice making artifacts and objects of Boys College, Hawkes Bay as Head of with University of the South Pacific Fiji personal adornment for individual Department, Technical was an OTHER clients. important step in his evolution. and with Rarotonga. In New Zealand Attending an Auckland Teachers’ he has been party to many workshops Many of his carvings leave New College conference as tutor in charge of on maraes where he has watched a Zealand, often enroute to Tahiti, which growing interest and a greater sense of FULL TIME leather skills he met, and was attracted he sees as his second home. His first by, the beautiful fluid style of professionalism in bone as with other visit there was accidental: on his way to contemporary Maori carving practiced materials. the U.K., hejumped ship to secure by Robin Welch then of Western Growing, as such people will, john has COURSES work as a stage hand on the set of Heights Rotorua. Rotorua became an come to perceive the material to be as Mutiny an the Bounty. After arriving in obsession, so to be accepted as a tutor important ifnot Inore so than the London, john worked at New Zealand t0 Waiariki Community College design itself. While dedicated to the House as a finishing hand, before seemed too good to be true, and when travelling through Europe. beautiful style which could only be the Certificate in Craft Design Maori Maori, he now works also with Back in New Zealand he worked with came into fruition it was the ultimate sculptural form which allows one to see Italian tunnellers on the Turangi hydro high to be part of the team, his own the natural beauty ofthe bone itself— scheme. In 1971, John attended ambitions around the pursuit of affected as he obviously is by his Pacific Auckland Teachers' College where he excellence both from himself and his experiences. Small wonder his works Craft Design Courses are secured Teachers Certificate in students. encompass things like intricate rope woodwork andjoinery, and an lashings common to Rarotonga, neck offered in seven other centres: Advanced Trade Certificate in Refresher leave last year meant 3 hangings in Tahitian manner, god sticks construction. month’s opportunity to study museum with the overtones of Easter Islands, technologies, cataloguing skills, and above all the beautiful serpentine Taita and Newlands Parumoana Community Polytechnic Colleges, learning to recognise local styles of shapes so typically Te Arawa. D Wellington, served as a base for many carvings and oftime scales — all of Nelson Polytechnic — also Diploma in Craft Design) Northland Polytechnic Otago Polytechnic

Carrington Polytechnic — also Diploma in Craft A STUDENT’S VIEW Design) Hawkes Bay Polytechnic The prospectus for the first course in apprehension about my capabilities (or the high standard oftutoring at Christchurch Polytechnic Craft Design—Maori offered by Waiariki lack of them) and the expectations of Waiariki, and a healthy respect for Community College (as it was then the course. To my delight I was design in practice. known) in 1985 coincided with a accepted so, with a great deal of growing dissatisfaction with the way in support from husband, family and For most of us, the two year course which my life was heading, particularly friends embarked on the course in was the kaupapa, the foundation. as far as work and job satisfaction was February, 1986. Having learnt the design skills, having concerned. Having spent the previous selected our areas of specialization, we PARUMOANA 15 years concerned 'with homemaking, The biggest impact initially was a now requried the practice. The Craft pre—school and school activities for a financial one, having to pay course fees, Design Diploma is a very necessary COMMUNITY family of four children, I was ready to buy materials and meet other related addendum to the basic Craft Design consider new directions that would lead expenses. The other adjustment was Course. We were all delighted when POLYTECHNIC ultimately to an amalgamation of my getting back into a studious frame of rumours about an intended Diploma mind 16 years along the track. course became fact and that we would interests in art, craft and particularly Photograph: A”: IVvs‘tm. taha Maori. My involvement with Nga have the opportunity to dojustice to Puna Waihanga, attending their My fellow students each came from an the intentions of the Craft Design Director: Turoa Royal workshops and Hui, observing the art/craft background, and as the Course which is as I understand, to Course Supervisor: Anne Philbin average age of our particular group was have capable crafts people available for brilliant talents of so many The craft design course at Parumoana is the contemporary Maori artists, fuelled my 30, we were a mature group with some employment within the community. experience of the workforce. newest ofthe two year full—time certificate desire to apply for the Craft Design The Waiariki Course in Craft courses to be introduced. It began in February Course. The first year passed quickly, with so Design/Maori has produced a variety of 1987 and is very special to Porirua people. In its The course offered several disciplines, many new skills to employ and for talent. One of our number is to work short life span it has established a very good with fundamental design principles those of us with a talent in a particular fulltime as a otter, having worked working relationship with the local marae, Pacific encompassing each area in wood, fibre, area, a greater understanding of the hard to estab ish a kiln and other Island and Maori communities who make up the bone, clay, ink and paint. The allied design process was achieved. The equipment necessary to go into majority ofthe students. The course has a studies were also appealing to me as talents ofthe individual manifested business. Another, a talented sculptor declared affirmative action policy that favours they included Te Reo Maori (Maori within a few short months as my fellow in wood intends consolidating her skills these cultures. language and cultural studies) Business students excelled in their chosen areas by continuing to carve full time. For the rest of us who have applied for the Consequently the course has a strong polynesian Management, Art History, despite the broad based structure of the quality and is designed around cultural principles, Communication Skills and Technical course. Some of us had more feeling Diploma Course, teaching is a viable option, but with two years hard work although the content is a balance between South Skills involving woodwork and for clay or bone than others, while Pacific and European art and craft traditions. metalwork. I decided then, that this some took to weaving or painting like ahead, most of us will re—evaluate our course would be the kaupapa, or the proverbial duck to water. I career prospects at course end. In 1988 the certificate course is supplemented by foundation for me to a career in completed the two year course with no Nga reira e nga iwi, tena ra koutou a full—time one year arts fundamentals course. teaching, so I applied with some regrets, a great deal of admiration for katoa, najune Grant. That, like the craft design course, attracted applications from throughout the country based on the craft courses reputation for cultural intefgrity, insistence on standards and pro essionalism. The art and craft centre is likely to be the first permanent buildings at Parumoana.

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— I 21 OTAGO POLYTECHNIC

] Hawlees Bay a and with human growth. It is Director: Ian Hall Greg Northe an abstract design based on the Course Supervisor: Kelly Thompson This large rocle carving is cut Koru. He started his design from very hard local limestone with a maquette in clay dug HAWKES BAY The Otago Craft Design Certificate is situated in jroin leaupaleipalei ~ shells are from the hillside. The the Art School at Otago Polytechnic. It is the still embedded in it. Greg conception, materials and POLYTECHNIC worked alongside two stone working ofthe stone embodied only course attached to an Art School and afeeling ofcontinuing growth consequently students have access to the full carvers he had met at the Stone Symposium in in both the environment and range of cultural and fine art resources. This the student. Director: John Rose creates a stimulating and very rich learning Auckland. He conceived the limestone as Course Supervisor: Jacob Scott environment within 800 metres of the Dunedin “Still Growing” to relate to 2 Drawing Class — Public Art Gallery its growth from natural forces Christchurch Polytechnic Photographs: Ans Westra. Hawkes Bay Craft Design Course is located in Work space is expanding and a new craft complex open plan craft studios. The is to be built within the art school. There are new multi—media work areas are adaptable and can be organised to many artist craftspeople living and working in the suit students and tutors. area who give time to tutor and receive students in their workshops. The students are introduced to a very wide range of skills in the first year and in year two they may There is an exciting possibility for modular choose: to follow self—directed study facilitated by course integration between the CDC and the tutors; to discuss course content with tutors and Otago — School of Art. Already CDC studentsjoin with Warwick Edgington organise or elect the years’ work together; to be students studying for the Ceramics Certificate Experiments in enamelling totally tutor directed. produced and Diploma in Fine Art courses. The Art School I. freeflowing glass over ceramics department is probably the best This enables all students to work within craft textured copperfoil,‘ and eguipped and biggest in New Zealand. In areas they feel confident. The course is fortunate 2. silver-plated copper with a dition there is a well set—up jewellery to have the Otatara Arts Centre a complex of enamelled cloisonne. workshop and a developing fibre workshop workshops on a historically significant hill above which accommodates the other major areas of the polytechnic. Originally Otatara was set up by study within the school. Para Matchitt, Grey Wilde and Jacob Scott as a community arts centre. The studio spaces are available for artists and craftspeople to work in. The students are very conscious of being a whananu and part of the wider community. Carrington — Ian Rawnsley These mugs were an adventure intofinely rolled CARRINGTON Quote: A recognition ofour cultural heritages will outporcelain clay, the provide the basis ofexpressive activities technique lending itselfwell POLYTECHNIC pursued through the development ofattitudes to these wrapped and cut pieces. Further adventures led and responsibilities to others, to the him into largerpieces and environment and the materials in it, to the ceramics tutor, Sally Vinson, Director: Doug Armstrong worle and the products, with the hope of encouraged him to maize sets Course Supervisor: Sally Vinson engendering mana and life to materials, ofware using the technique. products and people. He made slab saucers,flopped over plastic rupsfrom the The Carrington Craft design certificate is located canteen, which produced in a new craft design centre that once was the exciting shapes — especially maximum security wing at Carrington hospital. It for saucers. Ian calls his is well equipped and arguably one ofthe most ceramic line “Home Comfort exciting design school environments in the Ware". world. It offers indoor, outdoor working areas. CHRISTCHURCH exhibitions spaces and an artist in residence studios/quarters in a parklike setting. Craft POLYTECHNIC design. product and interior design students share key classes. Tutoring time spans day and evening classes Carrington ~ to give students access to a wide variety of Director: John Hercus skilled Jenny Templeton tutors at all times. There is a strong accent Course Supervisor: John Tullet The Watsonia used for this on drawing and design. A wide range of basic basleet was harvested in late craft skills are taught in the first year with more summer. It is one ofseveral indepth emphasis in year two. In addition to the Like Parumoana, the craft design certificate made under the tutelage of set programme, there is flexibility to allow for course at Christchurch began in 1987. Its Ruth Castle. individual research supervised by tutors. expressed intention is to draw from and contribute to the local craft scene while espousing A two year Diploma Course in Craft Design to meet national objectives. The emphasis is on began in 1988 in fibre, ceramics and metalwork encouraging people to reach their fullest potential andjewellery and flatglass. It adds another as craftspeople and to assist in the development challenging and necessary dimension to the of New Zealand craft as an industry. Applied Arts Department. Auckland is the international gateway to New Zealand. In time The major purpose of the course is to provide the craft and design centre could well become a people with a wide range of design skills that will tourist feature. It has great potential. directly relate to the quality of their work as craftspeople. Accommodated in a completely refurbished factory the craft design building it has a Photographs: Ans Westra. businesslike atmos here further enhanced by a dedicated group 0 students.

22 23 Dave Waugh profiles the course supervisor at Hawkes Bay Polytechnic

JACOB

Reaffirming the Creative Element in Daily Life

“I don’t do it unless it’s important! Jacob attributes his outlook to two . .to do it means it must be the best I people: his father, and Para Matchitt. am capable of at the time.” He relates that when working for his “old man,” he’d slave over a project for Jacob Scott is far from intense when he a week. Then his father would proceed says that. His eyes sparkle, and his wry to check it over by rubbing it out piece smile discounts any fanaticism in a by piece, and then discuss all the person so earnest. What he has options for making it work better. That achieved has been through attitude and training was further determination, hard work and sticking extended in 1975 whenJacob was to principles. He’s like the little boy apprenticed to Para Matchitt as tutor at who was pushed into a garbage pit until the then new Hawkes Bay Community he came up with a bag of cream buns. College. The ‘cream buns’ are the present “What I did learn from Para was that art buildings for the Craft Certificate and craft has a lot to do with politics, Course at Hawkes Bay Polytechnic, and art and craft people must get right where Jacob is the supervising tutor. in there ifthey are to make anything As facilitator, he recommends happen. At first you think that my programs, orders equipment, works at father and Para are sort of arrogant, but the front as political liaison within the then you realise that its really their college and other departments, and is self—assurance. They know their values, mentor to the arts and crafts students in what’s good and band, and they are not the region. going to suffer fools who would settle for, or expect second rate.” Jacob was asked to begin the course with two ‘crass’ pre-fabs. He knew that Whether as a result ofthese two to teach art and craft in an enviroment influences, orJust a good diet of that didn’t reflect the teaching was Hawkes Bay air (he’s never strayed too wrong. The buildings are the ‘cream far or too long from the place), Jacob buns’ in the ‘garbage pit’ — a place learned to study people, to analyse where art and craft can seek excellence their state ofmind and values, and for the region and be a resource for decide whether they were honest and New Zealand; where artists and “straight—up”. He learned art skills, craftspeople drop in to try the latest too, but only as a vehicle to express his Waileato — technology, experiment and share ideas about the needs of people and the Elizabeth Bigwood ~ knowledge. environment they live in. 2 Tiles in colour. Elizabeth researched early All this was no accident. Jacob fought He left school in 1969 to begin working communication in clay tablets for it at department, college and in advertising with Robert Holts and and produced a set ofsix slah community levels as a matter of then became a partner in a small tiles that are rahued. The principle He argued, won and hired his printing firm. His girlfriend, Jody (a surface decoration is lmsed on father, architectJohn Scott, to build flax weaver and now his wife), lettering and abstract symbols four useful spaces. Open, roomy and convinced him to study at Christchurch for magic spells. basic, the buildings have alcoves and Polytechnic. Jacob decided he would Wailcato — Ken Gilbey — verandahs for coffee or discussion, study for a year to learn what he Antie Constructions good storage and work spaces. Jacob wanted, but did not feel the need to Left — sterling silver, black states: “How can a craft course have obtain a certificate. In 1973, he returned perspex and copper credibility when you have an education to printing and then worked with his Centre — etched silver and program promoting design and father. He and Jody soon settled down copper based on tree trunk growth intregrity in a brand new slum together and built their house at Right — oxidised and reduced environment? Cream buns don’tjust Haumoana. Jacob milled his own [apperglaze on porcelain tied happenl Usually what you’ve got to timber, made much of the furniture, with fibre work with is rubbish. The challenge is coloured and polished the concrete Wangonui — Mark Hanson to make what you have work well. floors and plastered the rough cast on — Cast Glass Cogs Without principles like these, our the outside walls ~ all the essentials for These three castglass shapes program wouldn’t have been credible, his wife and two children, Kahu and based on drawings ofcogs are and I wouldn’t have stayed. These Hana, and a welcome place for visiting on a mirrorfor placed Photographs: Ans Westra. things are important!" tutors and art and crafts people. reflection and are illuminated. 24 25 In 1982, the Department ofInternal Geoff Wilson believes you can’t have Affairs asked Jacob to work again with Craftmanship and common sense both flower at craft without art. Thinking, feeling, Para Matchitt to help develop the and living art as a whole philosophy is Otatara Arts Centre into a place for the Northland Polytechnic, Wendy Laurenson explains. what he wants to encourage at arts and crafts. The facility was nothing Northland Polytech’s new craft design more than an old shed, but the course. He has arrived at his current potential was great and the concept was job as course co—ordinator via the fine supported by John Harre, the then arts, and makes no apology for an director of the College. Their programs uncompromising pursuit of excellence were adapted to basic levels of activity and respect for uality. According to since there was little money available; u ,. .- as:— Geoff, “The underlying values of the but people in the community were craft design course should be the same keen to participate and learn. Jacob as those of an art school. The materials began to assist unem loyed people in and the end use of the work may be "'E building schemes an courses to utilise .EOFF different, but the energy comes from WILSON“'9‘.2&1“? 3?;.35; the area on the hill, just beneath the the same place. It is that energy and huge old a site, Otatara. Clay was dug committed attitude to the work that I’d from the banks to pave the area, and like to see here. ” the Centre now has basic dining and GeoffWilson knows about art schools. shower facilities, abundant workspace, He completed a Diploma of Fine Arts kilns, a log cabin, and plenty of at Otago Polytech in 1971, and has character where once only rats, since taught ceramics at Southland possums and memories roamed. Polytech and at Otago Polytech School Jacob learned to deal with departments, play psychiatrist to wayward employees and the unem loyed, write schemes for approval an buy tools at a cut price. All werejobs at which he excelled. His impudent smile and acute knowledge of what scheme was appropriate was always useful. A healthy cynicism towards bureaucrats has gained Jacob respect for his sometimes deviant and mischievous pursuit of the quality oflife. With an

