New Zealand Crafts Issue 22 Spring 1987

DGLU 269L900 oapbox The Crafts Council ofNew Zea/and (Inc) is not responsiblefor statements and opinions published in NZ Crafts nor do they necessarily reflect the views ofthe Crafts Council. Crafts Council Magazine No 22 Spring 1987

I have recently comeflom England to settle in solid wood over 0.5mm veneer— that’s just him New Zea/and, and am building "art/craft" talking you into buying his very expensive work. firrniture in the Russell area. iMy experiences in Out ofall this I believe two areas emerge in Letters to the Editor trying to market my work haveflrrced upon me which action can and should take place: public certain opinions, which Ifi’el are important awareness, and the infrastructure to bring the enough to share. public and wood worker together. There have UdO Sellbach Interviewed by Rosemary Shannon An outsider here sees in the crafts both quantity been one or two interesting woodwork exhibitions CRAFTS COLLVCIL OF and quality, particularly in ceramics,jewellery, recently, but that's only a start. Because this goes AVISII" ZEAL:L\'D (IA\VC.) glassware andfibre arts Wood turning is popular; beyond what crafispecnrle can do themselves, I 22 The Terrace Design for Living Bob Bassant reviews a reeent exhibition at the but whatever happened tofurniture? illy would like to throw down the gauntlet to the Wellington Crafts Council Gallery experience so far in the North Island has shown Crafts Council to take up the issue. After all, isn't Phone: 727-018 that contemporary furniture is very that one ofits main briefs? It is not enough to just ”thin-on-the-ground” compared to other crafts. help set up cratispeople, train them, and send 1987/88 Iz'XFCL'TII VIE Gavin Hitchings: Profile Why is this? It could be argued that there simply them abroad (where there is a danger ofbeing COi\l.\II'I L‘E aren’t enough wcwdworkers producing enongh homogenised into an international craft style). PRESIDENT: work. But Itliink that it is more a case oft/re They have to be able to make a livingkirorn their john Scott Winstone Crafts Biennale Review by Campbell Hegan 10 difliculties wturdworkers are up against. work here in New Zealand. 101 l’utiki Drive First, there is the eternal problem ofcashflow. Alloy [suggest an impressive national touring WANGANUI . Ofall the crafts this one must require the highest exhibition promoting new approaches to wood? 1164—50997 W Artlture Innovative Furniture by a group of alternative Designers 14 initial capital outlay. On top oft/it's, it is usually This could contain selected work by artists and 1164-56921 H necessary to invest weeks or even months oftime craftspeople who have an innovative or I 'ICIf-PRESIDENT: into one "spec" piece. This cart be impossible with imaginative style ofwork Its aim would be to Anne Field Jewellery Unlimited A young Auckland Collective 17 the high workshop overheads, and as a result you extend public awareness as much as possible, 37 Rhodes Street areforced to make “safe " items which sell. showing: CHRISTCHURCH Then there is the problem of‘timber. lVIany I) thatjurniture is not only fimctional, but that it (13-799—553 Origin Art and Craft Co-operative Alive and well in 20 New Zealanders venerate kauri to the point can also be a beautiful piece ofart; EXECUTIVE COMA/ll'l‘Tlilir the Marketplace where they see nothing else, Ofcourse, it’s a 2) why this work is such good value, considering jenny Barraud lovely wood, but it seems to me that kauri, its durability and possiblefiiture antique status; II) Richardson Street NELSON ArChlteCtural PortllO: Margaret Clarke and Paul Johnson 23 colonial—style_)iirniture has gone past its relevance 3) what talented people are available here 1154-84—61 9 and importance, to the point where it can hinder (Given such an opportunity, one’s work often jitrthergrowth. Obtaining timber supplies is also surpasses anything done previously); Melanie Cooper wearable works Of Art Amy Brown profiles Jeanette Green 17 Stowe Hill 24 diliicult. There are other species besides kauri, but 4) how to commission work (This is particularly Thorndon compared to Europe and North America, good important as many people don ’t seem to be WELLINGTON Paper that new-old medium quality, cabinet-grcuie hardwoods are relatively aware ofthis option or its benefits); ()4-734-887 26 hard tog/ind. Those available are cut by sawmills 3) ageneral background on wood and construction Malcolm Harrison for thejoinery trade into narrow jumbled—up techniques, and on the artists themselves (this 2/57 Norwood Road Treasures in Karorl Stained glass in a New Zealand Chapel planks, instead oft/rejull width “through and is important since we have to sell ourselves as Bayswater 28 through ” boards preferred by cabinet makers, well as our work) AUCKLAND wltich are then stacked as they came out oft/re log. All work would befor sale. The exhibition Owen Mapp Marketing Mystery or Common Sense? 31 Having made the work, the woodworker has to could travel tofive or six centres throughout New 118 Ruapehu Street find a buyer. New and original work doesn’t sell Zea/arid, and would be administered by the Crafts I’ARAI’ARAUMU easily, and it ’s even more difficult to get a price Council and, hopefiillyhfunded by industry. The (158—88392 The dependent EXhlbltor Amy Brown 32 that reflects the time and effort put into it. I Council and exhibitors would have to ensure that David Russell ~loot-slogged around miles ofAuckland andfound it is seen as something more thanjust another craft 17-1 Balmoral Drive only one shop or gallery that would take exhibition, thus attracting more than the usualjew INVERCARGILL Diploma in Craft Design individual pieces oflfurniture. ONE —- and that lines of‘rnedia coverage. The backing ofthe (124-89-(185 33 sold almost entirely to tourists! From what I have Council might bring the media outfrorn behind Robyn Stewart seen ofprosperity in Auckland, you certainly can’t their usualfear ofgiving free publicity into Weranui Road ' Craft Funding Policy Focusses on Education say there isn ‘t money there to invest in quality contributing towards cultural awareness. Waiwcra 34 jitrniture. So ifsomebody wants an individual Such exhibitions have been held in Britain, and NORTH AUCKLAND piece oliorigiualfurniture, where on earth does he I have exhibited in them. Everyone benefits — the 65—946 Resource Centre 35 or she gator it? But then, I wondered, would they buyer can see what he wants and where tofind it, Alison Taylor even consider it? There are sofew precedents. and the wood workers gain in conunissions and 2 Frank Street People seem to accept spending thousands of reputations. Furniture and woodwork might then ROTORUA dollars on cars, stereos, videos and yachts, yet they begin to take theirplace alongside the other crafts ()73—478—1 17 fill their houses with the cheapest particle board ofNew Zea/and. jitruiture. There seems to be so little awareness of Please help to make it happen! (And please Corporate illembers of _ what quality furniture is, and no understanding of forgive the generalisations — they are made in full Crafts Council of New Zealand Staff Cover Photo: "Bird Folly " C" Pew Art Direction why one should spend a lot ofextra money on it. awareness oftheir exceptions.) Executive Director Rosemary Shannon by Diana Firth Bob Bassant It is not enough for the seller to extol the merits of KERR &' CAIN Information Officer Raewyn Smith Photograph: Robin Morrison SECURITIES COMMISSION Gallery Director Karen Ovcrton Typesetting and Composition Tycouse-john van Hulst Ltd MOBIL OIL (NZ) LIMITED Gallery Assistants Diane Hutchison Ian Hutchison CALTEX OIL (NZ) LIMITEI? Secretary/Typist Heather Montgomery Advertising Rates Printing Roberts Print Ltd NEW ZEALAND MARKET Advertising rates and bookings: (ha/Vial flora DEVELOPMENT BOARD Acting Editor Racwyn Smith Crafts Council ofNZ Subscription and editorial enquiries: PO Box 498 Crafts Council of NZ Deadline for copy for next issue I/Vellington. PO Box 498 15 December 1987 Phone 727-018 Wellington LETTERS

