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New Zealand Crafts Issue 23 Autumn 1988

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New Zealand Crafts Issue 23 Autumn 1988 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. ‘. at», 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.
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