accent on people, his sense of humour craftspeople, but somewhere along the belies his intensity, but is a unique and line they have been segregated from essential part of his character. Jacob is recognised participation. ToJacob, the his own man as head ofthc view that only people working with department. Strong—willed he is also a clay, glass, wood, bone or stone are perfectionist in the cause of art, craft craftspeople, and only those working and people. with paint are artists, is rubbish. Jacob admits that working with people Real art and craft lasts as a memento of on committees and in meetings to get the time and way the work was used to useful programs, facilities and achieve or reflect peoples’ needs and buildings, is a “hard slog”. He has a as irations. Money and/or status will love/hate relationship with all the fo low ifthe work is the best available, politics, but sees it as its own art form, and they can only be achieved by where things happen through a pursuing excellence. different medium. The students in the Craft Certificate “You know, administrators must be Course will still have to come to terms made to realise the importance of art with their own self-expression, while and craft to life; but then, I’m also a making a living. They now know some bureaucrat in the system. So we must expert craftspeople and have made work together to empower people, not good friends. Hopefully, they have inhibit them.” He thinks that is what gained attitudes and skills so they can the Craft Certificate program is all contribute and expand, and eventually about — working and extending extend what exists. Jacob believes that individuals so they build meaningful the Course can assist and complement relations with others and the the market for arts and crafts, and that Jacob Scott — environment, without feeling there is nothing wrong with "Time Line" (Treaty of ‘ripped—off by anyone, yet doing the competition — it’s good for the Waitarigi): 1985 Waitangi best they can in their work. industry, and good for the country. National Trust Commission Jacob is adamant that peo le in the arts At 36 years of age, Jacob must take his Jacob Scott — and crafts must stand up or what is sardonic smile and cynical humour, and "Future Possiblities” I985 best, not only in their own work, but dive back into the garbage pit looking Waitangi National Trust in the total environment in which they for more cream buns. Commissionfor Waitangi live. He believes we live by a lot of ‘4 Museum Visitors Centre. misconceptions. The basics have been . . .my art work? Well, I haven’t done left behind and we need to go forward a lot lately. I know I can do it and its and re—establish honest fundamentals im ortant to do it when the time’s and recognise what’s really important. rig t. Right now I’m trying to get the Arts and crafts are not separated from climate right for the people I’m life. He argues that some carpenters, responsible to. For the moment, that’s welders and tradespeople are the “real” my art and craft I guess!” [:J Photograph: Ans Westm. 26 27 of Art. He also knows how educational and do it well. If you are happy making bureaucracies work, and how to bend art pieces then don’t frustrate yourself the rules to make them work better. making coffee cups. In the future, those “There is often a problem trying to put pursuing both the functional and the artistic learning into institutions It fine part aspects of craft will have to doesn’t fit easily.” So at Northland choose. " A STUPENT’SYIEW Polytech, he doesn’t try to make it fit. Part of the reason for this continuing The course structure, subjects and compromise, Geoff says, is the specialist tutors and their time are all pressure to perform in national flexible. “The danger of setting course exhibitions. “Craftspeople are using the structures and permanent staffing exhibitions as a way to become well numbers in concrete, is that the student known, to score public points. But that has to mould their interests and fame is only temporary. The real pride directions around the course instead of and pleasure should come from the the other way round. The student inside, from setting high standards, ideally sets their own goal and the from being true to your gut feeling." available facilities and tutors are there Geoff says too many potters put more to be used in pursuit ofthat goal.” emphasis on the exhibition’s title or Geoffis keen to build solid ground for forum than on the work itself. artistic learning by immersing the “People’s memory is that someone student in an environment ofhigli won the Fletcher Brownbuilt Pottery "a .. creative energy. “Myjob is to create Award rather than the memory of the l v. that energy — to show its intensity by particular piece. The glamour seems I applied for the Certificate in Craft example — not to become some sort of more important than the work.” Design at Nelson Polytechnic because I preachng guru.” have always held a strong interest in Geoff does exhibit his work, but is creative materials and the arts. Craft A ceramic artist rather than a functional keen that his students realise the range was an area I had not explored; when it potter, he is reluctant to talk about his of display options. He encourages them was advertised that you could gain work preferring that the pieces speak to make their own decisions for their training and design skills in the crafts I for themselves. “I spent five years end—of-course show by choosing their was most enthusiastic to become training in the skills ofa potter but own venue, type of forum and number involved. today I prefer to use the wheel as a tool ofinvited guests. “Some may get the — not necessarily to make pottery. I am biggest gallery in town; others inayjust In the first year, we studied various Furniture primarily an artist. My interest is in want a few friends and a garden craft media incorporating our drawing, form. My inediuinjust happens to be display. We want them to be aware that design, life—drawing and photography clay.” His large commissioned works there are other avenues to good work classes. We learnt to approach drawing are nearer to sculpture than to pots; his than through public pats on the back.” in many ways and were taught to use it recent commission for the National as a visual recording of our design Library in Wellington are big ceramic He hopes students will leave the course ideas, problems and developments. I Beginnings: forms that also have the capacity to with the message that: “There are no found learning to understand and use Cabinetmaker John Shaw has been involved from the boundaries. You determine the There’s always the family story of contain plants. Geoffis careful not to design to be very rewarding, and have starting with a hammer and a piece of denounce the value of domestic boundaries yourself, then if you want gained confidence in applying it to my start in establishing the wood workshop and tutoring to break those boundaries to move to wood. My father was a tradesinan, a pottery. “I respect functional pottery. drawings. sheetmetal worker; there may be some A good teacup is a good teacup. Its another level, you have to sacrifice Nelson Polytechnic. A year spent In our second year we were elements at the hereditary link up there. I place great shape and proportion work well something else to get there.” Ideally, encouraged to direct our energies into stead in that, just in the way he thought visually as well as functionally We any art course is not only a place of James Krenov, one or two craft areas. By term two I working alongside master craftsmen and worked. need good pottersjust as we need good learning but also a place where students had developed a keen interest in artists in clay. I think the important can develop strengths by being in a But my real interest in wood started jewellery and textiles, and chose to has provided him with a close insight into the ideal thing is that people respect what they creative atmosphere. Part of the about ten years ago when I was at apply my designs and drawings to these do, have a professional attitude to their process is being together with others of university in Hamilton. I linked up media. working and training environment. work and have personal integrity." similar motivation, having discussions, with a friend ofmind who wanted to getting frustrated, having other visual However, as my proposed designs build a wood turning lathe; ironically, He thinks the image of the craftsperson stimulii nearby. came together. I realised that I still my father ended up building the lathe has taken a battering since the 1970s Geoff works on site at Northland wanted to include other craft materials for us. From then on it became one and that the purist concept of craft Polytechnic, and is building a studio at and skills in my work. I have been longjouriiey of discovery; from being work ofthat decade has disappeared. his home near Hikurangi. He also encouraged to develop these ideas and very very naive and gleaning as much So is craft still relevant in New Zealand encourages other tutors to work at the resolve any associated design problems. as possible from magazines, to looking in the 1980s? “Yes, but I think those school as mush as possible. “If people at the work at other local woodworkers who survive will have to be good. In the second year it was also arranged and wood—turners to see what they are really motivated to learn, they will that we spend time with a practising There may, therefore, be a resurgence learn on their own. They don’t need us were doing and trying to interpret it. I of craft people doing traditional work craftsperson; this onsite experience was see it as a ‘learning about techniques’ to teach them. But by being exposed to invaluable. alongside the more art—orientated craft people immersed in their own work, time. that is starting to get big money, they see that energy. It becomes all that There have been ups and downs. particularly For various reasons, I decided to move with sales to corporate is important for that time. If the Students, tutors and coordinators have business buyers. Craft will probably to Nelson, and began working out at students can develop a respect for that learnt through trial and error. I do not Hira. I brought a crate down with my exist at two distinct levels — the well attitude to work, and find it regret any of my time spent with craft, executed traditional pieces and then the lathe in it, and it was always my somewhere in themselves then we are to me it has been a successful time. I intention to survive as a wood—turner in art craft pieces that are breaking winning. They are the learners. We feel the course is bursting with boundaries and stretching craft to new Nelson. I thought it was the place can‘t tell them where their motivation potential and energy. ofthing was feasible. I horizons. The group in the centre where that sort is, they have to find it. It takes time and for won‘t survive.” Nelson has been selected to run a Craft started turning a few bits and pieces sometimes people wait for years. Design Diploma (Iourse. I feel that this is people, but it was absolutely minimal Sometimes they change direction and Geoff doesn’t like compromise and the final, vital part of a successful craft as far as income was concerned. It was something else. feels some people have branded him find they are driven by course. I will be attending the Nelson never going to work. find an artistic direction, it ‘elitist’ because he believes in But ifthey jewellery Course and plan to work as a master. Their At this point, I was introduced to jim professionalism. Pride is important to can be a single—minded practising craftsperson after having work becomes their power. To succeed Krenov’s books which was the first him, “I can’t see how someone can completed the course. time I had come into contact with his make coffee cups all year and then turn in art you’ve got to be driven, be develop a respect for philosophy. To anyone in my situation, out two or three exhibition pieces once committed and Pauline Jansen Hendriks a year. If you are happy making good your own learning as well as that of others.” D coffee cups then do that. 130 proud 0“? 28 29

From purely aesthetic to political — Pam Smart Warm.

Ans reveals the strong personal statements of Kelly Thompson, Design Course supervisor and tutor in

Photqgraph: fibre at Otago Polytechnic

Kelly Thompson formally began her suggests a dessicated figure, and the acquaintance with fibre in 1979 as a horizontal ‘shelter’ bears sinister student ofthe Nelson Polytechnic resembalance to a ‘body bag’. John Shaw — Small Weaving School, under the principal The ‘shelter’ theme was further that. Tasmanian Vine and Anna tutorship of Philippa developed in textile history courses, in Blathwood and Ebony. Correa—Hunt. Here she became familiar which Thompson studied the various Photo: john Shaw ofloom weaving, with the techniques structural and architectural uses of but it was on completion ofthis course textiles cross—culturally, in addition to a that she attended a Woolcraft Festival the way he talks about wood was a winter and remote. I really was on my marvellous group feeling, all of us study of basketry processes employed workshop with Zena Abott whose revelation. I found myself moving into own, and that was something I wasn’t struggling with our inabilities and in the construction of dwellings, most three—dimensional work in sisal had the medium and discovering things; used to. I made about five or six things. gradually getting over them and getting notably in Africa. they were big discoveries notjust the I’ve never been particularly prolific as better. It also tempered our ego; you already attracted her attention. little refinements or details I am far as output is concerned. It was a time realized there were others working in Thompson discovered that the sort of Thompson has since mastered a range discovering now. Whole ‘chunks’ of of coming back down to earth to the same way as you and that you were work that had seemed so exotic and of basket making techniques of information were coming very rapidly reassess myselfin terms of New certainly not special. I only made two unattainable was perhaps not differing cultural origin, and on her and Krenov, by providing his own Zealand and to realise that the “buzz” things. The process was very slow and impossible to achieve. return to New Zealand, she produced a experiences, placed these discoveries in of England was dissi ating and would steady. Krenov’s message was series of baskets with supplejack frames Moving north to her family home in stretched linen a context. I realised there was so much soon be gone. I wou d have to learn to consideration, es ecially of aesthetics lined and/or encased in Whangarei, she proceeded to work paper ‘skins’. In the basket shown, the more to learn and it wasn’t going to rely on myselfto keep going. and perfection. pthings go wrong you off—loom, constructing large pod forms come quickly enough ifljust stood have to be prepared to start again. inherent unruliness ofthe supplejack in sisal. The notion ofa secure seems to be constrained and moulded still. I started making contact with other embracing vessel or shelter has since wood—workers and I pushed for a For me, being at college as a student is by the paper, despite its apparent My wife—to—be needed to go back to continued to pervade much ofher wood—working guild here in Nelson. It the finest situation for any furniture or delicacy, thus creating tension in the England, so it seemed logical that I work. ‘Metamorphosis’, comprising in was at this time I heard ofjim Krenov’s cabinetmaker to be in. You are totally object. This idea is further explored should go there to study. I worked in a three evacuated cocoons, explores the visit to New Zealand, and, I attended free to make whatever you want, and a piece she describes as an “unfurled joinery sho for a while; another whole to struggle for perfection if you so contradictory nature of shelters, at once basket”. In this work, however the body ofinfgrmation fell into place. I his workshop in Wellington. It was nuturing and secure, and the site of wonderful — the man was so much choose. Now at Nelson Polytechnic, pa er is given a sense of greater then went to college for a year at while I’m still at college in a sense, I’m oppressive constraint. Constructed in substance through the use of colour. more than his books, totally inspiring. several layers of hand—made linen Rycote Woodjust outside Oxford. My on the other side of the fence. What is These investigations into formal There was a rapport between us which paper, each large enough to contain a year at college was an extremely suffering most is my own work. I’m properties are consistent with important experience. I was exposed in was even more exciting because one person, these forms present a always suspects oneself of being having to sacrifice as far as the amount Thompson’s overarching interest in a very intensive way to skills; Rycote somewhat menacing, lustrous and inadequate. We were certainly on the oftime I can give to it, is concerned. materials and process. Her period of had a very strong skill building base. impenetrable surface, encasing a same wave—length, and he suggested I The immediate trade—offis that other study at the California College of Arts The course was structured in such a delicate pink interior space. come over to work with him in people will get the chance to explore in and Crafts (from which she gradauted way that you were forced to make the same way. California. He actually bribed me one The scale ofthe work is such that its in 1985 with a BFA in Textiles with certain things and do things in certain Distinction), provided the opportunity ways. In that area of the course, morning at the workshop. He took me The Future metaphoric relation to the protective out into the corridor and produced one to explore a range oftechniques and exploration was discouraged. That was I am in a period of rationalizing my devices we construct for ourselves of the wonderful planes he makes and media. Indeed, her work to date is the old English cabinet making own work and teaching. I’ve made a (behavioural, emotional and physical) said, “I want you to have this.” There I more than anything a dis lay of tradition. In addition, the course personal commitment to teach for two cannot be readily overlooked. Indeed, was holding it saying, “Are you really Thompson sees her work thus far as technical virtuosity. In a dition to offered an introduction to the history of to three years. The area I’ve chosen to paper making and basketry, Thompson furniture sure?” He then unfolded his plan for essentially a documentation of her design. Paralleling this was narrow down, or close down, is explored the possibilities of felting, the me to visit. feelings about her self and her relation opportunity to discover so much of making future for other people. I’m culminating in her pleasing ‘Goddess’ this to the world — “a series of personal history by tearing off to London After a year of writing and enquiring much morejealous in relation to my figure with silk paper face. and Oxford and other places. It was all about grants, I eventually received one free time, and I want to work on things signposts.” there; everything at your Although large scale three—dimensional finger tips. from the QEII Arts Council. It was a for myself. Despite this underlying reflexive To contrast with the historical lever to gain other assistance, and with structures continue to interest her, After teaching I would like to go back thread, Thompson’s work also attempts perspective, this was the time of the promised monies from friends and Thompson hopes to further develop working full time. I think it can be to address political concerns. As a renaissance of the craftsmen furniture relatives off we went to California. the potential ofloom weaving, using student at the California College of maker in the United Kingdom. It was done from Nelson. New Zealand is screen printing and painting of warps. quite small and reputation counts for a Arts and Crafts in Oakland, and a all coming back into vogue. I was The year was a wonderful experience, Kelly Thompson resident in Berkeley, her proximity to On completion of her degree course, amazed at all the input. My and I felt very privileged. Krenov lot. Krenov, again is the role model Unfurled Basket year at the for nuclear research Thompson returned to New Zealand, college gave me the confidence to feel I asked me to take the bench next to here. He chooses to make things as it 100 mm x 140 mm x 75 mm major laboratories and weaponary, heightened her but has since felt rather isolated in her had the skills to tackle anytyhing, him, adding a new dimension. He was suits him, and then offers them to approx. always there, always working and people who show a great deal of uneasiness regarding nuclear work. To some extent this seems to be When I came back to New Zealand, always interested in what I was doing. interest in his work. I would like to production. In light ofthis concern, an experience common to art school and to Nelson, I set u a little There were 21 other students, all think the same process could you work ‘Metamorphosis’ takes on a rather more graduates who, having been nurtured workshop at Teal Val ey — very Cold in totally committed. There was a for me. ominous tone; the upright form for some years among more or less 30 31 like—minded folk, find themselves somewhat adrift when their period of study is completed. But this sense of isolation is accentuated for Thompson Edith Ryan, Crafts Programme Manager for the

by her shift to New Zealand and the . absence here of the range of work that QEII Arts Council, outlines funding back-up for