teacu . exhibition space, although in terms ofthe type of work N.Z. is presenting a Craft Show being given to marketing. The Personal Opinion I, or one, do not wish to be Artist Directory better, is smaller than before. Selection process exhibited, the materials used, at the Wellington Overseas potential is greater by going out associated with people who Hence, we have a more and the standards of design and Terminal in March 1988 in to the public than relying on the In reply to Adrienne Matthews” express themselves through the In this letter I propose a contact rigorous selection of articles for execution. . . While many conjunction with the public coming to you. display and less room for I am writing to express my letter (Autumn 1987), and tribulations and griefofothers. directory for artists featured in the way the artists could not be eliminated International Festival of the Participation is by selection storage. dissatisfaction with leaving aside the fact that I Malcolm Harrison, ever issue Of the New Zealand selection for the “Bone, Stone in terms 0ftheir craftsmanship, Arts. and individual presentation of of materials or work is expected to be in accord happen to agree with Campbell Cratis. Lindsay Matterson 8c Shell” exhibition has been it was because Preparations towards the Auckland design that the work did not fall with the up-market, high Hegan’s comments on While the work of New Auckland handled. show are well under way with exhibitionism, I would defend Zealand’s craft artists is While not considering myself within the cohesion sought for applications coming from all profile promotion given to the to the death the right of any This bowing and scraping adequately presented through primarily a bone, stone and the exhibition. " over the country from show. reviewer to state a personal after perfection which is now articles I write to address a Art in Wool shelljeweller, I was lured into How can diversity, crafts—people wanting to take Any crafts-person interested Opinion. There would be little poisoning the aims Of the Crafts concern that the magazine on a plying by promises that the uniqueness, etc. be reconciled advantage ofthe high public in participating in this or future point to any review if such were Council is not only utterly numerous occasions has not “to expose our with cohesiveness and exposure to promote shows should write to: Would those responsible for this o jective was not the case. misdirected but also provided important practical and Eastern neighbours “thematic integrity” (also themselves and their work and exhibition tell me why, with a Paciﬁc Would she really prefer a humourless. In fact, it is ripe information tO readers which talent, materials, style, mentioned)? And why is gain those necessary sales which fee Of$30 for each entry, the to the CRAFT PROMOTIONS review which “pussyfoots” material for rich humour. would specify the artists’ non-style, diversity, range, cohesion so necessary in an provide them with the means to N.Z. PO BOX 30—359 around and avoids re resentatives, and from selectors could not indicate exhibition, anyway? I feel had! continue. In presenting this craft As a craftsperson, I want what was wrong with each skill, uniqueness, statement, LOWER HUTT. or PHONE commitments by taking refuge where their work may be of NZjewellery show Craft Promotions aim is nothing to do with perfecting exhibit that was rejected. For a non—statement Ruth Baird (04) 664-107. in so—called “description Of my work, so perhaps I should purchased or commissioned. and its makers". Sounded good! to bring the crafts—pee le and techniques”? This latter aspect is In New Zealand there are fee ofthis amount, this is the Auckland their work to the peoplje. now be struck off membership least one should expect. How Now I learn that my work important, but it is surely not Of the Crafts Council, let alone crafts people ofinternational rejected Success to a crafts-person is an else can one learn what is has apparently been the raison d’etre ofa review. attempt to be a candidate for standing. As professionals they because it does not fit into the encoura ement to continue and When I read a review, whether must sell their work to buyers required. Craft promotions expand his or her horizons of entry into its Craft Index. DO I [fit was too much ofa burden “conﬁnes of the proposed it be ofa book, a film, or an want to belong to an institution of New Zealand craft. Through exhibition and thejudges creativity. exhibition, I want to know this they receive their income to write a critique on each With the growin interest and The pursuit ofa craft may be which promotes sterile, perfect, Eiece, then at least they could selection process” because “of whether the reviewer liked it or uninspired, intellectually and which is essential for survival prime importance in the development in t e crafts a ‘way oflife’ and can mean not. That doesn’t mean I will and their continuing artistic ave been labelled with together with the growing need people living and working in materiaIisticalIy—niotivated, numbers, eg. 1) hanging selection process was the panel’s like it, but at least it gives me a spiritually boring craftworks? development. concern to develop an for crafts—people to market their isolation but the realities oflife sounding board. Only after that At the Villas Gallery, we arrangement not good enough; work CRAFT PROMOTIONS require some consideration The righteousness of being 2) not well—finished; 3) design exhibition which was cohesive do I want some details. One industrious, By one’s own represent many craftspeople. needs details to back one’s We work for Our artists to faults, etc. bootstraps, ascending the social I know that an announcement opinions, and an overview of ladder. Success for self while promote and market their style, directions, teclmic ues, work, but it is disappointing to was made explaining the fiasco trampling the poor. Someone ofthe year (poor hanging etc. to give the flavour, but to said that industry without art is see articles featuring these give only that would be a people which are impotent of arrangements, items not brutality. What is craft without well-finished, design faults), review without a soul. art? real commercial value as they Surely New Zealand Crafts do not inform the reader whom however, these were Colin McCahon said, “I may generalisations. Ifa fee is to be wants articles with enquiry, often be more worried about to contact. even dogmatisni, not bland We draw your attention to charged, then entrants are you than you are about me and entitled to be told individually treading that avoids subjective ifI wasn’t concerned, I’d not be articles (Winter 1987) featuring opinion. Anyway, didn’t the Richard Parker and Louise what were the reasons for not doing my work properly”. For accepting their entries. Udo Sellbaeh, recently in New Zealand to judge the Winstone Biennale, second half ofthe article give God’s sake, how much more Simon, who we represent. The Adrienne Matthews the human tragedy and unkindness works hotographed were from Karin Wakely was interviewed by Rosemary Shannon. information she required? towards each other are we still the Vil as Gallery collection, yet Auckland promoting in this once glorious, neither article acknowledged Mike Spencer that the work was Taraiiaki culturally strong, temperate land? photographed at our Gallery, Political Activities nor did it inform readers whom Rosemary Shannon: You have multi—media exhibition, how Barry Brickell to Contact regarding their work. been in New Zealandjudging does this impact on your Craft Index Coromandel Contact addresses such as After reading Amy Brown’s the Winstone Biennale. What judging? it . somewhere near Kaeo in critique, with which I heartily was your general impression of Sellbach: Yes, there is an I have lived a rather full life and Northland" will not motivate agree, in the Auckland “Herald" the standard ofthe show? impact from that and its a have heard, witnessed and Artform prospective clients to locate of the Winstone's Biennale, I Udo Sellbach: I think the healthy one. One does tend to occasionally become involved in work by an artist even ifthe would also like to fire a general standard was high. The become very inward looking things which are not uplifting to client lives in New Zealand, let broadside at the Crafts Council individual works that I saw and inbred if one stays strictly When a material is ex osed and and find fault with the handling the human spirit. Such are the used solely as a field or artistic alone Australia orjapan. expressed a vitality. What I within one medium. The whole conditions of the exhibits chosen to be ofbeing human. But endeavour, it becomes an art Music, both classical and found most interesting though, range oftraditions within a to read in your magazine the form. It may have originally popular, provides an shown. was that the craftspeople came medium, whether it be in wood over—coloured and impassioned been used for the purpose of appropriate analogy. Critics I know oftwo artists (apart together, as a large, competent or clay, is of course important. thoughts ofAlan Preston, a handcrafting a functional article review records and always tell from myself) who are top in whole rather than as a range Of But what happens in creative fellow craftsperson, who would which I would consider to be the reader which company their field and were excluded by individual craft forms and, to thinking is that it Often happens use for shallow political gain the the true use ofthe word ‘craft’. released the record. This judges (of whom two I consider me, apart from recognizing the in unexpected ways and draws suffering of other humans, is It is with this in mind that I information helps the reader to be political artistic activists overall quality the exciting On experiences, processes and totally and utterly disgusting to am referring to the article find the recording and other promoting their own brand of Observation is that this process materials which enrich the me. ‘Index Of New Zealand work by the artist. expression) and submit that in is taking place. In other words, tradition of whatever media it Within New Zealand society Craftworkers‘ which appeared It is recommended that the the future all pieces submitted the crafts are truly starting to may be. we ha 'e members of races who in the Autumn 1987 magazine layout be amended to be accepted. The Crafts Council see parallels and common So I believe that the benefits has e suffered because 0ftheir issue. To my mind, a craftsperson provide a directory section. can easily handle this as proved aesthetic ground rather thanjust Of the mnlti-media show are birthright, inclinations, or in the B.N.Z. Competitions — being seen as traditional objects. that it generalises craft to some