M5 was so readily accessible in San Francisco. the Craft Design Courses Thompson is, however, pleased by the growing presence and recognition of -.-..v—.«°§;,‘-- fibre works in shows of contemporary New Zealand art. Indeed, it is difficult to find a recent survey that does not feature a number of artists using fibre k in various ways in the construction of three dimensional objects (Vivian Lynn, Christine Hellyer, jacqueline Fraser and Maria Olsen are among the It is notjust by chance that Arts Council funding to craft obvious examples). In Thompson7s art was significantly increased last year. Professional View, however, the work of these qualifications lend res ectability and win recognition. artists differs significantly from her Craft in New Zealan is not recognised or respected as own in that their artistic genealogies art, and funding, until this year, has reflected this can be traced through the traditions of attitude. The Arts Council is committed to the European art (notwithstanding certain promotion of excellence, and with the advent of tertiary appropriations from the traditions of craft education, Council is pleased to step up its funding other cultures). Despite her desire for support to help ensure that all the expected advantages her work to be shown and attended to are manifest. as art (though she is as cautious to state The splendid Craft Education Design Courses are a just what that might amount to), tribute to the tenacity ofthe Craft Council of New Thompson sees it as significant that her Zealand, and to a strong—forward thinking Minister and work emerges from the craft tradition. Director—General of Education. The Arts Council now What Thompson alludes to in intends to pay tribute to and reward those who achieved I I'Vaileato — distinguishing between these two so much as craft artists, without the benefits of tertiary John Mitchell traditions is a certain difference in education. john researrhed and prevailing interests. While it is difficult, experimented with rubbings, if not foolhardy, to attempt to ascertain These next few years should be considered a celebration (alligrapliy and textural injust what ways these discourses of the pioneer spirit, the self directed experimental language. The paper in this differ, perhaps a pertinent distinction achievements of our senior craft artists. Everyone piete is hand-madefi'om knows their history, everyone knows where they’ve rmnputer paper representing might be found in art’s obsession with reryrlinq. The paper is meaning in contrast to craft’s come from. These are the people who are the backbone of the craft industry in New Zealand. It is through their embossed and symbolises the preoccupation with material. strolls and there is a efforts and the reputation they have built that a new era ronnertion with the agreement Since her return from the U.S., she has has dawned. Now recognition must be given to these ofthe Treaty q1" lt’VaitanQi, worked as a tutor in Craft Design senior artists. The QEII Arts Council’s new craft courses — initially, art—time at funding policies dojust that. Northland Polytecfinic and since August 1987, she has worked full—time Artists who have no formal qualifications will know as co—ordinator of the Otago course. their own limitations. There are substantial grants which 2 Carrin‘qton — These positions have been particularly give these senior artists opportunities to plan their own programmes in New Zealand or in the great academies Ellen Deegan McCallum important for Thom son since through This bowlfin'in was made them she has established contact with a ofthe world, to work with world experts orjust to take “time out" to seek refreshment and inspiration. Such from an anal dist afZinm thirk number of other practitioners. Her lead sheet, blinked and raised enthusiasm for teaching is, however, opportunities are essential since these senior artists now to shape with immden tinged with a certain ambivalence. form the core oftutors teaching our students at a tertiary hammers and stakes. Ellen Although she finds teaching both level. There is no doubt these practitioners will be shaped the hammers and made Challenging and rewarding, she feels superb tutors, for they bring enthusiasm and drive and the stakes herself, The that the amount of time and tremendous technical skills. They can demonstrate they pruress is tailed aimle-risine concentration are masters. and is the method used to it consumes has develop lwllnwfin‘msfi‘om precluded her from further developing Teaching too is a professional business, and Council that metal sheet. Thalia/ii is her own work. This has been of believes, in concert with the Education Department and (reated by annpresxsing the concern to her, because it has inhibited Craft Council of New Zealand, that tutors need some metal at an angle to the stake her work as an artist/craftsperson, and specialised input to be professionally effective. Plans are with a raising hammer. The as a teacher, she feels strongly that afoot to bring overseas experts to provide this essential ulnrle mntinurs in a tirtular unless she is proceeding with her own edge. Council is also aware that students need to identify direttiongti'mn tentre to outside work, she is failing to provide a proper edge, gradually detreasing the with artists, and to this end will assist resident craft (irruinferenre ofthe sheet and role model for her students. Failure to artists to be located at polytechnics. These artists will produce inrreasinq the height aft/1e she claims, “disqualifies one as have the opportunity to work experimentally to develop farm. Thefinal shape a tutor.” Whatever arguments one new directions and be paid to do so. Further, Council is rereines a surtare refinement might have with this View, it is one that encouraging master craft artists to extend their and is rubbed with steel wool. Thompson firmly holds, and which she workshops in order to cater for the working needs of regards as being particularly graduates and students. Substantial grants will be given problematic since teaching to do this. It is hoped that there will be several such simultaneously requires one to workshops in different craft disciplines servicing each produce, yet constrains one from so polytechnic within five years. .3 North/and — doing. It is her hope, however, that Barbara Alexander before long, having established herself The future that the new graduate craft artists face is rich First experiments with in Dunedin and in her new role as a in every way. These graduates are privileged, for they short-stemmed «goblets which course co—ordinator and teacher, she have education advantages and conditions no other Barbara prefers to see as a will be able to comfortably combine generation of craft artists have had in New Zealand. And (g r0 up . teaching and practice. of course, funding for craft can only increase! Photographs: Ans Westra.

32 33 Polytechnic Principals and Heads of workshops, so that they may cater for CRAFT DESIGN Department, Craft Education, the working needs of several craft Information officer; Crafts Council of graduates, and the work experience DEVELOPMENT New Zealand and Craft Programmes needs of craft education students. Manager; QEII Arts Council will liaise, PROGRAMME Successful ap licants must already run Applicants must apply through their efficient, stu i0 workshops, and have polytechnics or be nominated by their demonstrated nationally that their own polytechnic. There is no application work is design orientated and Scheme 1: Major Creative form. There are no closing dates. innovative. Development Scheme It is envisaged that three or more such This scheme offers a number of Scheme 4: The Craft Training workshops will be funded up to substantial grants to established senior Enrichment Scheme $10,000 each during 1987/88. craft artists, for refreshment, enrichment and prolonged study, or It is Council’s intention to extend the Applications are considered by the time out to explore their own advanced training workshops concept. Craft Panel. Closing dates are 8 March creatiVity. National craft organisations, the 1988 and 3 October 1988. CCNZ, the Education Department and To be eligible for support, craft artists QEII Arts Council are workingjointly must have a national reputation, to bring world experts to New Zealand demonstrated a high level of for extended periods, to tutor in a STUDY professional competence, and have the number of national centres. SHORT TERM creative ability to produce innovative PROJECTS works. All polytechnics and national associations will be consulted and asked _ The general aim of the programme is to rovide specific timetables and other This scheme is to assist established craft to encourage artists to study, especially in ormation, in order that a nationally design, abroad, or within New Zealand artists to engage in short term co—ordinated programme may be study/travel within New Zealand or for personal development, but also to organised. prepare them to tutor in the Craft abroad. These projects for up to 3 Design Courses. Council has set aside a small sum to months, are worth up to $3,000. Grants assist with this programme, but it is are awarded for research, advanced Applications are considered three times envisaged that the Eduation training, attendance at conferences, a year by the Craft Panel, The closing Department will substantially fund it. workshops or special events, a dates are: 8 March 1988, and 3 October promotion of New Zealand craft Nelson Polytechnic Weaving , School Exhibition Photograph 1988. Craft tutors should apply through their abroad. polytechnic. There is no application ,-. —Jan Nauta form. There are no closing dates. Grants are intended for artists who have attained a substantial professional Scheme 2: Craft Artists in Residence The Information Officer, Crafts reputation; artists who will share the The aim of this programme is to create Council of New Zealand, an Education benefits oftheir study projects, and Certificate in Handwoven new working conditions for Department re resentative and the artists interested in gaining design professional artists; provide artists with Manager, Cra t Programmes QEII Arts experience. Textiles — NELSON POLYTECHNIC security of employment for an Council are the co—ordinators. extended period of time and the VENTURE CAPITAL SCHEME resources required to develop their The Weaving School at the Nelson Polytechnic work; and allow communities to Under the revised Venture Capital offers the only full—time weaving course available engage with the ideas and aspirations of Scheme Council will give capital grants in New Zealand. Commencing with a one year practismg artists. THE NEW CRAFT ARTISTS of up to a maximum of $5,000 or 25% Fullim-te Craft Couress bursary in 1983 and now into its second year as a ofthe cost of an approved project, ull—time two—year Diploma, the course aims to Artists’ stipends ofu to $1,500 per PROGRAMME whichever is the smaller. These grants integrate the teaching of specific weaving month for periods 0 from two to — will be subject to (a) the balance of at tertiary level in a techniques and fibre knowledge with a twelve months are availble under the funds being obtained by the applicant design—based approach. The School offers a programme. from a reputable source of funds on stimulating educational environment, quality Scheme 1: New Craft Artists single medium The implementation of the scheme satisfactory terms, and (b) the tuition and a wide range of resources and is Promotion Scheme the responsibility of recipient Arts/Crafts Council consultant deeming materials. polytechnics The aims ofthis scheme are to assist the project worthy in artistic terms. running Craft Education The course begins with a class in spindle and Courses. These emerging craft artists and graduates institutions are It is intended to assess applications for wheel spinning, followed by instruction in warp expected to match from Craft Design Courses, — with the Council’s the Venture Capital Scheme three and weft and novelty spinning. Weaving is contribution potential, to purchase workshop by the provision ofa times a year. Applications will close on introduced in stages: first, weaving on simple studio, housing assistance equipment; to establish themselves in or 15 Feburary 1988, and 17 August 1988. equipment, making braids on inklelooms and accommodation, the market place, by assisting with their materials, travel bags on backstrap looms, and then progressing to expenses and other first important exhibitions at services. larger projects on table looms. At the begining of recognised galleries and exhibition CRAFTS COUNCIL OF NEW the Applications for funding under this spaces. second term, there is a comprehensive scheme will be assessed by the Craft ZEALAND introduction to the mechanics and theory or floor Panel once a year. The closing date is 3 A limited number of grants of up to The Arts Council has worked closely looms, and students learn throw—shuttle October techniques 1988. $1500 will be available in 1988/89 to with its new client the Crafts Council for weaving longer lengths of fabrics. assist with such costs as materials, of New Zealand to nurture craft artists; At all stages, instruction is given at a practical and freight, promotional material, gallery to develop sound marketing and theoretical level. Theory takes the form of charges and so on, or to enable the sponsorship policies and to negotiate on pattern drafting blocks, followed by the weaving Scheme 3: The Craft Tutor Training purchase of essential/basic workshop education issues with the Department of samples. The students not only have a wide Scheme equipment or tools. of Education. The craft budget contains selection of drafts and samples in their The standard reached by graduates of There is no closing date. Applications an allocation of funds to maintain the notebooks, but also make use ofmany of them in the Craft Design Courses depends very will be comparatively assessed by the Crafts Council. D their project work. Other activities include warp largely on the standard and type of Arts Council and its advisors painting and braid weaving, and as well as the teaching they receive. Senior craft throughout the year. Further detailed information on any ofthe basic rogramme of fabric weaving, the course practitioners form the core ofthe Craft schemes may be obtained by writing to inclu es a five week block on rug weaving. teaching strength in these courses and Scheme 2: Access Studio Workshops The Secretary, Crafi Programmes, QEII During this period, students explore many they must have education Arts Council, PO. Box 3806, Wellington, techniques through sample work and design, and opportunities, which will enable them This scheme is intended to provide or The Information officer, Crafts Council make their own rugs. Emphasis is also placed on to facilitate learning at the highest master craft artists with incentives to ofNew Zealand, 22 The Terrace, the correct use ofmaterials and finishing individual level. extend and fully equip their studio Wellington. methods.

34 35 ll'ellin‘qton Polytechnic Textile Design Diploma Design pro/err in con/unetion It’lIlI Du Pont (Photaqraphs provided lty School).

Hellinoton Polyterhnic Textile Design Diploma presentation (Photographs provided lty School.)

product. Design and fashion in textiles is now a more important marketing factor than ever before. Manufacturers are fully aware of the need to improve the design quality ofNew Zealand Glaze preparation area. textiles to enable them to compete in overseas Otago Polytechnic. markets. ’7 Students in the Textile Design course, are therefore, trained to be well versed in factory production and market research methods, and have the ability to assess fashion trends particularly as they relate to colour, texture, natural and synthetic fibres and garment styling. It is essential that textile designers engaged in the planning ofnew woven, knitted and printed fabrics for apparel and furnishings. have a sound knowledge ofthe way in which these products are used. This understanding is gained through paractical experience in cloth handling and the technical problems involved in pattern cutting, garment construction and interior decoration. supporting subjects in the textile design course. , 2:4?) This course, which four years ago suffered from H 0 [83”; less than full enrolment for thirteen openings, is \ _ . now drawing up to 50 applicants per year. The tutors are “top—notch”. Students from the |‘)87 .x' I ‘ year were approached by five manufacturers, a ' including a fashion knitwear exporter, an interior

mg... designer and a wall coverings designer. Two students are setting up their own fashion fabric

“"n printing business. One has travelled to London to

Marriane Abraham, a mun-dim; take up further study and another student

4 student ofthe ()ttroo received threejob offers. I’olyterhnic Ceramics Although the pace ofthe Textile Design Diploma Certificate t'out‘se. applying h- is strenuous, upon graduation students can expect ltrush deroration. to be employed in this exciting field either nationally or internationally. In the second year, students receive instruction in for studio potters and ceramic designers and more advanced theory and techniques and are teachers. Students are accepted from both New expected to develop their skills with a major Zealand and Australia, and since only 20 students emphasis on individual projects. Modules are also can be placed each year, entry to the course is Textile Design Diploma — offered in marketing and promotional skills, the competitive. Students with proven artistic ability setting up of workshops and co—operatives, small and ceramic experience are given priority. business management and photography. WELLINGTON POLYTECHNIC The course provides students with an Note: The Nelson I’olyterhnir is seeking diploma statusfitr this understanding ofmaterials, techniques and the _ (Ulll'fl'. potential of ceramics. lt fosters creative expression and endeavours to develop individual rl natural skill in the use ofeolour and its application; a — abilities to enable students to combine ceramic strong and continuing interest in creative expression skills with good design. The ceramic section is through painting, printmaking or rraliu'orh — a tire/ding Ceramics Certificate — School served by four full—time tutors, all professional oft/tese, plus design and teehniral skills, nut/ceslor a potters, two part—time tutors and several visiting highly—trained, highly soiiolzt-a/ier textile designer. of Art — OTAGO POLYTECHNIC potters. Facilities include: four forming rooms john Matthews Head ofthe Textile Design _ with wheels; a glazing room; laboratory; drying Department at Wellington Polytechnic initially room; clay preparation room with pug mills; trained in glass design in Stourbridge, U.K. He Since the Otago Polytechnic was established in processing area with slip tank, blunger and filter moved into designing textiles and working with a 1965 as a centre for tertiary education, the School press; four electric kilns; one oil-fired 27 cu. ft. carpet manufacturer because. “that was where the of Art has played an increasingly important role kiln; 15 and ()0 cu.ft. gas-fired kilns; and a 20 employment was." in its development. By providing full and cu.ft. wood fired kiln. There is also an outside part—time courses in the fine and applied arts, it working area with room for students to construct john emphasises “It is essential that students ias contributed diversity to the institution, while small experimental kilns. undertaking vocational training in textile design maintaining a tradition which dates back to 1870 understand the aims and objects of the industry when the training of artists first began in New A second year Advanced Ceramics Certificate is which requries their special services. and also Zealand under David Con Hutton at the Otago also offered, designed to provide time for accept the fact that they operate less often as School of Art. T specialisation and the necessary extension of skill individuals going their own way. The nature of and knowledge for independence and industry requires that people work in The Ceramics Certificate, 3 one year full—time self—reliance, either in the field of studio pottery collalmration with other specialists whose aim is course, is recognised as a national training ground or industrial ceramics. to improve the quality and marketability of the 36 37 NZ Maori Arts and Crafts Institute — ROTORUA

The NZ Maori Arts and Crafts Institute was established by an Act of Parliament in 1963. Its Waiariki — Paerau Corneal role is to preserve and perpetuate the traditional A kete in boiledflax — some skills ofthe Maori people. Admission charges to oftheflax has been reversed the enormously popular Whakarewarewa in the weaving to give a Thermal Reserve, Rotorua are used to fund the subtle effert in the pattern. Educator Jack Shallcrass issues a challenge lnstitute’s role in new Zealand. The reflertion ofliglzt on the two sides oftheflax varies to Carving School promote the subtlety. As we celebrate the Polytechnic human talents if we were to become godmother days of stock market funny Carving is taught at the Institute. The latejohn courses in craft design and contemplate anything but a distant farm from money, longer term investments in Taipa was the first tutor. Now master carver the growth to come we shouldjoin Ray Britain. The easy days of watching the skill may become politically respectable Clive Fugill, one ofhis pupils, carries on the Thorburn in recognising the midwifery grass row were nearly over; soon we if not wholly popular work. Three trainees are accepted each year from of Russell Marshall and Bill Renwick. woulfhave to make more sophisticated tribes throughout New Zealand. The present The child they delivered is Vigorous use of what ate the grass. Our future However, there is a way of raising course lasts three years and trainees learn to carve and multi—talented. Clearly, the would depend on nurturing and standards, of heightening awareness in the seven traditional styles. Clive Fugill polytechnics are lively, supportive rewarding the ima inative, the elegant and enhancing commitment that is not explains that trainees must complete certain laces which value their progeny not and the unexpecte . With the change costly and is always within reach — exercises — make a musical instrument, various Feast because of what they may would come a new vision of what it better teaching. To say this is not to be weapons — as well as work on larger pieces to contribute to New Zealand culturally was to be a New Zealander. critical ofindividual teachers but to decorate a house or canoe. History, gencology, and economically. question basic assumptions and habits waiata and Maori language, are also included in Sutch’s dream had a cloak of economic about the way people learn. the course. During the course trainees must learn While the middle 1980’s will be respectability. Tovey gave it daily to use at least 60 tools and these are presented to remembered as the time of decision, reality for children and teachersflim With rare exceptions teaching at all Coe showed what was possible or them on graduation. Westm. the process began about 40 years ago. levels is seen as instruction — as passing adults. The workshop is open to the public and trainees on knowledge and skills. This has been have to learn to work with a constant stream of Aux Soon after World War II the Director of For years he had beguiled called the banking model in which tourists filing round the walkway, photographing Education, C. E. Beeby a pointed Wellingtonians with the stunning art teachers put deposits of knowledge into as they go. Many ofthe pieces carved are sought Gordon Tovey to establisii and design work ofhis students at Hutt the learners. It as also been called the programmes of art and craft in schools. super—market model because learners Emily Schuster ~ Woman after by collectors and connoisseurs, many of Valley High School. These were the