has traditionally produced SELLBAC political Tracey Crampton Smith beliefs. Once, to be a articles for use (often over 300 pieces shown. It is very exciting because a degree, makes it perhaps more gypsy, mentally Wellington retarded, a repetitively) and indeed has had There is as Amy Brown says number ofthiiigs flow from this powerful and more identifiable homosexual, ajew, or hold to in order to make a living no quarrel with finaljudgenient Observation. Firstly, one would as a total movement rather than other political views, meant We apologise to Villas Galleryjor SELLBACH was born in Cologne in 1927. He received from their work. The ‘artistic’ whatsoever but how can UDO expect some kind of cross a small group of people. At the death in a gas chamber. Does not acknowledging use ofthe factor should be built into the younger or older artistsjudge training in painting and printmaking at a leading German school fertilisation, some creative same time it o ens up the Mr Preston believe that article in the form of good (gallery to photograph ci’d/‘iiuorks. their own work against their ofapplicd arts, the Kolner Werkshnlen. Udo Scllhaclz’s work influence going across one field possibilities ofPinfluence which ‘culturally’ to be a craftsperson design. peers when three-quarters ofit has been largely based on the craft ofprinting and in particular to another. Exhibitions like this didn’t Or wouldn’t exist. we also run the risk of If an article is badly designed, is culled out and by whom? one which bring the various Shannon: In the process of extermination in our country? Again, Amy Brown has nailed it on lithography. it will fail to be accepted by the On the move crafts together are a very good judging, what are the major Such things are not only down. Thejudge had to select After emigrating to Australia in 1955 he continued his work way in which such cross public. Therefore, craftwork ofPaul criteria you are assessing, and repugnant, they turn the pit of should be well—designed. It is in from what was right and proper in printmaking and in 1960, under the directorship fertilisation ofideas develop. what are the qualities you are my stomach. This is bad taste of this area that craftspeople Your readers may be interested for him to select? Come on Beadle ofthe South Australian School ofArt, he established the Secondly, as the Biennale is to looking for? the highest order. should be encouraged and to know that since the article Crafts Council you can do first comprehensive and integrated printmaking department in continue it should help to Sellbach: The criteria that I use The Craft Index was set up to educated, not the very about the I-Iandweaving Gallery better than this! head ofthe Tasmanian School ofArt (1971-77) establish the crafts as a whole, are based primarily on the way raise the standards of work appeared in the Winter issue, Australia. As subjective artistic area the Terry Keenan and then Director ofthe Canberra School ofArt (1977—85), he as a movement, and as a in which the material is handled being done in New Zealand. By some of our ills have been professional reality within the instance. I look for Council appears to be directing Auckland establish facilities and conrsesforfiilly in the first writing letters ofthis quality, it’s members. cured. We have now shifted took the opportunity to whole fabric of the cultural life the way that material is many standards have been two doors up the street and professional craft training and education at these schools. Udo ofthe country. understood, the way it is dropped for what amounts to Howard Macmillan have a street—front window Sellboch is at present afreelance artist and also lectures at the handled to express its own not ing more than a storm in a Monaco which is helping business. The Queensland College ofArts. Shannon: This was a potential qualities, its own 2 charm or its own strength, its did and what we will hay e to do and craftsmanship , own seduction as well as its to prepare our next generation. POIicy Should be a complete artisanrv analysis of community you expand on thisr own imitation. The craftsperson is to remain linked to this needs. Could EXHIBITION understands the material. an educational needs. aossibilities are two tradition. and provisions. Sellbach: I think there understanding which is notjust To and the facilities old _ find excellence is to required; which views. One is rather intellectual but right down to develo ones will provide for longer quitC own thinking and tul professional development fashioned and no the fingertips. In other words it work tirough to the next work. in realistiC. That is the View" that . Designed for living. Bob Bassant reviews a recent exhibition at the Crafts all the crafts. It is important that shows the sensitivity through Not everyone is capable of the crafts are an inferior torm Of constant handling. what is happening in emf: Council Gallery The ability to doing this. There are people education the arts, Inferior because they make that material free and is not stopped short. within the crafts movement It should provide deal with repetitious patterns, speak and loosen—up from throughout for the open innovation the world, who endeclness, the striving for that they lack the constraints is what I look for. combine this search and excellence. and surprise ofthe new form Next I look for These factors should the quality of constant quest for achievement be provided and the challenges wtll the form that has been within the put into the and quality in their work, and education system. fine arts are expected to object. This is the tensions that Inclusive in who establish standards which the education curriculum provide. What we’ve observed are raised in the form and should they themselves are‘ responsible be the industrial side in the last 25 years is that the shape, a kind of resolution that ofthe craft for. These people actually show and that might include such old fashioned notion is no happens within it, the simplicity the way and that many others things as longer true. In fact, artists have that the legal situation with has come through the piece who may not be necessarily regard to copyright started to look again at itself, the warmth and with of handling, gifted enough to do it in this regard to taxation and craftspeople anel work the touch. Thirdly, a host of I’ll look for way are then the followers and other things such as safety, and hand—in—hand with them and detail and detailing. In other the backup to give these few health. These matters should they have learned from them. words, at the finer points of people a kind ofsupport. It is also be part ofa national policy. Crafts veople have themselves - DESIGN construction, ofjoining; the essential that we loo at craft as Finally I would suggest neede to move into the way things are that smoothed over if we do at other arts. the promotion ofthe craft is an domain ofthe fine arts, so that they are to be smoothed, or if Shannon: You are probably ongoing concern and should be the division which was always they are rough, the way they aware that Craft Design courses looked at very carefully. We an artificial one, which had been FOR LIVING are rough, and why they are have recently been established should start to emphasise and the gap between the superior rough and how these fine points throughout New Zealand. promote the crafts for what arts and the inferior crafts, is no functionally impinge and/or Could you perhaps outline your they potentially are, namely as longer true. just as much contribute to the piece as a philosophy regarding craft substantial elements within the creativity, new ideas and new whole. So the third point is the education? economy ofa country. solutions are today exercised one thatjoins up with the Sellbach: I‘ve given some Now ifone looks at these and produced in the crafts as functional use ofthe object and considerable thought to this and four main oints as providing they are in the fine arts. It has the quality of construction. other matters since being in platforms fbr the development meant that the creative impul 'es There's which a fourth point which I New Zealand, Firstly what I ofthe craft, then one starts to are the basis ofall artistic believe is important, and that is feel ought to happen is that build on what the Winstone expression can be found in the the overall innovation; a perhaps through the initiative of Biennale is doing Namely, the crafts nowadays as readily as sensitivity and an awareness the Crafts Council and with vision ofthe crafts being more they can be found in the fine within the arts. craftsperson of other co—operation from other private than a hobby, the vision that the art forms, craft forms, and or government agenctes, some crafts can be competitive in the Shannon: In New Zealand media. kind of national craft policy same way as other arts, there has been resistance from There fine has been a tradition to might be developed, There Education is essential to all of arts schools to look at craft as something that needs to be a cohesion building that. I believe that the greatest incorporating crafts media stands in the shadow ofthe fine on from the Winstone liiennale. task ahead is to look very studies into fine arts degree arts and has less creative Something that puts a seriously at education to ensure courses. You have had iossibility, This is quite untrue conceptual framework behind that the professional considerable success in Australia because great creativity can the crafts as a whole movement requirements ofthe craftsperson in breaking down these barriers. survive in the c ifts. The Have you any suggestions as to Vic Matthews rather than as individual media. as an economic and cultural The Design/{w Lining exhibition held at 22 tradition of craft is much more Now is how we might do the same in Side/Hail Table The the time, since this reality ofthe country can be Terrace during the month of August than simply repeating the exhibition demonstrates that realised. New Zealand? i\'.Z. Gruwn English provided processes, techniques and people and the crafts movement Shannon: What do you Sellbach: How you break them Walnut 8 fix/i Handles: considerable food for thought. From Vic mtterns ofthe past. It is going in New Zealand have reached consider are the major factors dow is difficult to say without 1:01;c (ii/ding nicm/ by Matthews’ classically refined hall table to Roland beyond this that adds to the the point ofa larger which determine a successful being there. I have a deep belief Peter Woods. Siebertz’ trendy corner installation, the range of images, It is this past in the intrinsic equality and point that consciousness, Such a policy has craft education programme? handmade and individually—crafted furniture will help to lift the craft beyond to be developed relationship between art and and by starting off Sellbach: It is important that companion works was rich and varied. what is perceived to be some with an agenda which deals when we talk about the craft and their interdependence and There was kind of well—meaning. with the whole question ofthe education of craftspeople we have always stressed that an air of professionalism about the therapeutic or part—time hobby status ofthe crafts, and the take our ideas from the craft and point. I have found that the best exhibition as an exhibition. Expertly installed and for peo ale who do a good days relationship ofthe crafts to the craftspeople themselves. artists have never quarrelled documented, each individual display was work elsewhere with me on and then other creative or economic Behind the philosophy and the this point. The next accompanied by a portrait photograph indulge in some kind ofcreative thing is to prompt the people of the activities and forces within the curriculum of craft education. maker and a printed statement which together pastime. I believe that the crafts country. Crafts have to be put has to stand productive. creative into seeing where the openings are, where an institution considerably enhanced are a very important part of our quite firmly next to the arts, craftspeople. I think this is the is communication. cultural life and that is architecture. desigii and other very first and most fundamental ready for change. for taking on It’s therefore rather surprising that not more of becoming better understood. productive creative forms and condition ofall. It is very easy something new, or where new the works were sold — perhaps ‘yuppydonf hasn‘t Shannon: policies allow for new In your opening forces in the community, to hand these things over to woken up to the fact that fine handcrafted speech at the Winstone Biennale initiatives. That is why I believe The second issue is education, educators and people who are ‘one—off furniture and companion pieces are as you mentioned excellence as an which is the greatest and the very professional in that kind of a national craft policy is so important sound an investment as paintings and prints. But aspiration which craftspeople most practical issue. So far a field, they have a role to play, because it can should become then attempt to achieve. great deal has happened, but it’s but the idea and vision has to be the voice which will I can’t say I am particularly impressed with Could you perhaps expand on based mainly on the efforts of extracted from the knowledge emphasise these priorities. D the amount of publicity and media exposure this and indicate how the very few individuals and one or and experience ofthe granted to exhibitions of that kind, so who’s to craftsworker can achieve this two organisations. What is craftspeople themselves. They blame? Also, how objective? does one discriminate between required to give craft full are the core of any realistic craft a $6,000 wall—hung desk and chain (John Shaw) Sellbaeh: What I mean by relevance within the development. The second point Ilana Becroft and a lovely rocking chair based on traditional excellence and open—endedness community is to see it as part of is that we have to look at — Filing (open towards excellence) is a the education system as a commerce and the educational Cabinet. lines for oii $800 (Graham Sutcliffe). For the View which regards the creative whole. And that means at all expectations which the Filing Cabinet — Detail casual observer or the interested potential buyer, process as one that has no final levels ofeducation from the community has. It is important it must be rather confusing. The possible solution resolution, no final answer. In earliest level on through to that the curriculum as a could be opening up a hornet’s nest — should other words a quest, an ongoing tertiary stages and into the structure answers the needs of concern for improvement. Now there be some sort of pricing policy established university system. Craft has to the community. for mixed exhibitions of this kind? if we Lise this concept and apply be integrated and seen as a Shannon: There is much it to the craft then we are realistic option. This is a major controversy on the question of On the matter of discrimination, I found talking about a process or a undertaking and I know that craft and whether it pushes the Humphrey Ikin’s statement about his “interest in vision ofexcellence which you have made a start in this boundaries ofart. Indeed you furniture with an industrially—designed tone” carries with it this very beautiful direction. I am very concerned have mentioned, and I quote: rather curious in relation to his last sentence. “my important background of that what’s been started ought “leather, glass. textile, wood, primary motivation is the search for a New tradition — tradition that goes to be followed through in a silver and ceramics are equal Zealand vocabulary in the Crafts”. Is he back centuries in terms ofstyle. Consistent way. partners with painting. perfection, performance, quality I believe that a policy should sculpture, and printmaking in suggesting the two are mutually exclusive? and so on. What those people first be developed. Part of that the European tradition of Photograph; Ian Hint/limit. Certainly all works, Whether they have an