Photograph: Tovey, a gifted leprechaun, danced and of knowledge and skill cultural supervisor. them going to overseas buyers. heady years ofthe flfties when we co lect ackets weaved his magical way into the were beginning to discover ourselves to get t e necessary number of credits. imaginations ofthousands of teachers anew in literature, theatre, music, art, One school of thought, best Emily comes from a family rich in carvers and and Children. Almost overnight craft and design. weavers. “I cut my teeth on a shell” she laughs. It children were creating, designing and represented by philosopher Paulo was not easy for her or her family to accept the making things that left parent’s puzzled In the circumstances it was no surprise Freire argues that teachers can either idea of moving outside her own tribal and sometimes critical but generally that Coe was appointed to head the first liberate or oppress learners. To liberate connections to teach weaving skills throughout rather proud of the unexpected modern school of design at Wellington is to empower by using learning the country. revelations oftheir children’s minds. Polytechnic. Its im act was immediate processes that require students to make and dramatic; its a ter effects continue choices about content, about learning Emily saw that it was difficult for women to his to enliven our galleries, towns, cities, style, about assessment and about leave home and come to courses so she has made Tovcy’s success came partly from factories and boardrooms. review. Without these experiences it is herselfavailable to travel anywhere and teach ownjoyful commitment but in the long He very difficult to achieve a self—aware, skills on the marae. Her first workshop was at run from new attitudes to learning. Yet it took nearly a quarter ofa century helped to shift attention from independent mind which is the mark of Waiouru in 1970 and she has travelled ever since. for the certificate courses in design to true liberation. instruction to discovery with processes appear. Sutch, Tovey and Coe would “I see myselfas a bridge between the older that carried their own powerful be delighted to see them but would generations and the young" she says. “In many messages. By empowering the More often than not traditional modes wonder why it took so long and was so ofteaching make learners dependent of cases the communication had broken down — they imagination he enhanced the world. To cautious. didn’t know how to talk to each other.” a degree that comes to few people other people’sjudgement and taste. Far Gordon Tovey helped to change the The next stages such as the from liberating, this oppresses them Emily explains that the basic weaving skills and perceptions and the tastes ofa nation. development ofa national school where says Freire; there is no middle ground — the eight traditional designs are common to all the best and most promising either you liberate people or, by tribes but the names for them are different. “I Out of these changes, of which craftspeople might share their skills and definition, you have oppressed them. show them the patterns and then tell them to go schooling was a part, come craftspeople their minds might not be delayed for This is basic to the whole field of back to their own Kuia to discover their own and artists in numbers and quality that long. Essentially it would be an names for what they’ve learned.” dazzled us. Equally important came aesthetics where critical awareness, investment in a growing and independence of mind and faith in During the day Emily would teach mothers; then thousands of people with a taste for ecologically productive New Zealand craft and an eagerness to buy. A individual intuition are what marks an when the children came in from school they which is prepared to pay for the best. artist—craftsperson. would stay for tea and they also would learn. healthy economy made it possible for us to indulge our tastes so craftspeople When the su erb Folkloric Ballet of In the holidays Emily runs weaving courses for Mexico was ere its founder and Above all other artists must know that could earn at least some of their living the medium is the message — the way children at the Institute. Occasionally individual from what they made. director, Amalia Hermandez asked to people wanting to learn — not necessarily Maori — see our national ethnic schools of arts we do things is the way we transmit l . values. PhotographjennyPtatrirk. come to the Institute and stay for a few days. But Some of the drive and intellectual and crafts. “How do you nuture your most ofEmily’s work has been out on the road. spirit, your soul?" she asked, “Why do excitement came from W. B. (Bill) So, the next step is for everyone itself She has been so successful that she feels she’s Sutch, a renaissance man who spanned you waste something that pays for involved in art—craft education to Women’s Crafts almost done herself out ofajob. There has been a economics, politics, history and the arts many times over?” Her questions still become both learner and teacher. If we great resurgence of Maori women’s skills. with a compelling vision. He saw New hang in the air, unanswered. Emily Rangitiaria Schuster, Women’s Cultural get that rich such power and influence Zealand becoming 3 Denmark of the Sufpervisor, has tackled her responsibility in a “People I’ve taught are now passing on the skills Of course answers would cost money will accrue that appropriate institutional Pacific, 3 land of taste and quality di ferent way. This tiny energetic woman, whose in their own areas” she says. “It may be time to South and lots ofit. If seen as a capital responses will be inevitable. We make to match the best in the world. aunt was Whakarewarewa’s famous Guide Rangi, look at the future and see ifthe Institute might investment and properly monitored it the future by how we behave now. has become respected throughout New Zealand play a different role, perhaps a University of He argued that, in the absence of great would return handsome dividends. That is the only way to turn visions for the way she has fostered weaving skills. Maori Arts”. natural resources, we had to cultivate With the end of the dotty, fairy into reality. 38 39 Full-time Art, Craft & Design Courses in New Zealand 1 Otago — Heather McLeod Iii/aid derorated east porrelain vase.

2 Otago — 5.7 ’ Nessa Reddington C RTF IN CRAFT DESIGN Saggar Fired Pot. 640 mm, 1.711", I WM.» 3 \rtuo-ivt..1‘;3 v- .4 .5, y a

Eleven Polytechnics throughout New — be able to communicate their ideas; Zealand are offering a two — be able to show portfolios of drawings and year examples of work, and/or records of work full-time Certificate in Craft Design. done to date. The goals of each course are broadly The syllabus for each Craft Design Course is to — provide students with a range of detailed below: Information is correct at time of I‘iI lllllllllllllillllllhllllllllllllllllllilllllllllllllllllllllllfllllllrllllllll art and design knowledge and skills, going to print but prospective students are to encouraged to seek additional information enable them to develop as directly from the Course Supervisor at the craftspeople and to make a personal participating polytechnics or from the Continuing contribution to the cultural and Education Division, Department of Education. - Jig-g ; 9,-- ugs «C‘Vivd‘w . “3,“,1- rt: «rm-x. - economic life of New Zealand. CARDINGTON POLYTECHNIC Private Bag The objectives for the two year Craft Design Mount Albert Certificate are to develop: Auckland Tel: (09) 869-106 — creative and perceptual skills; — the knowledge and skills to produce Course Supervisor: Sally Vinson handcrafted forms in a variety ofmedia; — an understanding ofthe cultural origins of Art Certificate in Craft Design and Craft in New Zealand; _ the ability to assess the qualities of craft form; Four major craft options are offered in ceramics, and fabric and fibre, flat glass, metalwork and — professional attitudes and skills in the jewellery. Certificate Year 1 students also choose management and marketing ofcraftspeople and two or three minor options from the following their products. areas: batik, controlled dyeing, feltmaking, leather, photography, silk—screen printing and Selection is open to all people with imagination, weaving. In Year 1 students acquire a basic talent and commitment who, in the opinion of understanding ofthe work related skills in the the local selection committee, will do well. four crafts which are studied as major options and Selection is limited to a maximum of 18 students insights into and some skills in two or more per year group. crafts. The nature and content of courses varies from In Year 2 the students acquire indepth art and centre to centre according to local needs, but all design knowledge and skills in two craft areas. ctra. courses are built on a broad base ofart, craft and

design education that includes a core of Ans : knowledge ofthe historical origins of craft forms, CHRISTCHURCH POLY'II'ECVHNIC their purpose and the social and cultural values PO. Box 22095 they are accorded; media skills and Christchurch Tel: (03) 798—150

workshop/studio experience; professional skills Photograph including marketing; promotion and relevant Course Supervisor: John Tullot business methods and procedure. 6 Omen — The opportunity to observe and work alongside Certificate in Craft Design Therese HoIIingsworth — Tapestry craftspeople in the community is fundamental to During both years the course consists of an understanding ofthe craft 'I‘herei’e produred this process. The nature two—thirds on campus study and one—third off tapestry while iii li’i)l'k.\']lii}) and duration of this off—campus experience will campus craft practice. with Kate Wells. She be determined by the needs of each course and experimented with Shape and the availability ofcraftspeople in the community. Craft Experience — including instruction in a 3. Otago — Sue Allen. single line u'eauiirq. variety oftechniques, tool making and associated Pot 260 mm. Students who are New Zealand citizens may safety procedures. Craft Design — in conjunction apply for a Tertiary Study Grant. Some may also with drawing and practical activities, modules in 4. Ota‘qo —_]0 Howard. be eligible to apply for an Accommodation Grant the elements of design are given. These modules Pot-Iiilaid .ch'ps slah. 230mm. and/or a Hardship Grant. comprise a mixture oftheoretical, graphic and 31) 5 Otatgo A activities. Drawing. Related studies, including Marriane Abraham Entry Criteria gallery visits, field trips, visits to craftspeople, A/Iajolira decorated ware, Intending students must be able to demonstrate a visits to Marae, Maori craft studies. Business Southland —Jerry Wijstra commitment to involvement in crafts as a studies. This taiiiko bag was designed and worked afler a workshop vocation. Applicants must: in taiziko weaving. Photograph: Ans Westra. 40 41 North/and « ‘t Barbara Alexander Barbara used centrifitgal forte NORTHLAND POLYTECHNIC AIARIKI POLYTECHNIC to spine out the rut netla on Private Bag Private Bag this bubble seeded glass vase. Whangarei Tel: (089) 489-659 Rotorua Tel: (073) 479-462 She then hung it until she achieved the desired shape. Course Supervisor: Geoff Wilson Course Supervisor: Ross Hemera Certificate in Craft Design Certificate in Craft Design — Maori Year 1. (Foundation in Craft Design) Drawing, This course provides for the study of values, Design, Craft/Art History, Fabric/Printmaking, spiritual aspects, and symbols and imagery from Fibre/Wood, Clay, Hot Glass, jewellery/Metal, the past and contemporary times. Film, Photography. Year 1. is based on a general study of: Year 2. Drawing, Design, Craft/Art History, Design Elements and principles of design are Busmess Studies, Two selected specialist media explored in relation to a wide range of studies from Year 1. applications and concepts both Maori and European Drawing Perception and rendering techniques OTAGO POYTECHNIC Kowhaiwhai Private Bag Graphics Dunedin Tel: (024) 773-104 Wood Carving — surface decoration to work in the round Fibre Raranga — weaving with natural fibre Course Supervisor: Kelly Thompson Paint Oil, acrylic, watercolour and media techniques Certificate in Craft Design Ink Screen, intaglio and relief printmaking Bone Carving, shaping and forming Year One students follow a course in four main Clay Modelling, casting and firing craft areas; Ceramics, Fibre, jewellery and Wood with complementary studies in drawing and Allied studies will include: design and business studies. Te Reo o Maori —— cross cultural studies Art & Craft appreciation Year Two students pursue individual areas of study Communication skills involving design and practical work in two crafts Business Management skills in which they wish to specialise, plus work Technical skills — woodwork, metal work experience, small business studies and photography. Year II A choice of2 major and 2 minor work options. m PARUMOANA COMMUNITY Ware .. ‘ . . .03. 4557.". 3. " POLYTECHNIC A K TO OLYT CHNI Private Bag Private Bag Photograph: Ans Westra. Porirua Tel: (04) 375-239 Hamilton Tel: (071) 392-500

HAWKES BAY POLYTECHNIC Course Supervisor: Anne Philbin Course Supervisor: Desna Jury Private Bag Taradale Tel: (070) 448-710 Certificate in Craft Design Certificate in Craft Design Course Supervisor: Jacob Scott Year One Bone and Shell, Fabric/Fibre, Metal, Year 1— General study in Fibre and Textiles, Clay, Printmaking, Drawing, Design, Business jewellery, Ceramics, Art Appreciation, Business Certificate in Craft Design skills, Communication and Language, studies, Design plus sup ort subjects, drawing, This course explores a wide range of media Professional Practice, Work Experience, History business studies, batik, yeing, printing, and Maori through a variety of disciplines. Media include, of Art 86 Design. photography, bronzecasting, graphics Art. bone, wood, flax, glass, wool, metal, stone, clay, Year Two Selection oftwo craft majors and two print. Disciplines include — Design, drawing, minors. Work experience. Year 2— A choice oftwo major and two minor sculpture, paint, Maori, business, general study. options. w ”ff“- us“- r-znv. (5.3:)..‘2'5‘ .1 .flH-aq-iaflgja-Qu-.:.,-,, . 1; 42¢. «:71.» 1 Glass Workshop SOUTHLAND POLYTECHNIC WANGANUI REGIONAL COMMUNITY Wanganui Regional NELSON POLYTECHNIC Private Bag Community College Invercargill Tel: (021) 87-246 COLLEGE Private Bag Private Bag Nelson Tel: (054) 69-175 Course Supervisor: Lena Metcalfe Wanganui Tel: (064) 50-997 Course Supervisor: Ross Newman Certificate in Craft Design Course Supervisor: Chris Gibson Certificate in Craft Design Year 1. Modules in Fibre, Wood, Stone, Bone, Metal, Photography, Glass, Year 1. (Foundation in Craft Design) Drawing, 2 Printmaking. Certificate in Craft Design and 3D Design, Figure Drawing, Photography, Year 2. Students pursue one major and two minors Year 1. options are Drawing and Design, Creative Construction with Wood, Plastic, craft options in a course tailored to within their Ceramics, Wood, Fibre, Metal, Hot Glass, Metal, Paper, Bone, Stone, Maori Studies, personal directions. Work experience. Technical Drawing, Media Studies, Art and Craft Preparation of Portfolio. History, Business Studies, Photography. Year 3. Advanced Certificate in Craft Design. A 2 l'Vaiarilei — Year 2. Selection of two craft majors from Wood, self—directed learning programme agreed Year 2. students are expected to major in two Malcolm Bryan jewellery, Ceramics, Textiles, Drawing, Figure between student and supervised tutorials, skills media options, Drawing 8t Design, Ceramics, Malrolm‘s three bone (arvings Drawing, Business Studies, Work Experience, development through access workshop use. Hot Glass, Wood, Art 8e Craft History, Business are developedfi'oin the Research, Art History. End of course exhibition. Studies, Professional Practice, Work Experience. smallest with pierced rarving Course costs include student membership of to the largest piete. The Selection process: Two day selection workshop and CCNZ, involvement in Southern Arts School. Course costs include Student Association fee, design is progressively interviews at Nelson Polytechnic. Materials Materials. It also includes access to one evening administration costs and proportion ofmaterial simplified and intorporates the supplied. class or two seminars per term. COSES . learn pattern showing growth. Photographs: Ans Westra.

42 43 National Aim and Objectives for the Diploma in Craft Design

The Government approved the establishment of All candidates have the right to be represented at two year full—time Diploma Courses in four interview by an advocate who can speak in polytechnics; Carrington, Nelson. Waiariki. support of their application and on their behalf. Waikato, which commenced in 1988. Costs to attend the interview must be met by the candidate. AIM In the event ofhardship. by prior arrangement For students to pursue excellence in craft design applicants may be interviewed for any or all and to make a significant contribution as artists courses at a diploma centre nearest to their place and craftspeople to the cultural and economic life of residence. of New Zealand. OBJECTIVES SELECTION REQUIREMENTS FOR This will be achieved by students learning to — ALL DIPLOMA COURSES — think creatively and develop innovative ideas: completed application form; — acquire the knowledge and skills to design and curriculum vitae; produce work in selected media; referees reports; — apply professional attitudes and skills in the other supportive documentation;

management and promotion of craftspeople .‘d‘fv’h’f portfolio professionally presented showing and their products; evidence of craft design including drawing, —- understand the cultural origins and mana process and completed works (photographs associated with art craft and design in New are acceptable); Zealand and other countries; 6. interview with supporting advocate of the — critically evaluate craft work. applicant’s choice; 7. evidence ofability to undertake personal ELEMENTS COMMON TO ALL DIPLOMA investigations; COURSES 8. evidence of design knowledge and skills; 9. attendance at a two day residential workshop Individual programmes will be designed to if required. accommodate each student's requirements. I Wanganui— However all courses will include the following: Kari Shadwell 1. Drawing — expressive and technical. EVALUATION AND ASSESSMENT — L-shapedflatglass 2. Art and Craft history, customs and cultural Yearl ~ attendance This is designedfi'om values. — ongoing assessment of sketchbooks drawings experimenting with 3. Business studies and professional (diary) folder (working drawings, notes texture andfalling movement development. etc) resulting in this L-shaped 4. Individual projects including research piete with an amber stripe — end of year exhibition for each student running through it. It was an methods. tutorials, project negotiation. — self assessment — verbal (two tutors) exereise with eopperfoil. recording and documentation. — visual 3. Work experience — 12—18 weeks over two — ability to meet deadlines. years. Year II — ongoing as above with more emphasis 6. Media studies specialisation in ceramics, on presentation of work concept, fibre/textile, wood, flat glass, jewellery, process and development. contemporary Maori art. 7. Related studies such as photography, Maori There will be regular informal discussion and studies, gra hics. negotiations between student and tutors on all 2 Wanparmi — 8. Design studies and applied design. aspects oftheir work including new 3 Jenna Gibson 9. Te Reo Maori (Maori language is integral to developments. — Red/Blue Tile/Felt _]enna has been experimenting the contemporary Maori art course.) with rakued tiles in association with filling. This SELECTION CRITERIA one carries eolour and texture The diploma course will build on the sound CARRINGTON POLYTECHNIC from tile through to pleated ofthe 11 two—year certificate in craft felt. foundation Private Bag be design courses. At diploma level entry will Mount Albert competitive but like the certificate courses Auckland Tel: (09) 869-106 acceptance will not depend on academic as Sixth Form Certificate. The 4 Nelson — Pauline Jansen qualifications such Course Supervisor: Sally Vinson 5 Hendrirles Woven Series — major consideration will be proven ability to Hendricks Woven Series — produce quality work, commitment and Turned up Tile enterprise. Admission to each ofthe four diploma Diploma in Craft Design Pauline has experimented courses will be open to students from any craft Applicants must hold the Certificate in Craft with several woven pieces design certificate course. All other candidates Design qualification. or the equivalent in from tabby weave, in white must clearly demonstrate above average ability to qualifications, knowledge, skills, experience. paper, fabric and PVA and in win a place ahead of students from certificate No. 4 ofthe series she has Throughout Year 1 the students will work on experimented in balanre by courses.

Westra. projects in their chosen crafts. assisted and limiting her tolour (blue and supervised by their tutors. By the end of Year 2 red) and texture. The GENERAL CONDITIONS Ans the students will be required to mount a display experiment led on to (lay tiles Candidates can apply to any one or all diploma oftheir work which shows a thorough and this one has an upturned In the case of students from certificate collar —— wasfired — taped and courses. understanding of, and work skills in, the chosen sprayed to give subtle tones in courses, acceptance will be conditional on craft(s). arrylie paint. She has retained satisfactorily completing the certificate in craft

the "it/ovenfeel” on the (lay. Photographs: design. Vi 44 45 Nelson — Kim Brice Perspex/painted brass Kim ’s multi—inedia Other Full Time Courses NELSON POLYTECHNIC experiments in (onstriittion led to experiments based on *Denotes address previously given in full. Private Bag half-(inles, worked in painted Nelson Tel: (054) 69-175 brass, blade perspex, wire and plastic on a brass base. Course Supervisor: Ross Newman Ceramics Certificate (1 YEAR) Subjects include Diploma in Craft Design 0 Design— exploring design processes, the visual SCHOOL OF ART OTAGO Application pre—requisites are: submission of language and presentation methods application and portfolio at Nelson Polytechnic. POLYTECHNIC* 0 Drawing & Painting — developing skills applicable This two—year course offers major options in One year full—time course for studio potters, to designing and personal creativity 0 Colour Studies — the practice and theory of ceramics, jewellery, wood. The course content lrl’aiharihi — ceramic destgners and teachers of ceramics. includes life drawing, Craft History, drawing, colour Chris Haverkort 0 Yarn Design— the nature of fibres and yarn craft techniques and related design in chosen craft In response to an assignment TERM ONE major. Business studies and marketing, facilities for body adornment, Chris Practical workshop Handwork production planning, work experience, preparation of (art/ed the bone lizard as a Wheel work 0 Dyeing — using appropriate dyestuffs and portfolio and end of course exhibition. hinged hair-piere. He has Theory and Practice Clay preparation methods to dye various fibres retained the shape ofthe Refractory materials 0 Weaving Skills— the technical and theoretical (irridar leg hone. This was bases for professional development Chris ’s first hone rarving. Basic aspects of form Drawing and Design Basic design 0 Traditional Techniques — the rich historical Chemistry Glass, oxides heritage from which contemporary weaving originates WAIARIKI POLYTECHNIC Glaze materials, 0 Visits & Lectures by Outstanding Specialists — to Private Bag Mixing and application Firing and flaws widen and enrich the programme Rotorua Tel: (073) 479-462 0 Business Studies— running a small business, marketing, and product presentation Course Supervisor: Ross Hemera TERM TWO Practical workshop Wheel work — specific items 0 Basic Photography Diploma in Craft Design — Maori Glaze mixing Application, decoration Note: The Nelson Polytetltnit is seeking diploma stattisj‘or this As well as having attained a Certificate in Craft Theory and Practice Applied decoration anirse. Design or equivalent, potential students for this Three dimensional design course must indicate a commitment toward and History Neolithic and early heightened awareness and practice in civilisation contemporary Maori arts. Tradition and developments This advanced two year course will provide an China, japan, Europe in—depth study ofthe values, spiritual aspects, symbols and imagery from past and TERM THREE Diploma in Textile Design contemporary times. The understanding and Practical workshop Specialised making processes (3 YEARS WITH 4TH YEAR HONS) appreciation ofthese aspects will enable artistic Glaze techniques expression to take place with respect for these Firing practice WELLINGTON POLYTECHNIC cultural values. Kiln building Kiln theory and practice Private Bag The Diploma is centred on two bases: Refractory materials heating Wellington Tel: (04) 850-559 — Contemporary Maori arts and crafts in Reduction, oxidation — Design principles and processes Atmospheres This course is primarily concerned with training in design applied to woven, knitted and printed The concepts, directions and skills generated Geology Origins of clay textiles, carpets and clothing. It also includes from these can be practised through the major Chemical composition training in the fundmentals of media areas of wood, fibre, paint, bone, clay or Physical nature of clay design applied to other textile and fashion products such as ink. Clay bodies Mining and preparation footwear, clothing accessories, wallpapers and hard floor coverings. Advanced Ceramics Certificate Subjects include: (1 YEAR) Structural Textile Design WAIKATO TECHNICAL INSTITUTE Surface Pattern Design Waihato — The second year ofthe Ceramics Certificate is Private Bag designed to provide time for specialisation and Graphic Technique Hamilton Anne-Marie Karkeek — Tel: (071) 392-500 Opal/Coral Rings the necessary extension of skills and knowledge Drawing Construction Anne-Marie made the silver required for independence and self—reliance, Textile Technology Course Supervisor: Desna Jury ring with the (oral — learning either in the field of studio pottery or industrial Fabric Assemblage the relevant skills. She was ceramics. Exceptional graduates may be given Photography Applicants must hold the Certificate in Craft then, ajter understanding the the opportunity to move into the Diploma in Fine Creative Textiles Design qualification, sleills, able to design the opal or the equivalent in Arts programme at an advanced level. Design Art & Society qualifications, knowledge, skills, experience. ringfi'om the drawing stage, through to working the ring Industrial Experience Students will be encouraged to think creatively and to priring the war/e. Marketing and Report Writing and develop innovative ideas, and apply Certificate in Handwoven Textiles Major Project professional attitudes and skills in the Work Experience management and promotion of crafts produced. (2 YEARS) Individual programmes will be designed to accommodate each students requirements; NELSON POLYTECHNIC* Diploma in Industrial Design (4 YEARS) however, all courses will include the following: — Course Supervisors: Philippa Vine, Anna Drawing, Art and Craft History, Business Correa-Hunt Diploma in Visual Communication Studies, Research methods, negotiations, plus DeSIgn (3 YEARS) documentation, work experience. Design Studies course is designed to provide a basis for and applied design, Te Reo Maori, graphics, This photography. students seeking training in hand loom weaving Photography Certificate (1 YEAR) to acquire skills which will enable them, after Photographs: Ans Westra. further workshop training and practice to earn an income from the craft. 46 47 r , t COERSE CONTENT Design and Colour Fibre Science Machine Knitting Diploma in Visual Communication Spinning Hand Knitting DeSIgn (3 YEARS) Weaving Pattern Draughting Dyeing — Feltmaking Dressmaking Diploma in Industrial Design (3 YEARS) Photography Computer Graphics 3—Dimensional Studies Business Studies Diploma in Interior Design (3 YEARS) Drawing Craft Marketing

Diploma in Textile Design (3 YEARS) “a“... ‘3', e ....j...,,..,,.. aw“... __... WM, ...... _. .. .. __._.._.M__

CARRINGTON POLYTECHNIC Bachelor of Fine Arts (4 YEARS) Private Bag Auckland Tel: 869-106 Master of Fine Arts (6 YEARS) ELAM SCHOOL OF FINE ARTS University of Auckland Private Bag Diploma of Glass Arts (Hot or Flat) Auckland Tel: (09) 737-997 1 YEAR (OR 2 YEARS PART-TIME) Students wishing to specialise in craft—based design must first pass the lst Year programme of Diploma of Textile Arts (Fibre or Dye study covering painting, sculpture, photography, Disciplines) 1 YEAR (OR 2 YEARS) printmaking, as well as Art History. In Year 2 students can elect general design studies as their Diploma of Art (1 YEAR) major, plus one other topic of study. They can Diploma of Art (Hons) (1 YEAR) then specialise in craft—based design in their 3rd and 4th years. Media areas are glassblowing, Diploma of Art & Design (2 YEARS) jewellery, wood and metal, with an emphasis on drawing, concept, development and design Diploma of Interior Design (1 YEAR) communication. (,7 anti sat-"9y; : s. .my-mnvnar . .( 27.51 ‘6 .1 Diploma of Graphic Arts & Design P'tflnrr‘f'fiin‘fi‘ . "pr-11' 1 YEAR (OR 3 YEARS PART-TIME) Bachelor of Architecture (5 YEARS) University of Auckland‘ WHITECLIFFE ART SCHOOL .1 136 Grafton Road Dumping (file's — PO Box 37036 Diploma of Fine Arts Christchurch Polytechnic Auckland Tel: (09) 395-970 (3 YEARS — WITH 4TH YEAR HONOURS)

The Wliitecliffe Art School operates as a privately administered enterprise. There is no funding, SCHOOL OF ART subsidy or outside share interest. Most courses OTAGO POLYTECHN|C* have been registered with the Department of Art History and Complementary Studies. Education. Wliitecliffe Art School is part ofthe tertiary education system in New Zealand. Two-Dimensional Studies: Painting, printmaking, including 2—dimensional composition, drawing The school offers full-time and part—time systems, media technique, computer graphics and pursuing Diploma Courses. The courses listed photography. Nun/11in”! 5Jan Gillespie above are included as being art/craft related, but There [we p/mlugiizp/zx ri‘luri' are by no means the schools entire programme. Three-Dimensional Studies: Ceramic and sculpture Io ii series oft/ii.) shape that technique and process with emphasis on direct glrm liiix l'.\‘])t'l’illl('ill(’t/ wit/i. February and September enrolments. media. Course fees on application to the Registrar. Nu. 1 it (ill ii/un'iirmi human An honours year is available to outstanding figure {inn/(iii will! blur/c graduates for further development oftheir 5min. spec1alist field. Nu. .3 [INN l/ii' hum: (Muir Certificate in Fibre Crafts (1 YEAR) firD!s'fiWE’lfi'5‘¥§£§‘”¥5¢3' " 103‘ klwx'jf-IT-I-ug‘ £533a shape mil/i i'lizy (impri'y (Ii'rummi u'irli ii iieizi’i/y AORAKI POLYTECHNIC Diploma of Fine Arts (3 YEARS) Imdt'ri (WM/U, They were i7i1.\'(’(iuil (m Private Bag of Fine Arts (4 YEARS) Timaru Tel: (056) 48-240 Bachelor (intuit/urn! (m ri>i1,\'ti’ili‘li'mi.

Course Supervisor: Beverley Ward ILAM SCHOOL OF FINE ARTS University of Canterbury The course is aimed at introducing students to a Private Bag range of different fibres and a variety of fibre—art Christchurch techniques. mam 3Q ”3-5 17-3)?» :16.- na‘n‘r» ”mud-1' ~. t’e- -;' Cr: #1:; COURSE OBJECTIVES Bachelor of Architecture (3 YEARS) The primary focus ofthe course will be on: 0 understanding fibre materials Master of Architecture (5 YEARS) 0 acquiring a variety offibre craft techniques ltqgrap/i)‘: Am l'i'i'm’zi. 0 developing creativity and individual expression Victoria University of Wellington 0 utilizing and maintaining a range of fibre craft equipment Private Bag fostering the principles of sound craft business Wellington management. #51745?!)=*M,;“4.::.'~,—..‘-:”t'-w5 ,;. ,7”, , ,-_,_.-,.,.__;, )5, 48 49 W