4 for materials, a hii standard of workmanship and conveyed a sense ofthree—dimensional stability and space in a truly sculptural sense. I mention these factors as Ius points, possibly already too much taken for granted (ifnot neglected) in favour ofa desire to be original and/or ‘creative’ at all cost. Despite all the pervading seriousness, some delightfully whimsical works stood out, Jonathan Hearn especiaiiyjames Grimmett’s Toothpaste Tilltt’ Blanket Chest wit/1 Drawers. .Wirror. Grimmett says, “I am particularly Walnut, Sycamore, Native Red natural and organised shapes used in Beer/i. interested in a sculptural way and perhaps a humorous yet Below: Detail practicaI way. Something able to create a smile or a pleasant feeling that gives spiritual and emotional warmth in this technically advancing throw—away society. IfI can pass on some of the warmth of wood, and in some small way make the world a more individual personal place,

where people can live together in harmony, then I’ll be happy. ” IIana Becroft’s curvacious filing cabinet is not to be overlooked in this respect either. She “seeks to combine the practical need of filing with a curving, aesthetically pleasing design”; add to that her craftmanship and whimsy. These two pieces were quite in contrast to the “Illllllll pretentiousness ofthe Taranaki Side Table by 1. Peter & Karen Hight Peter and Karen Hight and the Tara/ralei Sia’e Ttlltlt' McIntosh—Memphis—Athfield inspired corner Hinan, Walnut, Elm. installation by Roland Siebertz. Dexiqnjbr Living 2. Roland Siebertz by its very definition included furniture for Corner installation living, and furniture should be subject to Free standing ()lzelisle. standards imposed upon it by ergonomic demands. Siebertz pieces in his corner installation 3. Peter & Karen Hight were ergonomic disasters — and aesthetically? Display Cabinet. New Guinea Gestaltwise. Rosewood, Inrlian Rosewood Aria/tyrant Some furniture, Rietveld’s chair for example, industrialIy—designed tone or whether they are can be seen and appreciated as the embodiment inspired by or find their starting point in earlier ofa tradition-breaking philosophy and, as such, art forms of the Pacific Region, should be subject can be excused for not measuring up to the to a modern interpretation of visual logic. You ergonomic standards expected in Daiqnfiir cannot turn the clock back or deliberately Living. Siebertz is no Rietveld, and the only discriminate for the sake ofArt/Craft versus evidence of some kind of philosophy on his part Industrial Design. is derived from what could be heard and seen This brings me to that age—old hoary again, I some ten years ago all over Europe. His corner know, but let’s get our thinking straight. Away installation lacked the kind ofhonesty and with the myth makers! Remi Couriard from integrity evidenced elsewhere in the exhibition. L’Etacq Studios also adds to the confusion by Vic Matthew’s hall table in New Zealand—grown contrast, epitomises craft and talking about limited editions — limited to A 1. Marc Zuckerman walnut and ash, by numbers or artisan involvement? Certainly Entrante Table classical elegance. This work has a timeless machine finish is apparent and I don’t object to it Heart Rinnt. Ali’itan quality, defined by immaculately stated or any mechanical aid to production for that Alalm‘qony Inlay. proportions and the subtle tension ofthe curved matter — but $4,000 is too high a price to pay for a Cqfiee Table. linear has to be seen to be believed. The entire limited production number, even though it is Heart Rim”. piece carries an incontrovertable authority. Matthews hall table is a benchmark of superbly constructed, finished, and made of elm. 2. Charles Bagnall When Couriard talks about “traditional styles craftmanship and aesthetic excellence against Pair Ladder Backed which most ofthe works on display could be brought to simplicity", is he talking about the Chairs. same thing Humphrey lkin is when he talks about Blade Walnut, measured. furniture with an industrially—designed tone? Peter 8; Karen Hight’s display cabinet, in Take yourpick and put your price on it! I really 2. Humphrey lkin. contrast to their aforementioned side table, stands wish some craftspeople would get their thinking Pair of Chair; — Tawa out for its light and graceful neo—classical sorted out. What about this quote? “The part of proportions. Made of exotic New Guinea and my emotional self that this (work) embodies Indian rosewoods and mangaeno, the work also defines my work as an art form.” No name delights through its exquisite detailing and open mentioned. sculpture feel. Certainly history will decide for us the place of a particular piece in the Art/Craft/Design I found Colin Slades low—slatted back dining 4. James Grimmett than his table hierarchy. You can’t decide that for yourself, not Chairs infinitely more successful Toothpaste Tube Mirror, which had a curiously dated look, reminiscent of with all the will and emotional involvement in Tasmanian Hiton Pine. the world a 19505 TV screen table top. A circular top might successful. In spite of some ofthe statements, the majority have been more of works showed an honesty ofintent, a respect Jonathan I-Iearn’s blanket chest with drawers is a strong, alive—looking piece with fine detailing in hinges and closures all made in wood. Photographs: Ian Charles Hutchison Bagnall’s aim is “to create something talismanic qualities. So following his that comes from inside and not fabricate some workshop I have attempted to be designer’s drawing”. Unfortunately, intentions conscious of the need to include alone are not enough. In his ladder-backed chairs something of that nature in my work in black walnut the heavy, almost clumsy front or rather to be aware that its possible. legs contrast oddly with the refinement ofthe Its not always possible to impose it. actual ladder back, which in itself barely sustains Sometimes I feel these qualities will the tension of the upward curve. A designer’s only come with time, with the awareness in terms of weight/scale and 1. Disc Earrning Forged, reticulated patinated growth 'of traditions. But it very proportion would certainly have been an silver, gold much influences me at the moment. I advantage. 2. First Banana Brooch feel I can’t go back to those old forms. Marc Zuckerman’s entrance table and coffee I felt the need to reduce elements table, for instance, display Patinated copper, silver solder, these qualities brass from my work and concentrate on a convincingly. Here is superbly balanced form minimal form. This isn’t always easy with the subtle curvature on top edge and 3. Brooch/ Object to do as it’s always tempting to supports retaining the linear tension all the way. Ebony, Bone, Poly Resin, Copper, Silver ' overdecorate. I’m seeking single Witness also the detailing; the dark inlaid strip on simple objects, simple repeated the edges ofthe supports, and the brass inserts 4. 3 Brooches objects whatever but uncluttered. between top and supports which seem to lift the Silver with copper inlay Any markings I include in my work I Acrylic and top and give the whole structure an open quality. polyester resin inlay hope will take on a greater Contrast all this with the bold strong form so Etc/zed, patinated copper with silver inlay significance by being isolated within a beloved by the two Wairarapa craftsmen Derek plain form. The materials I prefer to Melser and Jeremy Bicknell; the latter with a use are silver and gold. They’re what greatly underpriced two—tone dresser. Here’s one I started with. I erhaps understand example where someone could benefit from a their use better t an other materials. pricing policy or structure. But I also like to use other materials The bottom line ofit all is that this exhibition such as wood and plastic and I try to is yet another step forward toward the realisation approach them in the same way as I of some ofthe more recisely expressed approach silver. sentiments in the cra tworld. D My use ofa particular material is Jeremy Bicknell Dresser purely intuitive but my basic love Eleven pieces offvrnitnre were soldfrom this would be silver because ofits exhibition totalling 815,320. Ed. immense possibilities in terms of textures, forms, surface treatments — they are endless. There is never a stopping point with silver only new starting points. I’m now back working on my own but I’m not really alone because of my contact with people at the Polytechnic. I’m involved in GAVIN HITCHINGS: PROFILE developmental processes in the teaching role and this involvement Beginnings: .1 feeds me spiritually and intellectually. It begins in England really. My training but one open to a The ideas flow thick and fast. I find it knowledge ofjewellery and jewellery experimentation. It was very much a a questioning process at the same making was non—existant at that time case of‘lets see if we can do it’, rather time. I also take enormous enjoyment but I was interested in decorative art than ‘no, you can only do it this way’ out of watching other people’s ideas forms. I remember going to buy a and thats really when the bite took taking shape. Working with piece ofjewellery for somebody and hold. The possibilities from that point colleagues who tutor in other discovering that even in London it on were endless. materials is utterly stimulating, the wasn’t possible to get anything common thread between us being the Obviously it takes quite a while concepts, the ideas. satisfactory or satisfying to me (pre before one becomes expert in 3 4 1964). All thejewellery I seemed to handling the particular materials and While I was working on my own I Another is that the work wasn’t good The Future: come across was based on the totally using one’s tools. One needs to move was successful in a national enough or relevant enough to be traditional modes such as diamond and I’m privileged in my position now them about, to play and experiment. I competition organised by the attractive. because I have a little time to develop gold rings, pearls and necklaces. That really didn’t start to develop any Jewellers' Association of New I used polyester resin and acrylic in quietly without having to worry too thought always stayed with me and it personal modes of expression until I Zealand. That experience gave me an forms that were related to landforms much about the dollars coming in. I is important because the things I like eft Jens and started working on my insight into what other people were in New Zealand; rock formations, don’t have the market place pressure to give to people need to have some own. That gave me time to explore doing and more than that; it gave me pools, headlands, and so on. I became dictating. I feel over the next two quality, some value which is other without any outside influences. confidence to know that I could hack dissatisfied with that approach. It was years or so I hope to develop than the traditional and Inass Forms, structures and materials it with otherjewellers out there and I a bit too obvious for one thing and I distinctive features that will identify produced. started taking on a new meaning. I felt pleased as it gave me a base from wasn’t sure it was a good avenue to my work. I’m not aiming for that but It wasn’t until I got to Nelson and continued to work in this way for five which to develop in other directions. pursue