Foundation in Craft Design (1 YEAR) Certificate in Visual Communication (1 YEAR) NELSON POLYTECHN|C* (SEE CERTIFICATE IN CRAFT DESIGN) SOUTHLAND POLYTECHNIC* NORTHLAND POLYTECHNIC* (SEE CERTIFICATE IN CRAFT DESIGN) This one year full time course aims to provide Carving Course (2 YEARS) students with the base ingredients for further craft/art development. Students could then apply MARAEROA MARAE PORIRUA for the Craft Design Certificate course or other Wellington Diploma programmes if desired. Administered by the Department of Maori Affairs and associated with the Parumoana Fine Arts Foundation Course Community Polytechnic. Some interest in (1 YEAR) technical drawing, woodwork, engineering and art would be useful in order to apply for this course. The course covers a basic introduction to PARUMOANA POLYTECHNIC* Maori carving, working with wood, stone and This course covers drawing, painting, sculpture bone, traditional and contemporary styles of and printmaking. Also Art History and design. carving, how to recognise different trees and One day a week will be in work experience at art their uses. Course members are also required to institutions. One other day will be in associated attend a 6—week intensive Maori language course arts i.e. music, dance, performance, theatre and a general studies programme. Also included 'f ‘ L‘l’ appreciation. Three days a week are studio is a basic introduction to Business Administration Building. I’Vanganui Regional Community College. l’lzotojenny Patti'irle. theory and practice. Administration. The Kawa has been set and the Marae committee does not allow women to participate in the course. Trainees receive a Part-time Art Craft & fortnightly training allowance. Certificate of Proficiency in Certificate in Display and Note: A Community Officer at local Maori Design courses Advertising and Display Arts Advertising Affairs offices can provide information on * Denotes address previously given in full. Fashion Illustration and Creative Advertising, (1 YEAR) availability of similar courses in other areas. Ticket/Sign Writing, Display Art and Window Part—time rourses are available throughout New Dressing, Printing Processes and Typography, Applied Art and Design (2 years) Zealand through Terhniral Institutes, Art Sorieties, Marketing and Economics. Art Srhools, Continuing Eduration and High Srhools. Carving WAIKATO POLYTECHNIC* Course (3 YEARS) Some oftlu'se courses are registered with the Foundation Course in Art and Craft Department ofEduration. We list below infieation The major component of this course will be . .I. .,Iu. we have rereii/ed, at the same time arlenowledging our THE NEW ZEALAND MAORI ARTS & contact and manipulation of Art and Craft media list is by no means exhaustive and prospective students Certificate in Visual Communication CRAFTS INSTITUTE should make enquiries about options available in their to develop an increasing awareness and ability in (1 YEAR) PO. Box 334 area through their loral polytr’rhnir or library. basic technical skills. Subjects offered: Drawing, Rotorua Tel: (073) 89—047 Design, Painting, Crafts Processes. CHRISTCHURCH POLYTECHN|C* Every year three young male Maori trainees are WANGANUI REGIONAL COMMUNITY W selected from tribes throughout New Zealand to Diploma of Interior Design COLLEGE* attend a three year full—time course in carving. Diploma of Glass Arts Graphic Design Certificate They are taught traditional Maori carving skills by a master carver and an assistant Modern tools (HOT OR FLAT) AUCKLAND TECHNICAL and stains are used, but the designs taught are Diploma of Textile Arts INSTITUTE traditional. Trainees must learn to use at least 60 Diploma in Fine Furniture Making Private Bag tools and these are presented to them on (FIBRE OR DYE DISCIPLINES) Auckland Tel: (09) 773-570 graduation. Post graduate training is available. Diploma of Figurative Studies Advanced Diploma in Fine Furniture Tutors/demonstrators in the weaving of Diploma of Scuplture Arts Making traditional items such as cloaks, taniko bodices Maori Carving and Wood Skills and headbands and the art of making flax baskets, (FINE ARTS OR CERAMICS) Diploma in Commercial Furniture (2 YEARS) kits and mats are sent out from the Institute to Making maraes around New Zealand to pass on their Diploma of Printmaking skills. Courses are also run at the Institute in the (FINE ARTS OR GRAPHICS) Diploma in Carving SOUTH LAND POLYTECHNIC* school holidays. This course aims to provide training in WHITECLIFFE ART SCHOOL* traditional L’ETACQ COLLEGE Maori carving skills, in carpentry and other (-‘Jhugé": Arni- “I," 55‘: “$71-31 ~"‘.€.i'» 7:3144- THTX'I'i‘é'JS-félidfi 79*3-2551’?’ '; wood—working skills for young school leavers. It 20 Buchan Street also aims to undertake Maori carving for building Contemporary Maori Art Certificate in Visual Communication PO. Box 7192 on maraes and for producing genuine artifacts. Christchurch Tel: (03) 67-946 Full-time 6-month course Design PROGRAMME: WAIARIKI POLYTECHNIC* Renii Couriard established New Zealand’s first TAHA MAORI HAWKE’S BAY private school in Fine Woodwork Techniques and TAHA PAKEHA POLYTECHNIC* a Whakairo "Fm .. .. ecu .- i-‘Vtflfnfiii‘ilfj? gamma Liz-3:}: ~ ; Design in I986. The aims ofthe course are: Communication skills Content includes: environmental studies the detail of construction, a. Purakau realistic approach to Technical drawing restoration rocesses, research, conservation towards an eye for b. Kawa Certificate of Fine Arts techniques, and development Woodwork theory design, studpy of contemporary Maori artists, design. For both enthusiast and profeSSional Maori Studies Workshop carving, the development of practical tukutuku, kowhaiwhai. Media: stone, A foundation course offering students. a. Maori language Liberal studies bone, clay, textiles, wood, metal, paint, glass. artistic and professional skills and further training b. Maori culture Business management at tertiary level. Subjects include Drawing, Evening and morning courses are also offered in Course will begin mid—year. Design, Painting, Sculpture, Printmaking, Art tool sharpening, dovetailing, carving. exploring Infirmation on closing datefor applications and course Appreciation, Photography, Professional the uses ofa router and an introduction to solid costs should be obtainedfrom the college. Practice, Exhibition Display Technique. timber furniture. 50 51 Evaluation with tutors Rick b) Arts Services: This area emphasises Rudd and George Kojis, the provision of services to artists and Wanganui Regional National Craft Guilds“ National Organisations the community. TO this end, in Community College. addition to its continuing work through its Resource Centre, the Council has strengthened its Arts and Business There are a number ofguilds and Crafts Council of New Programme; reviewed its involvement various craft media. associations representing Zealand in publication and information services; All ofj‘er a variety ofbenefits to tlleir The Crafts Council of New Zealand is and introduced an Arts Access members including a monthly newsletter, programme designed to build greater regular meetings and accessficilities. They an inde endent incorporated society national body which public sector support for the arts. also offer weekly and weekend courses and is tie only craftspeople ofall catering to all levels ofability. Tlley are represents c) Regional Arts Council: The member pays an very active in bringing British, American disciplines. Each Regional Council’s programmes have and has the right to and Australian mastercrafismen and women annual subscription resulted in representatives to the to Neill Zealand, primarily in order to vote annually for — growth in community support for the advance members design sleills. Tlle New Council’s Executive Committee. These arts are drawn from all over Zealand Society ot‘Potters and the New representatives — provision Ofstaff support for and have amongst them Zealand Spinning Weaving and lVoolrrafis New Zealand, community arts works Non-formal a wide range of craft interests. Society annually hold a National - the consolidation of touring services Convention in diffl’rent centres. The Council aims to represent to non—metropolitan centres craftspeople on a national basis; lobby — skills training in the community Learning A large number ofguild members are prepared to travel to tutor, Information for and negotiate on issues affecting craftspeople; provide a comprehensive d) Council for Maori and South should be obtainedfrom the Guild secretary. information service of resource material Pacific Arts (MASPAC): Established in 1978 as part ofthe Queen Elizabeth Opportunities National office addresses only, are provided on all aspects of the crafts; facilitate here. The Secretary can be contacted for communication among craftspeople; II Arts Council, MASPAC’S function is advice on Iota/groups, denoted (L). promote a positive image of New to encourage, promote, and develop the practice and appreciation ofthe arts Zealand crafts; ensure the availability of and crafts ofthe Maori and South appropriate craft training and education; NZ Lace Society Pacific peoples in New Zealand. It is and arrange discussions, lectures, C/- 10 Lingard Street primarily a funding body with schemes workshops, and other activities to CHRISTCHURCH 5 grouped into four categories — Various classes are oflered through the national and NEW ZEALAND SOCIETY OF SPINNERS, instruct and stimulate craftspeople and local craft guilds, slnnmer schools, community arts Traditional Maori Arts Programme; WEAVERS AND WOOLCRAFTS NATIONAL The Furniture Group the general public. councils, galleries and individuals. All these are viewed C/- James Dowle Traditional South Pacific Arts as viable and valuable learning opportunities. They WOOLCRAFTS FESTIVAL “Lake Hills, Inland Road." The Council maintains a secretariat in Programme; Contemporary Maori and also have the added advantage ({f‘being sllort block (MAY 1988 — AUCKLAND — VENUE CHANGES EACH RD. 4. Wellington, together with a resource South Pacific Arts Programme; Public courses taught byfirst class tutors/rraftspeimle, as well YEAR) KAIKOURA centre and gallery. It maintains a Education, Promotion, and Research. library, publishes a professional as being a lot offinl and an ideal way ofnmleing contact National Association of More recently, MASPAC has been able TE MAHOE SCHOOL OF WOODTURNING magazine New Zealand Crafts, organises with other interested people. Woodturners to give greater support through (WEEKENDS) tours by national and international craft 88 William Street professionals, arranges exhibitions and increased funding to established 88 William Street Petone programmes. These programmes have Petone Tel: 684-087 LOWER HUTF courses, and sup lies advice and some Summer Schools (ANNUAL) resource materiai)(booklets, slide sets) been organised by specialist subcommittees, representing weavers, NZ Association of Embroiderers to craftspeople. Lobbying of *WANGANUI REGIONAL COMMUNITY The school offers courses for the beginner and composers, and performing arts tutors. the advanced woodturner. It also provides the Guild government, business, and other COLLEGE (JANUARY) interest groups on behalf of Greater emphasis has also been placed necessary equipment and supplies for students of C/- Mrs P Gregg on the development of resource woodturning at most levels of proficiency. The 66 Rongopai St craftspeople is also an important *WAIKATO POLYTECHNIC (JANUARY) PALMERSTON NORTH function. material, and a range ofinformation on beginner course offers instruction in spindle and the assistance available from MASPAC *WELLINGTON COMMUNITY ARTS bowl turning, chisel sharpening, wood finishing, NZ Association of Leatherworkers and the resources which could be COUNCIL (JANUARY) timber extraction and treatment, The advanced C/- Warren Hunt Queen Elizabeth II Arts provided to artists and arts course offers instruction in lidded bowls, goblet PO Box 1018 organisations has been prepared and PALMERSTON NORTH Council of New Zealand *NORTHLAND CRAFT TRUST AND and box turning, advanced chisel cutting, published. NORTHLAND POLYTECHNIC (JANAURY) mul i le chisel use, finishing techniques, green NZ Society of Potters The Queen Elizabeth II Arts Council woo turning and drying. PO Box 3345 was established under its own Act in *OTAGO UNIVERSITY EXTENSION NELSON 1974. In 1985 the Council reached an Northern Regional Arts (JANAURY) Local Societies of Art (Termly) accord with the Minister for the Arts NZ Spinning, Weaving & regarding cultural development Council, PO. Box 1425, Auckland Some also offer their own Certificate and Woolcrafts Society priorities. This accord emphasised the *UNIVERSITY OF CANTERBURY Diploma in Craft through their School of Art. (JANUARY) C/- Gwen Stacey need to work towards the realisation of Central Regional Arts 5 Mallam Street three goals: to secure the arts as a Council, PO. Box 3806, Wellington The New Zealand Academy of Fine Arts Karori WELLINGTON national resource; to facilitate the Others (ANNUAL) (Termly) contribution of the arts to New Southern Regional Arts Education programme at Inverlochy House, Details Jewellery Group Zealandcrs‘ social and economic Council, PO. Box 845, Christchurch BORLAND LODGE POTTERY SCHOOL Wellington. C/- Kobi Bosshard development; and to achieve structural (JANUARY) 99 Stuart Street reform in public cultural DUNEDIN administration. Lopdell House, Titirangi, Auckland (Termly) BRONZECASTING, WOODCARVING AND Craft Dyers Guild The Queen Elizabeth H Arts Council SCULPTURE WORKSHOP has organised its resources under the Art and Craft Workshop with Artist and PO Box 28-168 (JANUARY) Remuera followmg four areas: Ceramist Brian Gartside (Termly) AUCKLAND a) Arts Development: This area SOUTHLAND COMMUNITY COLLEGE ART Nga Puna Waihanga concentrates on: SCHOOL (MAY) Adany individual artists are prepared to travel and give C/- Averil Herbert — improving vocational training workshops. Contact the guilds or the Crafts Councillor National Secretary programmes in the arts QUILTING BY THE LAKE - TAUPO PO Box 1512 (JUNE) in ornlation. — increasing full—time and part—time ROTORUA work opportunities NEW ZEALAND SOCIETY OF POTTERS Society of Artists in Glass — building new support structures for NATIONAL CONVENTION C/- Teresa Riddell artists gig/Rpm — WELLINGTON — VENUE CHANGES EACH 13 Louvain Ave — promoting new work by New Mt Roskill Zealand artists AUCKLAND 4 — expanding the market for the arts 52 53 Techniques in Terracotta Africa in Antiquity II — ,. Quentin Bell The Arts ofAncient Nubia and the Nga Puna Waihanga — New Clzatto G Windus, 1983 Sudan Zealand The Essays Brooklyn .Museum, 1978 Maori Artists and Writers Costume The Rescurce Centre Bags and Purses (The Society, Inc. Costume Accessories AUSTRALIA Founded in 1973, Nga Puna Waihanga Series) aims to conserve, foster, and nurture all of the Crafts Council Vanda Foster Batsflird 1982 The Artist Craftsman in forms of contemporary Maori arts and A Shoes (The Costume Australia crafts (Visual, language, and x Accessory Series) jack Pollard Pty, 1972 performing), whether traditional or The Resource Centre operates a catalogue, book, periodical june Swann Sam Byrne — Folk Painter modern in form. and slide library. The catalogues and books are availablejor Batsjord, 1982 of the Silver City The Society holds a national hui every hirefor 2 weeks at a cost ofS3.00. Creating Work by Ross Moore year over Queen’s Birthday Weekend The slide sets are auailablefitr hire at the cost (11537.70 to David Naulls Penguin Books, 1985 at different marae throughout the members and $10.00 to non—members. Craft Australia: Year Book country. These hui provide a 1984 venue for The periodicals are subscribed to or received on exchange. All CRAFT — BUSINESS exhibitions and performances (youth periodicals are indexed and articles thought to be ofinterest to Crafts Council ofAustralia, 1984 members being particularly active in members are mentioned in this section oft/1e magazine. Artist Beware Craft Australia Year Book, the latter) and a forum through which Periodicals are not availablefln' loan. However members are twichael tVIcCann PILD. 1985 techniques and ideas can be exchanged. most welcome to peruse them and articles can be photocopied at 1979 Craflwoi’ker’s Market Craji‘s Council ofAustralia, 1985 At the regional level, Nga Puna the cost of25¢ a page plus SAE. Art Galleries and Museums Colonial Crafts of Victoria: Waihanga is involved particularly in Copies ofthe catalogue, book, periodical and slide library in New Zealand Early Settlement to 1921 marae—based programmes through catalogues are available on request. Keith W. Thomson II/Iurray Walker (Guest Cin'ator) which a wide range of activities are Reed 1981 Crafts Council ofAustralia, 1978 undertaken. As well as the arts, the Art Within Reach Pioneer Crafts of Early Council is concerned with Artists and crafi‘worleers architects and Australia conservation, research, education, patrons in the making ofpublic art. Murray Walker employment, design, promotion and Edited by Peter Townsend. Crafts Council ofAustra/ia 1978. marketing, in order to Published by Art Monthly in raise national BASKETRY The Kiln Book, 2nd Ed. Twelve Australian awareness of Maori art and to collaboration with the Arts Council of by Frederick L. Olsen Great Britain and the Crafts Council Craftsmen encourage contributions to international A 8 C Black Published 1983 Basketry for Beginners 1984. Patricia Thompson exhibitions. Hilmary Cation The Living Tradition of The Business of Art Angus and Robertson, 1973 Benton Ross, 1984 Maria Martinez, Pueblo Lee Evan Caplin (Ed) Yearbook of South Australia Pottery Family Prentice-Hall, t\lewjersey, 1982 Crafts, 1986 Susan Peterson Published by Crafts Council ofSonth Association of New Zealand BOOKBINDING Kodansha International, 1977 Careers in Crafts Patricia Garnier Australia Art Societies Incorporated Designer Bookbinding 1974 Lucie Rie Kogan Page, London, 1983 john Houston (Ed) (ANZAS) Crafts Council United Kingdom The Export of Craft NEW ZEALAND Fm London. 1974 Crafts Council (England), 1981 ANZAS is the national body for the W C T Wiggs Photographs: :lns Ii'estra. Moulded and Slip Cast Crafts Council ofNew Zealand Art Facts — Information country’s art societies. An art society is Pottery & Ceramics defined (for the purposes of ANZAS) CERAMICS A Guide to Fundraising about the Arts in New I llt’aiariki — lst Years David Cowley Zealand as a group of people gathering together Piu Piu By Penny Eames Batsfin‘d, 1984 by Neil Scotts to further their interest in Visual Ans photographed the piupiu Ceramic Colors and Pottery Short/and Publisher, Auckland 1978 The New Potter’s Lewis Holden arts/crafts. There are affiliated societies hanging out under the veranda Decoration Guide to Arts Marketing jenny Neale throughout NZ representing some jor the pattern that was Kenneth Shaw Companion Keith Diggle Department oflnternal Affairs, 1987 12,000 individuals. ANZAS maintains a produced by the [longing Praeger 1968 Tony Birks Rliinegold, London, 1984 shapes. Collins, 1982 Craft New Zealand; The Art slide library, which enables members to Ceramic Sculpture Six Making it: A Guide to have ready access to the works of of the Craftsman Artists A New Zealand Potter’s Successful Craft Retailing Dorreen Blmnhardt/Brian Brake fellow artists. It also tours exhibitions Peter Voulkos Dictionary Tim Nash-jones Reed, 1981 ofphotographs, aintings, [ohn Mason Techniques and materials for the II/Iillcreek Press, Ontario, 1982 printmaking, andjembroidery; provides TKenneth Price South Pacific by Barry Brickell The Pioneer Craftsmen of travelling tutors in various aspects of Robert Arm'son Reed Methuen 1985 Resource Manual for a New Zealand David Cilhooly the visual arts; and produces a regular Hau'kes Iiay 7 Living Revolution C, L. Pearce Richard Shaw NZ. Potters, Their Work Virginia Loin/er Collins, 1982 newsletter. Greg Northe Richard r‘\/Iarshall and Suzanne Foley A bone carving 7 again based and Words Ellen Dearon Whitney Alluseum ofAmerican Art Charles Esser Please Touch: A Survey of { on the koru developed into Darren Blunihardt (Ed), 1981 Brian Brake (Photos) Christopher Moore the Three-Dimensional Arts eel-like taniiuha spiralling in New Zealand New Zealand Academy of and grouting. Clay and Glazes for the Reed, 1976 The Visual Artists and the Potter Peter Cape Pottery for Pleasure in Law Collins, 1980 Fine Arts North/and — Daniel Rhodes Australia and New Zealand Shane Simpson Janet McKechnie Chilton 1957 The Law Book Company Ltd, With approximately 1,600 members in Elizabeth Lissaman 1985, the Academy encourages New This large basket, Il’lll’i‘tl of the Potter Sydney, 1982 ji'oni a common NZ vine is The Craft Reed, 1969 CRAFT— ETHNIC Zealand artists to exhibit “with the aim designed to be lined with Alichael Casson of establishing a strong New Zealand BBC 1977 Pottery: The Technique of CRAFT— GENERAL bai'k,jilled with soil and to be Palestinian and Costume identity and to cater for all art forms used as a planter. The basket Ceramics Throwing Early Japanese American Craft Today Jewellery being practised in New Zealand as well itselfis alive and grouting, 29 john Colbeck as to meet public demand in obtaining Batsford 1969 Poetry oft/1e Physical Yedida Kalfon Stillman Early Japanese Ceramics 1 American Crafls Council, 1986 University ofNew Mexico Press, works for the enrichment oftheir Modern Japanese Practical Pottery & 1979 environment”. Ceramics 1 Ceramics Folk Traditions in Japanese Art Modern Japanese Kenneth Clark SOURCES: Ceramics 2 Studio Books, 1964 International Exhibitions CRAFT — EDUCATION Information on the Polytechnics, Art Schools and Electric Kiln Pottery: The Foundations, 1978-79 workshops have been provided by the Institutes Restoring Fine China Craft New Zealand concerned. Complete Guide Emmanuel Cooper .Muriel White AFRICA A Study oft/1e Craft Industry. Iiiflirmation on the national organisations have been Batsjord, 1982 Batsford, 1981 Ci'afispeople and their training needs. obtainedjrom Art Facts 7 A Statistical Profile on the Africa in Antiquity I — by Neil Scotts, Arts in New Zealand. Published, 1987. Imaginative Pottery Studio Ceramics Today The Arts ofAncient Nubia and the Peter .Mounsey, David Harvey Edited by Emmanuel Cooper and Sudan Vocational Training Council, A 8 C Black, 1983 Eileen Lewenstein The Exhibition Wellington 1983 54 55 1982/83 National Directory Design in Sweden, 1985 Creative Crafts with Wool 58 Dyeing with Napthol 96 Philips Studio Glass Mary Gostelow’s QUILTING of Shops/Galleries — Swedish Institttte and Flax Embroidery Book Dyes (No date) 42 Award 1985 52 Shows/Fairs Napthol dyes are cold water azoic Design from Scandinavia by IMO/1y Duncan Penguin, 1978 102 Philips Studio Giass A. H. 8 A. W. Reed Published The Quilters Album of dyes. They have the potentialfor use New Zealand Business No. 14 1971 Twentieth-Century Blocks and Borders in a variety ofcrafis. This kit is Award 1986 46 Who’s Who — 24th Edition A selection ofthe best products in Embroidery in Great jinny Beyer directed to a wide range of 110 Glass Modern Dyeing for Fibres and Britain DFSLDIE ET British furniture, textiles, lightfittings, to 1939 Bell 8 Hyman, I982 crafispeople. Work 18 applied art and industrial design Fabrics PERFUMERY Constance Howard Quilting 61 NZ Academy of Fine Editedjanet De Boer Batsford, 1981 Number Slides Folk Traditions in Japanese. :' ' Averil Colby Arts Fabric & Fibre Creative Leisure Art Flax and Linen Exhibition 1981 27 JEWELLERY/ENAMEL — (not Ideas for Canvas Work Batsford, I978 BASKETRY Pownall. International Exhibitions Foundation Patrician Baines tMary Rhodes A selection ofwork entered in this Quilts to Wear exhibition. North American Making Bedcovers, Duvet Batsford, I984 4 Australian Jewellers Indian Virginia Avery 82 Some Australian 65 Lois Morrison: American (No STENCILLING Designs and Table Covers Embroidered Boxes Bell <9 Hyman, I982 Baskets — 1982 22 date) 24 Eva Wilson Dorothy Gates Fabric and Fibre Artist Selection ofcurrent work. jane Lemon Shows the diversity ofcontetnporary 1982 24 Art Of StenciIIing — Lyne le British Museum Publications, 1984 Penguin, 1985 Batsford, I984 Australian baskets 26 Twentieth Century Grice SPINNING Documents her New Zealand Making Curtains, Pelmets Embroidered Boxes and 83 Floating Forest — An exhibition. Shows 50)? sculpture, Jewellery from the FURNITURE and Blinds other construction The Ashford Book of Environmental Sculpture applique banners and trapunto work. Ptorzheim Museuto CRAFT — GENERAL Dorothy Gates techniques Spinning 1982 41 66 Skin Sculpture 1982 27 date) 63 Cane and Rush Seating Penguin, 1985 Jane Lemon by Anne Field A visit to Arnhem Land influenced A selection qftvorksfl'om an Shows workfi'om 1902t I976, but II/Iaigery Brown US basket maker Doug Fuchs to mostly workfrom the Art within Reach Making Cushions and Faber, 1980 Reed .Uethuen Publishers, 1986 Australiasian show ofjewellery and 1960's and Batsjord, I976 create a monumental baskett’y wearable art. 1970's, The Ptorzheim iMuseum, Publislted by Art iI/Iousuly Loose Covers The Batsford environment which he entitled The Tischlermeister Jahn Hand Woolcombing and Gerntany, specialises entirely in Craft Films, an Index of Dorothy Gates Encyclopaedia of Spinning Floating Forest. He says “I wanted 69 Shared Fabrics Art jewellery. Donald L Stover Penguin, 1985 to be surrounded by the textural Workshop 1982 24 International Films on Embroidery Techniques by Peter Teal 27 Looking at Jewellery (No San Antonio Museum Association, density oft/re materials". Documents a shared workshop with Crafts 1978 Making Lampshades Gay Swifi‘ Reed iI/Iethuen Published, 1985 date) 31 Bats,ford 1984 113 Woven Basketry (No four batikists and one Kay Salz (Ed) The arts and crafts produced in Texas Dorothy Gates calligrapher/potter. Selected pieces by Australian Neal-Schuman Publishers, New (mostlyfitrntiure) in the nineteenth Penguin, 1985 catalogue) I 6 jewellers Needlepoint Bargello 77 First Steps in Felting York, 1979 century WEAVING 28A Playschool Patterns: Toys by Dorothy Kaestner 1982 15 William Harper: Bell 6} Hyman Ltd, 1983 Crafts Conference for and Clothes to Knit and FABRIC AND FIBRE How to createfeltflibricfrom unspun Recent Works in Enamel Teachers, 1982 Report GLASS Sew The Art of Tapestry 1978 29 josephjobe fleece Organised and sponsored by the _]oy Gammon FELTING 3 Embroidered clothes by Cloissone by American enamelist Thames and Hudson, 1965 79 The Wollombi Farm William Harper. Cra ts Council (U.K.) in association The Techniques of Glass Bell and Hyman, 1983 Heather Joynes 1976 30 Series with the Societyflir Education Engraving Creative Feltmaking Beyond Craft the Art of — Works on Fabric Swedish Textile Art “I have tried to create garments that by Heather Dorrough: The 288 Ellamarie and Jackson through Art jonathon .TI/Iatcham and Kay Donald Fabnc Peter Dreiser Edna Martin and Beate Sydhotf have embroidery as an integral part of House 1983 24 Woolley: Enamel and The Crafts of the Modern Batsflrrd, I982 Kangaroo Press, 198.3 II/Iildred Constantine Gjack Lenor the design, in simple styles. " Liber Forlag, '1979 ” These embroideries are an attempt Plastic 1972 10 World Larsen 8 Sculpture in Fibre 1982 Four slides ofenamels, six slides of Textile Printing Van t\lostrand Reihold to convey m lovejor a articular Rose Slivka (Ed) 43 place”. Techniques used/Dare machine plastics JEWELLERY by Hazel Clark LACEMAKING Horizon Press, in collaboration with Exploring Colour and Record ofa US exhibition that set embroidery, fabric dyeing, fabric 37 Contemporary the World Crafts Council, New Kumihimo Jewellery The Creators 2 Bobbin Lacemaking Design for Handweavers out to documentforms created entirely applique, padding, quilting and American Indian Jewellery York, 1968 trapunto. (Text injapanese) British Alasquerade Pamela Nottingham Molly Duncan and George Bull without looms. (No date) 66 In Praise of Hands: Marble Book, 1979 (10 British Designers shout their Batsford, I983 Reed, 1978 84 The Wollombi Farm 17 Fibreworks — an 45 Stone Cutting and Contemporary Crafts of the work tojapan) Series — The Works on The New Jewellery Trends: Bobbin Lace Pattern The Technique of Weaving exhibition held at the Setting (No date) 44 World Traditions by Tiny Zwaal-Lint john Torrey Cleveland Museum of Art Fabric by Heather Dorrough: Slides are concerned with some ofthe Oftanio Pa: by Peter Dormer anti Ralph Turner BATIK Forward by Pamela Nottingham Batsford, I983 (No date). 77 The Place 1983 lesser known elements oflapidary. New York Graphic Society, 1974 Batsford, I984 24 Thames and Hudson, 1986 The Technique of Woven International Exhibition Cabouchon stones are covered but not Lyne Le Grice’s — Art of The Dyers Art 20 Betty Beaumont: 3D "I have attempted to illustrate some traditionalfliceted stones. Tapestry ofthe many aspects oflhis particular Stencilling Ikat, Batik, Plongi Fibre Workshop (No date). 40 56 Objects to Human Scale LEATHER MAORI WEAVING Tadek Beutlic/i place”. Techniques asfor set 79. by Lyn Le Grice byjack Lenor Larsen Batsford, 1982 No notes. — Parts I, II, III 1980 72 Penguin Books, 1986 van i\"ostrand Reinhold, I976 Taaniko, Maori 93 Heather Dorrough — Australianjewellery. Home Tanners Handbook A Weaver‘s Life: Ethel 23 Fabrics to Finery: Self Portrait 1982 48 Traditional and Modern Hand-weaving 85 Robyn Gordon’s Shell Craft june Vivian Mairet 1872-1952 Handcrafted clothes by “A series ofmid—lije Joyce Ronald Smith reflections, Glett Pownall, Reed, 1976 Batik Dawn de Vere & Pat which erupted as a way Jewellery 1981 35 Octopus, I975 Atlatgot Coalts ofdealing Wellington 1975 i'Wiep Spec Crafts Council (England), 1983 Grummet (No date). 32 wit/1 a dilemma, ofworking through, Gordon'sjewellery is made ofplastic Leather in Three Kangaroo Press, 1982 and aims ‘to exploit Textiles - Report of the De Vere and Grummet are and analysing, personal thought a slice of20th Dimensions KNITTING Victorian Tapestry Australianfizbric andjibre artists processes and emotions. " century technology to express Textiles Conference Rex Lingwood Batik, Fabled Cloth of Java Workshop something ofmy owtt environment". 24 Cloth Art 1975 24 99 Craft Dyers Guild First October 1984 Van Nostrand Reinhold, [9X0 Inger McCabe Elliott Australia 100 New Veneers: Organised by the Crafts Council Viking, 1984 A Machine Knitters Guide Clot/1 Art was an exhibition Annual Exhibition 21 New to Creating Fabrics Jewellery 21 (U.K. ) comprising patchwork, machine 108 Australian Wearable PUPPETS by Susanna Lewis andjulie embroidery and applique by Dawn 101 1985 Compendium DYEING WOOD Fitzpatrick and Lee t’I/t'cGroman held Textiles 34 Weissman Gallery Exhibition of NZ CRAFT — MATERIALS Lark Book 1986 in Sydney 1975. Hand Puppets and String Dyes from Plants of James Krenov Worker in Jewellery, Stone, Bone The Knitwear Revolution 38 Batik Artist — Noel Carving & Metalsmithing Adhesives and Coatings: Puppets Australia and New Zealand Wood Dyrenforth 1978 24 I’Valdo S Lanchaster Suzy Menkes GLASS 33 Science for Conservators, joyce Lloyd Penguin, 1983 james Krenov Dyrenfirrth is a leading UK batikist. Book 3 Dryad Press, I 960 Reed, '1971 Van Nostrand Rein/told, 1981 These slides record his 1978 103 American Jewellery Crafi Council (ling/and), 198.5 Scottish Knitting exhibition in Australia. Now 57 Making and Playing Woodworking with New 35 Mel Simpson Glass (No by Helen Bennett 39 New Directions in Fibre An exciting survey ofcontemporary Artist Beware — The Marionettes Zealand Timbers date) 20 james McMahon EMBROIDERY (No date). 24 handmadejewellery by 57 artists. Hazards and Precautions in You Knit Unique Mike .I/IcDermotl Blown glass by New Zealander Mel Harrup, I957 Working with Art and Craft Lee Anderson Reed .\Icthuen Publislters, 1985 Shows how Australian craftspeople Simpson. NO notes The Batsford New Zealand I/It’ool Board, 1985 are re—defining whatfibres mean to Materials Encyclopaedia of Fine Woodworking: Design them through exploration of 43 Images in Stained KNITTING [Michael Mr Cann SILVERSMITHING Embroidery Stitches Book Three materials, techniques and espressitms. Glass 1978 30 Watson-atill, I979 Taunton Press, Inc. Anne Butler PATCHWORK 46 Heather Durrough at Works by Australian Cedar Prest U.S.A. I98} 25 Knitted Images 1978 Metamorphosis: Recycled Batsford, I983 47 Contemporary Glass British Silver in the New Designs for Machine 558 Photographs ofthe best work in the Bonython 1976 48 34 Materials 1978 in Craft Huntington Collection The Cross StitchBook Patchwork wood selected by the editors ofFine Slides show machine embroideries 79 Australian ctmtemporary knitting Katharine Nix (Ed) which investigate the rossibility of Selection ofcontemporary American Robert R Ward (Comp) .Mary Gostelow II/Iuriel Higgins I'Voodworking ,Hagazine. Cra ts Council otithe A.C. T. Inc., textiles being wearablje and able to be glass 75 Hand and Machine Huntington Library, 7978 Batsfitrd, I982 Batsford, I985 1980 i displayed as art works. 48 New American Glass: Knitting (No date) 18 Embroidery and Nature Patchwork MAORI 57 Soga Discharge Dyeing Focus West Virginia 1977 Contemporary British knitting. DESIGN FABRIC AND FIBRE ARTS jan Messent Atteril Colby (i\'o date). 22 79 81 Brilliant Handknits Batsford, I983 Batsford, I976 Maori Artists of the South Saga is a dark brown dye which can 1982 24 54 Tony Keupfer of Design in Sweden British Craft Textiles Four-Way Bargello The Craft of Patchwork Pacific be discharged in successively lighter The knitting ofRuby Brillian who Lindkuist Inglewood: Handblown Lennart (Ed) By Ann Sutton by Dorothy Kaestner by Katerina .IIataira shades back to white. Indonesian uses many Australian motifs in her Swedish by Edna IvIr'ark Institute, 1977 Bellew Publishers, 1985 Bell <9 Hyman Ltd. rev. 198} Batsford Published, 1984 1984 technique. Glass 1980 18 knitting. 56 57 73 Ceramics II: Domestic 97 Woodenworks — Five Australian Crafts Palestinian Embroidery by Maori Queen Elizabeth 11 Arts Council of LEATHER JEWELLERY Symbolism, 1984 Pottery 1983 18 Contemporary Crafts Board ofthe Australian Shelach Weir A contemporary view New Zealand Contemporary British domestic Craftsmen 50 Council/Crafts Council ofAustralia New Zealand 1972 Trustees ofthe British Museum Australian Jewellery Definitive 68 Leather 1982: America, pottery. Australia 1978 London 1970 exhibition ofmodern 109 The Fine Furniture of A survey ofrecent work Crafis Board ofthe Australian METALWORK Italian sculpture Australia, Canada 1982 52 86 25th NZ Society of Englishman Christopher A village Arab craft (3 copies) Council/Department ofForeign Cutting Edge Skin A selection ofslides assembled by Potters Annual Exhibition Faulkner 35 Affairs Sculpture, 1982 Canadian leatherworker, Rex 1983 32 The Bowl ENAMELLING Australia, 1982 Kentucky Arts Commission Lingwood U.S.A., 1981 FABRIC AND FIBRE 87 Elsa Rady 1983 20,, .. _ World Crafts Council GENERAL — AUSTRALIA London 1978 Recent Works in Enamel, Classical Jewellery An exhibition ofwork in metal MAORI CRAFT Elsa Rady is a US porcelain potter 1977 Museum ofArt, Rhode Island School Art to Wear who toured New Zealand in 1983. The Bowl — Asian Zone ofDesign Metalwork — Contemporary Crafts Council of 72 Feathers and Fibre William Harper 5 Contemporary Australian Crafts Council ofAustralia U.S.A., 1976 Southern Plains Indian America/International Paper 1982 39 90 Fletcher Brownbuilt Pottery Award 1984 75 Craftsmen (No date) 48 Australia Oklahoma Indian Arts and Crafis Company (2 copies) FURNITURE Contemporary Jewellery, Co—operative New York, 1983 95 Fletcher Brownbuilt 34 Australian Crafts: 1983 U.S.A., I976 Handmade Clothing Pottery, Fibre (No date) 20 Craft Focus 2 (see also woodwork) Pottery Award 1985 52 The Americas, Australia, Europe Towards a New Iron Age Fabric and Form PAPER a 81 pieces ofcraftwork selectedfrom Alan Peters, Furniture andjapan 105 Spheres Exhibition 74 approximately 900 slides are maker Victoria and Albert Museum Crafis Council ofBritain An invited exhibitionfrom members represented in this catalogue Impulse and Response London, 1982 London, 1982 GENERAL — NEW Cheltenham Art Gallery and 42 Handmade Paper (No ofthe New Zealand Society of published by the Ontario Crafts Goethe Institute/Queen Elizabeth 11 An international display ofwrought An exhibition oftextile artfrom ZEALAND IVIuseum. date) 26 Potters, Southland Museum and Art Council Arts Council ofNew Zealand ironwork. Britain Canada I986flirniture made in Alan Peters New Zealand, 1983 Gallery, Invercargill, 8-23 workshop by the designer and his Felting November 1986. 18 Festival of Crafts An exhibition ofcontemporary MUSICAL INSTRUMENTS Craft New Zealand assistants. Crafts Council ofAmerica 106 Fletcher Brownbuilt ’78 138 jewellery POTTERY Queen Elizabeth II Arts Council of New Handmade Furniture The Harmonious Craft New York, 1980 Pottery Award 1986 108 National exhibition organised by the New Zealand/Ministry ofForeign International Jewellery Arts Traditional and contemporary work Crafts Council American Crafi's Council Renwick Gallery ofthe National 107 Fletcher Challenge Aflfairs Exhibition 1976 — Tokyo Collection ofFine Arts, Smithsonian 33 Crafts Invitational New Zealand 1978 New York, 1979 Triennial Wool and Beyond 1 Joan Campbell at Work Pottery Award 1987 125 Americanfurniture makers working Institute Exhibition 1979 29 Siebu Museum ofArt/Nihon Keizai (No date) 30 Te Maori in hardwood Washington, D.C., 1978 Handweavers and Spinners Guild of Held at the Govett-Brewster Gallery Shimbun American musical instruments Australian potterjoan Campbell New Zealand Academy ofFine Arts Paint on Wood japan, i976 Victoria WEAVING 50 The Bowl 1980 — Mixed Sculpture Pottery and Graphic Art, makes raku pots. Her workplace and Smithsonian Institute Pressjor Australia, 1981 work is shown. Media 1980 24 I973 plus 1979 Jewellery International PAPERMAKING First Australian Fibre Conference 2 Magdalena Abakanowicz Renwick Gallery National Collection 6 NZ Society of Potters The Architect Exposed. ofFine Arts American Crafi Museum II Douglas Morse Howell 55 N2 Academy of Fine New Zealand, 1984 in Australia 1976 30 Washington DC, 1977 American Tm— National Exhibition 1978 32 Arts Craft Exhibition 1983 Contemporary Trends Crafts Council New York 7 Forms in Fibre 1977 19 Wellington City Art Gallery Decorated Americanfurniture since 10th Biennale International 9 Peter Voulkos: A 1979 18 the 17th century 10 Women Artists: Fibre The Jewellery Project A retrospective exhibition. of Tapestry 1981 Retrospective 1948-78 81 63 Lombard Award The Great New Zealand Crafts Council ofBritain 1978 33 Lausanne Peter Voulkos has produced a 1981 22 Box Show GLASS London, 1983 POTTERY ‘massive body ofwork that was to Work by selected US weavers and A selection ofworksfi'om the 1981 Wellington City Art Gallery/Crafts New departures in British and Woven images, 1981 start a whole new ceramics movement fibre artists Lombard Award. The NZ Academy Council ofNew Zealand Americans in Glass European work 1980-83 American Clay ll — in this country. He became the Traditions in Weavingfrom 11 Fabrication ’72: 1972 54 ofFine Arts invited selected New Zealnad i984 Elements of Direction Indonesia acknowledged leader ofthe American Leigh Yawkey Woodson Art JEWELLERY U.S.A. crafispeople to participate in this Museum revolution in clay.” Fabrication ’72 was an invited American Craft Museum II Meredith Contemporary Art national event. FESTIVAL CRAFTS 1978 U.S.A., 1984 Baltimore, U.S.A., i982 Fibre Space — 11th exhibition of35 weavers andfibre New York, 1984 15 Japanese Ceramics (No artists. All artists were invited to International Biennial of 64 Crafts Conference Handspirits Contemporary Australian Contemporary American trends Ceramics 86 date) 49 consider a space 18" x 18" x 10’. 1982: Impromptu Tapestry Historical works. A major travelling exhibition Glass — 2nd National Glass New Departures in British Contemporary works in clay. An International Centre ofAncient and 12 Double Weave: Applied Exhibition 33 comprised of54 works offire craft Biennial exhibition curated by Chester Nealie 21 Contemporary 1 979 57 Jewellery Modern Tapestry 88 The Great New Zealand from Alberta, Canada 1985 l/Vagga Wagga City Art for the Govett—Brewster Art Gallery Lausanne, 1983 Japanese Ceramics 1977 Work by contemporary crafispeople. Crafts Council ofEngland and Wales >October 1986, in association with the Box Show 74 Kahurangi Gallery/Australian Crafts Council London, 1983 13 Weaving: Coverlets (No Australia, 1983 New Zealand Society ofPotters I.C.A.M.T. 94 Winstone Ties That Treasuresfi'om New Zealand International Centre ofAncient and 22 Shimaoka and his date) 50 An oficial presentation ofNew International Directions in The 4th Tokyo Triennial — Contemporary Australian Bind Exhibition 1985 52 International Jewellery Modern Tapestry Technique 1972 30 No notesflir these US slides Zealand Craftsfor the 1984 Olympic Glass Art Ceramics Lausanne Arts Festival in Los Angeles Exhibition 29 Ceramic Defects 1972 14 Wallhangings (No Art Gallery oil/it’estcrn Crafts Board ofthe Australian An explanation ofI.C,A.M. T. date) 50 GENERAL — POLAND Australia/Australian Consolidated japanjewellery Designer Association Council (C.I.T.A.M.) 60 New Zealand Asian japan, 1979 No notesfor these US slides Exhibition Industries Sydney, 1982 Slides illustrate some ofthe technical Australia, 1982 The 8th International problems commonly encountered with 16 Handweaving Unlimited 19 Traditional Polish Crafts Council ofNew The 5th Triennial 1983 — Studio Ceramics Today Biennial of Tapestry stoneware. 1977 27 Crafts 20 Zealand/Queen Elizabeth II Arts Johannes Schreiter 1980 International Jewellery Potters 6th Edition International Centre of‘Ancient and 30 The Raku Process Council ofNew Zealand Exhibition Director/ ofthe work ofmembers of Modern Tapestry 59 9th Lausanne Tapestry New Zealand 1970 Kyohei Fujita’s Free Blown 1974 45 japanjcwcllery Designers the Cra tsmen Potters Association of Lausanne, 1977 Biennial 1979 24 GENERAL — UNITED An exhibition ofthe Asian and South Glassware Association Great Britain Paul Soldner demonstrates the raku STATES OF AMERICA Pacific members ofthe World Crafts The 9th International 70 10th Lausanne Tapestry Japan, 1981 japan, I983 Victoria and Albert Museum 1983 pfOCC’SS Council Not for hire Biennial of Tapestry Biennial 1981 23 Elena Karina, A Sense of 32 Three Ceramists: 53 Penland Craft School New Zealand Crafts KNITTING International Centre ofAncient and National Glass Biennial the Sea iI/Iodern Tapestry Gronberg, Leedy, Williams 76 Weaving Ill: Rugs Exhibition 1980 35 Queen Elizabeth II Arts Council of l/lr'aqga Wagga City Art Gallery, Creative Knitting — Mary Oakland Il/Iuseuin Lausanne, I981 (No date) 21 1983 18 No notes. New Zealand 1985 U.S.A., I980 (No notes) New Zealand 1972 Walker Phillips Poesia An Diseno: 105 Small Tapestries:A Pacific Glass, 1983 Porcelain vessels and drawings 51 The Bowl: Ceramics I Scottish Weavers (2 copies) Fresno Arts Centre Artesania Texil Mazahua Y GENERAL U.S.A., 1984 Explorations within a 1980 Exhibition 1980 43 New Zealand Crafts, 1972 New Glass Review 3 Landscape Otomi Selected ceramicsfi’om the 1980 Bowl (2 copies) The Corning Museum ot'Glass The Knitwear Review Estado Libre Y Sober/and competition 92 Photographing New York, 7982 British Crafts Council Robin Hopper II/Iexico WOOD Treasures from the Land, Canada, 1978 52 The Bowl: Ceramics II Craftwork — A Course for London, 1983 1985 New Glass Review 4 Exhibition catalogue and knitters Porcelain by Robin Hopper Miniature Textiles 1978 — 1980 24 Craftspeople 42 112 Design For Living 48 Crafisfrom New Zealand The Corning AIuseum ofGlass source book. Fletcher Brownbuilt Pottery 3rd International Exhibition Selected ceramicsfrom the 1980 Bowl 98 Furniture Designs from New York, 1983 British Crafts Centre competition 40 Woodpieces by Heintz World Craft Council, 1970 A Machine Knitters Guide Award — 1986 the School of Art 40 Pacific Glass ’83 London, I978 Moritz (No date) 18 New Zealand Asian Exhibition to Creative Knitting Fletcher Challenge Pottery 60 Third Mayfair Ceramic Coven-Brewster Art Gallery Tapestry. Henry Moore and Award 1980 48 Susanna E. Lewis Cajulie ll’eissman Award — 1987 44 Queensland __-.., he .....,.A.,=,a,, :1 u; g New Zealand 198} Lark Books, 1986 West Dean the Mayfair Ceramic Award is a mam?“ BOOKBINDING Woodcraftsmen 1978 30 An exhibition OfCOIIIC’iiiIMII'm'y glass Michael Cardew Edwardjames Foundation/Victoria biennial acquisitive Australian Slides show a wide range ofwooden MAORI CRAFTS award. Designer Bookbinders, Philips Studio Glass Award Crafts Advisory Committee and Albert Museum articles CATALOGUE 0F London, 1976 London, 1980 62 Recent Ceramics Part | 1979 New Zealand Society ofArtists in Exhibition of Maori Crafts, 49 Young Americans: Glass/Philips New Zealand Limited A collection ofessays and II 1979 48 CATALOGVVUES 1972 Weaving an Art Form Wood 1977 23 i New Zealand, 1985 The work of Alison Britton Selected EMBROIDERY Tauira Crafts Centre Auckland iMuseum and Institute Australian ceramics from a British Crafis Council touring exhibition 89 Making a Chair — Pearl Sculptural Glass Tokomaru Bay New Zealand, 1984 Artisan 78 Embroidered Boxes and London, 1979 71 Fletcher-Brownbuilt Dot Furniture Canadian Crafls Council Tuscon Museum ofArt Feathers and Fibre Yoruk Workshops 18 Canada 1978 other Construction U.S.A. i983 1982 92 Techniques Rotorua Art Gallery SCULPTURE il/Iuseum ofArt, Carnegie Institute A slide set demonstrating the main National travelling exhibition of Sculptural Glass — Vol 2 New Zealand, 1982 U.S.A., I978 72 Fletcher-Brownbuilt Jane Lemon stages in the making ofa contemporary Canadian crafts Tuscon .Museum ofArt A survey oftraditional and Scultura ltaliana The nomadic weaving tradition ofthe 1983 105 plank-backed chair in ash wood. (2 copies ) Faber 8 Faber, 1980 U.S.A., 1983 contemporary Maori cra)1 Auckland City Art Galleryfor the A/Iiddle East. 58 59 Become a member of the The aims of the Crafts Council and you will benefit from the Crafts Council opportunity to:

* To represent craftspeople on a national * Submit work for sale in the Crafts Council Gallery — the showcase for the very best of New Zealand craft basis — 0n favourable terms * Participate in the Gallery’s exhibition programme * To lobby for and negotiate on issues * Participate in the Crafts Council’s Corporate affecting craftspeople lVIembership Scheme IMUTH * Provide slides and information on your work for in— clusion in the Resource Centre’s slide library for use by Information Systems Consultants * To provide a comprehensive informa- architects, designers, Government Departments and tion service of resource material on all Corporations aspects of the crafts * Submit slides and/or photos of your work for inclu— WERE PROUD TO PRESENT sion in the Crafts Council’s “Architectural Commissions” Portfolio * To facilitate communication between * Receive information on workshops/lectures organised craftspeople for visiting craftspeople As well you will receive: * To promote the image of New Zealand * Four issues of the “New Zealand Crafts” ."nagazine. * “New Zealand Crafts” is the only New Zealand craft publication which covers all the crafts and keeps people in touch with what is happening in other crafts. It car— * To ensure the availability of appropriate ries feature articles, profiles, reviews of exhibitions, Crafts Council news and views. craft training and education BONESTONE'SHE * Bi—monthly “Crafts Council Newsletter” NEW JEWELLERY NEW ZEALAND And you will also benefit from: * To arrange discussions, lectures, * All the developments which the Crafts Council are workshops and other activities to pressing for; for example craft education at an advanc- at the instruct and stimulate craftspeople and ed level the general public * The stimulation, support and inspiration that comes from belonging to a body with a variety of members CRAFTS COUNCIL GALLERY who share common idea/s 22 THE TERRACE Wellington TELEPHONE 7270 l 8 Application/Renewal Form Application/Renewal Form Name ,, , N a m e