in terms ofbeing decorative I would expect it to happen and I metJens Hansen that the possibility of or six years but in that time I Following that I applied for a QEII jewellery. It starts to become a cold would expect fairly radical actually making it myself occurred to discovered that it was possible to be Arts Council grant to give me time to intellectual concept rather than developments in myself as a result of me. lonely working on one’s own and it develop some expertise in ways of something I thinkjewellery should the teaching experience. was also stultifying not having Development: using plastic compounds injewellery be, that is decorative, wearable and someone leaning Richard Nunns So I started with Jens on a part—time over your shoulder making, in particular acrylic and imply other qualities as well. basis and seemed to be spending all telling you it could be done some polyester resins. I had used polyester Gavin Hitchings was a recipient ofthe I987 Nat my waking hours — when I wasn’t other way, which is always useful. I was still doing that when Herman resins in my scientific work in Junger from Germany gave a West Art Award ’Beyond Crafi’ recently held at earning my money at the DSIR — EventuallyJens and I amalgamated England many years ago. the Academy ofFine Arts, Wellington. El learning how to makejewellery. I our workshop and equipment and workshop in Nelson. This was a have to thank Jens for the opportunity became ajoint venture. That The ublic response to work in turning point for me. I came to realise of being able to do that and for the arrangement lasted until the plastic lias not been very great that there was something else to be kind oftraining he gave me. It wasn’t beginning of1986 when I began although there has been some said with decorative forms and a very strict or structured form of teaching at the Nelson Polytechnic. interest. There is still a stigma to elements which go beyond the simply things plastic, that’s one explanation. Visual aspects; that of the amuletic and surface, a series ofbeautifully articulated red lines fibre area. This, in a country so rich in raw on a black ground was most alluring with a materials for fibre arts! Malcolm Harrison The Winstone Biennale cements a relationship texture (the result of the slumping process) not received a merit award for his quilted fabric between Winstone and the Crafts Council ofNew often associated with glass. The polished rim applique work, “Ballad ofa Negro Sailor”. The Zealand which began some years ago with The Bowl where the red stripes softened and moved during background colours are quite subdued, even exhibition and continued with the Great New Zealand fusing made an inviting counterpoint to the tight sombre and yet the work has extraordinary Box Show, and the exhibition ‘Winstone Ties That graphic organisation ofthe main body of the Vitality and energy. The graphic elements are Bind’ held in 1985. work. The heavy grinding at the base detracted vibrant and seem to thrust into the space beyond The Winstone Biennale represents a milestone both from the piece. Sadly, there are a number of glass the edges of the work. It is a strongly narrative in terms ofthe long history between Winstone and the artists who fail to give sufficient consideration to piece. Each ofthe six panels with it’s own tale to Crafts Council and because the exhibition which was the feet of work. Perhaps there is something to tell. The whole work has strong graphic mounted in Auckland in August represents a turning be learned from a few oftheir colleagues in the coherence, consideration drifts easily between point in the development ofcraft. in New Zealand. clay media. the whole and the parts. It’s immaculately Indeed, Udo Sellbach,_indgefot' the exhibition, The wall mounted glass anel by Linley Adams crafted, the large scale adding to it’s joyful indicated that this multi media exhibition shouldflirm had a casual quality that beiied it’s tightly exuberance. the spring boardfor craft being accepted as aflilly organised design. Lead sheet has been used in a The rag rug by Beatrice Cross was a delight professional movement. most innovative way and the surface colour has with a tautness and organisation more often In his review ofthe exhibition Campbell Hegan been a lied in a spontaneous gestural manner. associated with tapestry than rag construction. clearly demonstrates that the Winstone Biennale was as This eFfEctively complements the highly Like Harrison’s work, this is a fairly busy piece richly rewarding as the relationship which allowed it to organised structure that is inevitable in leadlight and yet quite harmonious. The Lise of colour is happen. construction. The wooden element from which adventurous and lends a playful quality to the the main body ofthe panel is suspended works work. very well. However, the cord connecting the Pat Wilkinson’s tapestry, “Desert Lightning” two parts has been poorly arranged. In multi has a deceptive casualness. Graphically very media work all ofthe elements and materials are simple, it utilises primary colours that resonate WINSTONE completely interdependent and therefore equally with shimmering intensity and considerable worthy of consideration. warmth. In contrast to the relaxed informality of There were only five fibre works in the show. this work, Kate Wells’ tapestry, “Formula for Yet another indication of the dearth of Mozzarella” is highly organised and has a very -CRAFT opportunities for advanced tertiary studies in the formal sophistication. A contemplative piece with strong graphic unity, the subject comprises a series of seemingly random images rather like the unfolding of vaguely connected dream segments. Yet there is a restful clarity in the work and BIENNAL colour is used with subtlety and elegance. Held at the Auckland Museum 28 August—l3 September Catherine Anselmi Basketmaking ofthe type that goes beyond the 1987 Smoked Clay Vessel with Kieleie Stitching. functional with some degree of abstraction is in it’s infancy in New Zealand. Willa Rogers from Nelson was the sole contributor in this medium in the exhibition and what a fine contribution it The last open multi media crafts show on this carving is superb and the tiny pieces of black was. Owing something ofit’s origins to the scale was organised by the Crafts Council at the coral contrast effectively with the whale ivory. forms ofa birdnest or perhaps the kiiia it is a same venue about 12 years ago. The quantum The work appears to glow internally. work of great appeal. Seiisitively constructed leap in the standards ofthe best work since then Alan Brown’s “Exploring The Edge” is among from Torrey pine needles and a waxed linen is quite extraordinary. other things a dazzling dis lay of virtuosity. The thread one is irresistably drawn to the centre. There were nearly 300 pieces in all media work speaks eloquently 0 two cultures, the The arrangement ofthe materials in a spiral submitted for selection and ofthese 62' were Maori and European in the language of objects of creates the feeling of constant movement and yet accepted for exhibition. Once again, less proved great importance to both cultures — it has a quiet repose. to be best although the impact of the show would cutting/digging/shaping implements. There is Considering the structural complexities have been lifted even further by the elimination conjunction ofthe cultures suggested in the inherent in the designing of complicated pieces of of another 10 or 12 works. The variation in the neckpiece. The five objects are contained in a furniture, the lightness of touch achieved by standard between the best and the least was too superbly crafted box (Wliaka Huia). All of the David Trubridge in his desk and chair was a great. materials, wood, stone, metal, and fibre have delight. There is refined angularity iii the forms. David Trubridge Warwick Freeman received one ofthe merit been handled with consummate skill. This is The drawers and working surface give the multi media work at it’s best. Writing Des/e and Chair awards for his superb paua bead necklace. in Kaari and Black appearance of floating delicately within the Freeman has been one ofthe central protagonists The premiere award was given to Ann Walnut frame. This effect is enhanced by the effective in the recent redefining ofthis beautiful material Robinson for her cast glass bowl. This work has use of contrasting kauri and black walnut timbers. for use by craftjewellers in New Zealand. He is something ofthe crusty relic quality ofthe early The extremely comfortable chair achieves the constantly exploring new ways of using paua and Roman cast glass. It’s rife with contrasts of same effect and incorporates angles has a unique sensitivity to the possibilities ofthe texture and tension. The rim, highly polished and complementary to those in the desk design. The material. This piece is exquisite in it’s conceptual giving a glimpse into the heart ofthe material curves in the drawer fronts, frame and chair simplicity. The material has been handled with contrasts effectively with the heavily pitted and nicely reiterate each other. This is a work of confidence and restraint. One ofthe difficulties rugged internal surface. The vertical flutes on the poise and elegance and whilst referring to with paua is its inherent seductiveness. Freeman exterior lift the form powerfully. The colour of traditional design elements it is satisfyiiigly knows when to stop and how eloquent this shell the glass is an icy blue and yet the work has great contemporary. can be when allowed to simply speak for itself. warmth. The scale is slightly larger than life j. MacPherson’s hall table with it’s tight feisty Alan Preston’s “Breastplate” utilises a which emphasises the considerable presence. It is an design is a sort of over the top indulgence in ceremonial object that has it’s roots in the Pacific impressive technical achievement and materials. It’s a work with a great sense of Islands’ iconography. It is a form that he has demonstrates a strong commitment to the humour. All THAT for one tiny drawer! This worked with for some years and has achieved a development of an idea and technique. The base sort ofhumour is too rare amongst New high degree of aesthetic refinement. He utilised a point at which the bowl meets the surface on Zealand’s contemporary furniture makers who readily available material, (mother of pearl) and which it sits needed further resolution. The erhaps have a tendency to take themselves a imbued it with a quality of great preciousness and controlled tension ofthe piece was lost at that ittle too seriously. ceremonial weight. The form is very direct and point. However, it was a most deserving award Another work with strong reference to strong and contrasts superbly with the coarseness winner from a glass artist with a remarkable Maori/Polynesian crafts is Humphrey lkin’s of the deftly woven magi magi from which the record of achievements. metre long wooden dish. It is a work of great plate is suspended. Another neckpiece by Doug Robert Middlestead’s fused and slumped glass Willa Rogers subtlety. It’s upper surface beautifully worked by Basleet, Torreg Pine Needles and Waxed Linen Thread. Marsden has an intensely intimate quality. The bowl has presence beyond it’s modest scale. The the very delicate (onlyjust) carving. The golden

10 11 oiled colour contrasts vividly with the unoiled dry greyish underside. The treatment of this surface provides elegant contrasts, being lightly scratched and marked. The articulation of the edge with a fine bevel brings the whole work satisfyingly together. Hugh Parsons’ “Firewood No. 1” kanuka bowl was another witty piece. With something of the going, going, gone fossil quality, it provides a beautiful and quite seductive surface quality as well as a glimpse into the internal tensions and distortions ofthe live tree that it once was. john Crawford submitted another witty clay piece entitled “Red Hand Riding School”. A highly sophisticated work owing more to the Mediterranean than the outer reaches of the West Coast from whence it came. One ofthe appealing qualities ofthis work is that it demands that you move around it. Being a highly complex arrangement of two dimensional surfaces on three dimensional planes, the relationship between the elements constantly changes. The painting has been done with lots of vitality which 15 emphasised by the spontaneous scratching through the enamel surface. Another work with considerable vitality is Merilyn Wiseman’s exquisite box. The wood fired pale clay gives the pot the appearance of glowing from the inside. The decoration ﬂows easily from one surface to the next. The red enamel which shimmers on the glazed surface articulates the design beautifully. It 1. Malcolm Harrison is a work of generosity. “Ballad ofthe Negro How unfortunate that Chester Nealie’s Sailor" Quilted Fabrits. marvellous anagama bottle was so poorly displayed at below waist level. A work where the 2. John Crawford surface considerations so obviously predominate superficial. This work. though achieves a “Red Hand Riding syntheSIS more successful than any I’ve Stlzool” prev10usly seen. The work has heart. Two Pictcs Terrarotta and Enameli. The ceramics constituted the largest number of exhibits and whilst there were some very fine works amongst them, the lesser pieces, although competent, just too insignificant for a show of this stature. The tail was too long. In a lesser way the same could be said of some ofthe turned wood. On the whole, the show looked very impressive with a richness of scale, texture and colour that is one ofthe advantages of multi media shows. With only six months lead time it was a tribute to the country’s craftspeople that they were able to mount a show ofthis standard . and diversity in such a short time. There are two years to prepare for the next wk. one and this will probably encourage a major contribution from the craftspeople of other countries. Winstone Ltd should be congratulated ._44—< for their vision in offering this generous sponsorship and helping to create what will doubtless become a major event on the international exhibitions calendar. D needs to be able to be moved around. This is a quiet pot that deserves time spent with it and a little more breathing space. The sassy lug gives a K~ . Kate Wells lift to what is essentially a fairly sober form and it "Formula ﬁ)!’ Mozzarella" makes an interesting connection between the rim Wot/en Tapestry 1. Alan Brown and the main body ofthe vessel. “Exploring the Edge” 4. Robert Middlestead One ofthe few potters to successfully integrate Blades and Pendant. Fused Clam Bowl. elements of Maori decorative arts into their work is Catherine Anselmi. The handling of the clay in 2. Alan Preston this piece is quite outstanding. The pot is Breast Plate — Mother ofpearl, elegantly poised and has extraordinary generosity MagiMagi, Vau. in the swelling black form. The gently rolled 3. Ann Robinson over rim terminates the shape perfectly with the Casa Glass Bowl. tuku tuku addition integrating with the form in an unselfconscious way. The real problem with the incorporation of Maori imagery and design in European work is that the treatment is so often

12 13 Recently in Auckland the bare top ﬂoor of a dilapidated old Queen St building, rented at low cost, was transformed into a calico draped cavern to display a collection of innovative furniture designed by a group of alternative designers. It was the launching of the First Annual Artiture Show.