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[:J Individual member 340 (mt-1 (iST) C] Individual member 5540 (mt-1 est) FINEST NEW ZEALAND CRAFTS AVAILABLE FOR SALE E] joint member 355 (mu GST) [:3 joint member 5555 (incl CST) D Craft Design Student $30 (incl GST) [3 Craft Design Student 5530 (incl CST) (Please tick appropriate box) (Please tick appropriate box)

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Return with cheque to: Return with cheque to: Crafts Council of NZ Inc. Crafts Council of NZ Inc. PO Box 498 PO Box 498 Wellington 1 Wellington 1

61 ”wt/i;1&‘:-‘3: "‘r: i"? ‘ I}: ‘1 ' ,. 'tx' ’_- 3-- . --- :- “I .. ,4“ CRAFT PROMOTIONS NZ gage:’ S .... -.- . - . i if r: ‘7 SHOWS -;-, THE g4? fiwadme CRAFT Top New Zealand Landscape SHOW SPACE AVAILABLE collects the fine arts in materials FLETCHER artists and printmakers FOR CRAFTS PEOPLE TO SHOW & SELL traditionally associated with the Finest pottery, glass, Jewellery, Scarves, THEIR WORK crafts CHALLENGE Hand-woven rugs and a variety of gift items. Write: Craft Promotions NZ PO Box 30-359 Lower Hutt. Shop 42 BNZ CENTRE 1 Willis Street or Tel (04) 664-107 POTTERY Wellington Telephone 736-650 AWARD

SADDLERS CRAFTS 1 988 In association ALL the top Wairarapa T Art Museum hours with 6’1 lies Crafts, Plus a lively Monday to Friday IOam — 4pm Auckland Studio Potters. ‘_—L____ ”SADDLERS selection of what’s good in Weekends and public holidays New Zealand At the old Saddlers Shop ZEALAND ART ISBN HIGH ST, CAR’I‘ER’I‘ON * Closing Date FINE NEW Open weekdays 8 Saturdays All New Zealand entries to be in the hands AND CRAFT or on request. of the Competition organisers by Picture Framing PI’I. Cl 7051/8318 19/20 May 1988. 242 and 300 Heretaunga St. East, Telephone: Bus. 65-802 Overseas entries to be in the hands of the organisers by May 6th 1988. NORSEWEAR ART AWARD This award is being made annually to en— THE WA KAIITO) 1988 courage excellence in ceramics in New Zealand by Fletcher Challenge in associa- POLYTECHNIC tion with the Auckland Studio Potters (Inc). W CERTIFICATE IN CRAFT DESIGN fir The Work Millwood This year each potter is invited to submit FULL TIME 2-YEAR COURSE one entry for the 1988 Pottery Award. There The Waikato Polytechnic offers a full-time will be no category or theme. Each entry will two-year CERTIFICATE IN CRAFT DESIGN Gallery be judged on excellence. course which provides students with the knowledge and skills to enable them to de- Waipukurau Civic Theatre Books * The Award velop as crafts people, and make a personal contribution to the cultural and economic life Public viewing April 10-24. Print The Judge will seek one outstanding win— Books of New Zealand. Tickets for the official opening on April 9 can Antique engravings ning entry for which an award of $NZi0,000 Prints be purchased from cash will be made. Areas of study are:- Old maps DESIGN FIBRE AND TEXTILES The Convenor, Box 373, Waipukurau. Paintings A limited number of Certificates of merit will CERAMICS - JEWELLERY - WORKSHOP Antique engravings Specialists in tire be awarded at the Judge’s discretion. PRACTICE IN WOOD AND METALS ' Old maps Tumbull library PERSONAL DEVELOPMENT ' BUSINESS reproduction prints STUDIES AND PROMOTION Students are eligible for the Tertiary Assist- The Foyer All communications relating to the award ance Grant. Application forms and a descrip- 291b Tinakori Road National Library Building to:— tive brochure avaiiab/e on request. Thorndon Molesworth St Department Of Design Wellington Wellington New Zealand FLETCHER CHALLENGE POTTERY New Zealand AWARD. P.O. Box 881 AUCKLAND 1. . I POLYTECHNIC Telephone: (04) 735-176 Private Bag, Hamilton Telephone: (04) 743-124 Ph (09) 798-665. NEW ZEALAND. Phone: 392-500 L / \_____/ 62 63 Our well-equipped workshops and studios are located in Mount Albert. Auckland. and our specialist craft and drawing tutors after study in the areas of flat glass. meta/work and jewellery. fabric and fibre. and ceramics. If you wish to have further information on our courses. entry qualifications etc.. please write to the PRINCIPAL. CARR/N6 TON POJ. YTECHNIC. PFtl VA TE BA G. MT ALBERT. AUCKLAND 3. Here. at Carrington Polytechnic. Auckland. we offer two courses in craft design. The basic two-year course where you can try your hand in four craft areas and do a lot of necessary drawing too. leads to a Certificate in Craft Design. If you wish. you may then do another two years of more specialised study in two crafts or more and continue with applied drawing and design. This leads to a Diploma in Craft Design. WNW POLYTECHNIC