Carin Wilson Royal Pain in the Arte Clzair The opening night was packed; a collection of exotic young people, exotic older people, artists, architects, professional men and women and business people. It was the place to be that Friday evening! And the audience were elated with the display which was still being completed as the guests arrived — that in itselfadded to the sense of intensity and excitement. armchair related to the later Art Deco style with The designers ofthe furniture were mostly finely grooved high arms. designers whose previous work had been in “Bird Folly” was the name Diana Firth gave to another design medium. The exhibition proved her colourful bird houses. These inspired both by the universality of design, how if one has the her love ofbird life and her deep concern for ability to think creatively and laterally and is conservation, also owe inspiration from the prepared to research, then any field of design is colourful shrines she saw on the roadsides in Bali. open. Training and ability in one design discipline Made ofplywood and tanalised pine they are can be transferred to another. They were united finished in acrylic exterior paint with wonderful however by one goal. They all wanted to design geometric patterns in brilliant colours. Some have furniture that was art, not constricted by the hanging dishes to collect water from the sloping necessity ofthe pieces having to be a commercial roofand feeding bowls. They can be used in a proposition. They wanted to create furniture garden or as a decorative feature in a imbued with a more human quality — not a new H conservatory, or bathroom or entrance hall or desire. Ettore Sotsass, the guru ofMemphis has any room in a house. A pew handpainted in talked about bringing art and furniture together. brilliantly coloured patterns completed her Memphis also set out to make us question our display. assumptions about what furniture should be, A transition from watercolour painting, to about making new connections in design. hand painting a simple two drawer chest in a Artiture is in no aspect an imitation of Memphis strong zebra inspired pattern was made by Biz but it does have asimilar motivation behind it. Dempster. She also painted a folding screen in a l’eter Rogers is a dealer in Art Deco and Fifties strong richjungle design. Hand painted screens furniture, Marilyn Sainty and Diana Firth are are a very old form ofart and are very versatile as clothing designers. jan Hewitt is an architectural well as decorative in a home or business student, while Mike Tree is a furniture designer. situation. Biz Dempster is a watercolour artist whereas Paul van Oninen has been involved in photography and industrial design. Carin Wilson is a craftsman in wood and a furniture designer and Michael Clock is an interior designer who has also designed furniture, but always with an alternative approach. Peter Rogers displayed Verdigris table lamps with shapely milk glass bulbs. He had also designed a delicate round occasional table with a metal tripod base, finished with a “New York acid rain patina” supporting a ground glass top. Marilyn Sainty had a lattice backed couch with seat cushions in a natural linen. This had the lightness achieved by Charles Rennie Mackintosh. A tall elegantly curved chest of drawers was made in pale tawa, while steel and kauri had been combined to make a strong light highstool. Marilyn had also designed two armchairs finished in grey metallic lacquer. One the “Lily” chair had the delicate curving lines of the Art Nouveau period whereas the other 1. Marilyn Sainty Lattice Cour/z.

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w: \3 Roseanne Bartley Frances Battersby I began carving bone and setting it with Ideal with simple ideas in my jewellery, paua as a hobby about two years ago, then usually organic designs or narrative pieces. a year ago I began working in a I live on aferry and the sea has a great contemporaryjewellery studio as well as hold on my imagination, notjust the water workin part-time. itself, but the reflections (day and night), Att e moment I am interested in the atmosphere, the movement, the subtle learning Coral. the qualities ofdifferent danger, time and the sea’s counter-rhythm materials, their possible combination and to life on land, the moon’s presence and the techniques required to work with them. Black the animals and plants that thrive in an For me creatingjewellery challenges my environment so alien to me. emotions, my intelligence and my ability As a sculpture student I am being to create something with strength in design Silver— exposed to all types ofconstruction, from

and harmony ofmaterials that will 7 bronze and aluminium casting to glass Sig. stimulate sensory both visually and blowing, which have enormous potential physically. I intend to continue and extend forjewellery. I enjoy wiringfound myselfwith further study because Ifeel

Brooch: objects, stones, wood etc. with metals. My excited by the possibilities butfrustrated jewellery is still an experiment, perhaps by the lack ofmy technical abilities. the only cohesive thing about it is it’s variety.

Mathew Von Sturmer I ’ve been workingﬂir two years after Hamish McWhannall having trainedjor six months with Silver. Well I‘m not really ajeweller. I make Warwick Freeman and then two months Silver. things out ofmetal, at the moment silver, along—side Kobi Bosshard at ’Fluxus’. I and and some ofthese can be worn as

workjull-time and currently occupy a Stg. jewellery. When I started doing this work workshop on Quay St in Auckland. My eighteen months ago, being ajeweller was

Acrylic experience living in the Hauraki Gulf Pin: in aim, butjewellery seems to have a lot provides much ofthe stimulationjor my ofylimitations, so I’m not sure whether one

Bangle: work. Brooch day I’ll be an all out ‘jewellery maker’ or a ‘maker ofobjet d’art’. D

Rose Fox Joan Atkinson I have been ajewellerfor about seven I am interested in exploring the boundaries years and was trained by manufacturing betweenjewellery as personal adornment jewellers in Auckland. and sculpture. The work I am making is I have been self-employedfor two years concerned with relating goodjorms to the and owned and operated ajewellery studio body in a variety of‘ways. and workshop in Broadway, Nev/market. I have been using textured, etched and My interest injewellery is primarily

Paua. folded silverjornis, combining these because ofthe sculptural efﬂ>cts involved sometimes with shell, stone and ebony. and created and because it is intended to be Currently I am working with marble, Sea” worn and used and is an expression ofthe granite and textured silver and am wearer’s personality.

and experimenting with ‘wrapping’ or ‘tying' Chrysoprase, forms together. Design,ﬁ)rm and good workmanship as

“Land

' well as development ofideas and achieving

Silver, some harmony oft/zese is important to me.

Stg. I don’t ever want to become complacent in my work.

Romy Gartner Pauline Bern jewellery has always beenﬁiscinatingjor me as a means ofbody adornment I work with simple abstract enriching people’s individual appearance tlu'ee-dimensionalforms which usually andgiving them the possibility to express encroach on the space around the body. I their own taste. am interested in the variet r and subtlety Moonstone. The reason for makingjewellery myself achieved by combining diferent coloured metals and textured surfaces and often use was theﬁzscination ofshaping a piece out Shakudo

contrasting materials such as a beach — Cane. ofplain sheet metal, in using special techniques and the vast variety ofother pebble with 22ct gold, or inorganic/organic materials. 7 materials which can be combined with it. Silver At the moment the main characteristic of I enjoy the process ofmystery of

i’l/Iokume my work is using repousse and lamination transforming plain metal and rock, wood, Fine

shell, into an object ofemotional or Ivory. techniques together with stone, slate and ct.

Silver intellectual interest; the challenge of shell. 22 solving the technical and design problems involved in each piece, and the idea ofthe

Brooch:

subtle communication between the maker lamination. and the wearer. on a main highway so the members 1. Eva Barnett. with duties. There is a sense of Alive and well in the marketplace. Wendy Laurenson describes one c0-0p’s had to persuade the travelling public 2. Joyce Keniwell belonging — of being part ofa family — to stop. They painted it purple, flew a 3. Muriel Wright but it’s not so small that things get formula for success. flag and have clear road signs with petty or full of personality conflict”. plenty of off—road parking. Now their The day—to—day tasks of running the six—year track record sells itself. While co—op have tended to settle to members built up stock, the shop was appropriate members -— someone does open only weekends and public the bookkeeping, re—orders packaging holidays, but as production and supplies, keeps the outside ofthe reputation grew so did hours. Origin shop and garden tidy, is responsible is open 7 hours, 7 days a week and is for domestic chores, or compiles the well placed to serve a passing tourist roster. Although all of the members and local market in the Bay of Islands. agree that the attractions ofthe co—op Each member serves a day in the include having a centralised outlet and shop, which means there are no staff showcase and social and mutual costs and they are able to get direct support, their own production feedback from their work. Harvey businesses don’t have such a common jones, potter, points out that most base or location. potters only see a fmished work Lorraine Hayman, one ofthe Below: Michael Block briefly before it is packed off and founder members, travels 45 away. “I get to see a pot far longer. I kilometres from a farming valley near Rig/II: Harvey Jones purring up [lie Sign. see it on the shelf, can study it and Taipa to the co—op each week. live with it. I also see which sells, and Lorraine is self—taught in copper foil those that don’t, sit and stare at me. I stained glass technique and sells can work out what’s right or wrong lampshades, terrariums and mobiles with them. The demand too is for an income base which is immediate. lfl see empty space I supplemented by larger domestic know I have to produce." commissioned sales for doors or Only the display and selling is windows. What started as a hobby in co—operatively based. Each member Australia, grew into a business when runs their own production business she and her husband arrived in New from their home, studio, or Zealand in 1979. Lorraine was workshop. Members enjoy their shop teaching courses in Kaikohe and day as it gives them a chance to assess Kerikeri, as well as supplying pieces their work and display. Each member for exhibitions and Northland craft is responsible for their own area, but shops when she was approached to these overlap substantially and are discuss the concept ofa co—op. She is updated or amended to suit product still part ofthe team and says the shop changes or space requirements. No has taught her discipline. “lfmy stock one oversees the overall shop layout, is low in the shop, my sales drop off, but all members are aware ofit and plus I don’t want to let the others they often get complimentary down. I have a commitment to myself comments from customers. Part of and to them.” Lorraine has recently the reason, according to weaver joyce moved her workshop from a spare Keniwell, is that the shop isn’t room at home to a shed in nearby cluttered with “knick—knacks”. The Totara North which gives her time to only goods on display are those of the work free from interruptions from members and a few selected her young children and the telephone. commission sellers whose work must Her output and sales have increased win majority approval, with quality dramatically and now that she is fully being the main criterion. Rent, confident in her techniques, Lorraine Origin Art power, packaging, and administrative plans to concentrate on being more expenses are split evenly between innovative with her designs. members and are supplemented by a jeffCleghorn makes free—standing and Craft 25% take on commission sales; all kauri and rimu furniture in a income is apportioned daily to workshop conveniently placed across individual members. What you sell is the road from Origin. Also one of the Co-operative what you get. founder members, jeff moved from Communication is critical to the the Wairarapa eight years ago and has Getting established in the craft market imbalances, or lack of money. The country as well as supplying the success of Origin. The co-operative supported himself from his furniture isn’t easy — even less so when you live members ofOrigin Art and Craft limited number oflocal craft retail structure was laid down in a written sales. Before Origin, he too was 12 kilometres down a dusty road or Co—operative say their success lies in shops. High mark—ups, uncertain constitution and at regular monthly transporting and sending stock all 3V2 hours from a major city. their raison d’érrc and their emphasis display space, inconsistent meetings, members air any grievances over the country, but found it However, eight craftspeople in on quality. Origin was born out of communication, and transport and allocate monthly earnings. Any frustrating and uneconomical “l was Northland have done it through their necessity, and three ofthe founder difficulties outweighed results. lfthey new proposal must have a majority very dependent on the retailer to own co—operative outlet near members are still part of the team could control retailing, they could vote to be passed. The members are display and promote my work, and if Kerikeri. They lease a building, staff today because the co—op continues to better control their income. All individuals with a wide range of ages, members each committed a small they didn’t, I either wouldn’t know, it one day a week each, share offer them the best way ofmaking a wanted to sell direct, but didn’t want interests, and life styles; but there is capital sum to invest in building or could do nothing about it. With my expenses, and sell direct to the public. living from their craft. They are the interruptions that selling brings to no one dominant personality, no boss. renovation and shop fittings, and new product I was limited by who had A recent sixth birthday and an involved in order to market their production. The answer was to sell Lorraine Hayman, stained glass members now pay several hundred sufficient space. People tend to use ever—increasing turnover are work, and they know that what they their goods co—operatively. worker, says that even though people dollars to buy a share in Origin. The furniture as a shop prop, so customers testimony to the fact that they are get out of the co—op equates directly Buy to sell co—operatiyely required are there primarily to make money, a share can be sold ifa member chooses see it as such.”jeff was looking for doing something right. with the effort they put in. a well—located site. An old wine shop solid social aspect of the co—op has to leave. The co—op’s size is perhaps somewhere to set up his furniture the Co—operatives were a “buzz word” Six years ago, an artist, a potter, a on State Highway 10 near Kerikeri developed. Members enjoy the another key to Origin’s longevity. way he wanted it seen and without in the 19605, short—term realities in weaver, a furniture maker, a stained was available, so a few weeks of mutual support of other craftspeople joyce Keniwell feels, “It is small interrupting his daily production. The the 705 and usually dead in the 80’s. glass worker, and a soft leather painting and scrubbing saw the facing similar advantages or problems. enough for each of us to have a real timing and location ofthe co—op were Many failed. Lofty ideals gave way to worker had a common problem. Each creation and opening of Origin in Membership has changed several part in decision making, and big perfect, and now the shop is his only personality clashes, administrative had been selling work throughout the May 1981. The building stands alone times during the co—op’s life. Founder enough so no one is over burdened sales outlet, providing him enough 20 21 income to develop a macadamia nut Jeff Gleghorn his own preferences. He has been orchard. The shop screens out the selling domestic ware through Origin ARCHITECTURAL PORTFOLIO lookers from the buyers, leaving only for three years and says that selling those seriously interested to make the direct is the only answer. Harvey sold trip over the paddock to his workshop wholesale to shops in the north and as for further discussions. far south as Wellington until he A BANNER FOR THE TURNBULL LIBRARY Muriel Wright, another founder started making and selling his work member, is one of Origin’s best from his home on a small orchard. sellers. She makes soft leatherware — Three years ago when a member left, handbags, cushions, clothes, and Origin put an ad in the local paper. quilts from patches of soft calf and Harvey knew ofthe shop’s lamb hides. Muriel’s business has reputation, applied, submitted work, grown with the shop. From a spare and was accepted. He says the shop Margaret Clarke bedroom in her home near Kerikeri, has been responsible for a dramatic and with the help ofthree industrial increase in both his sales and Textile artist sewing machines, Muriel disciplines production. “It also gives me the both her time and output to ensure freedom to experiment with new she keeps at least 50—60 bags in stock —~ ideas without the constraints of some To mark the move ofthe Turnbull Library to its but it’s no production line. “I make small—minded shopkeeper who wants permanent home in the new National Library in one bag, cushion, or garment at a the pots to blend with the wall Wellington, The Friends ofthe Turnbull wanted time. The feel of the leather dictates hangings. Iftliey don’t work, it’s my a banner of contemporary design in strong the bags shape and size.” Muriel’s decision to reduce prices or whatever colours and rich materials that would clearly raw material is expensive so by using is needed to quit them.” Harvey buys identify the Turnbull and could be used at special patchwork pieces, waste is minimal. his clay, mixes his own glazes, and functions. She is also aware ofbalancing the fires in an L.P.G. kiln based in his Margaret’s design is based on drawings of the changing forces of fashion against the studio at home overlooking the exterior ofthe National Library building, and the legacy ofleather as a timeless craft Kerikeri inlet. He shares his craft with text is based on the second codicil to Alexander Cmnmirximicd by: The medium. “I use base designs and another co—op member which he sees Turnbull’s will. The colours were chosen to Friends ofthe Turnbull colours, with a few fashion colour tables. But with no phone and 1'/2 as an advantage. “Having another blend with those found in a William Morris Library Size: 190 x 90cm highlights to place them in the current hours travelling time, contact with the potter’s work in the shop provides carpet design that had been commissioned for the 7: season. shop is not so convenient. Terry’s stimulation for me and a good range original Turnbull Library, but never made. The artist executed the work with the assistance of Eva Barnett has the same quandary contact with Origin was made when for the public. " [Wateriii/i‘: Patchwork, with her knitwear, particularly with he lived in Kerikeri and was selling The other ‘potter’, is husband and The Wednesday Night Group — Thelma Read, Flora quilting, applique and the current resurgence ofinterest in through outlets in Auckland, but wife team Michael and Betty Block, Macdonald, Adrienne Howard, Shirley Dixon, stitlicliery ofpure silk, bright fashion colours. She has available land further north prompted who live aiid work on ten acres Peggy Nattrass and Frances Stone. silk damask brocade, complete with a large garden, rocks, The banner was presented to the Library at a gold kid leather and gold concentrated on homespun, perendale his move. Terry, his partner, and embroidery thread, cross and merino wool which she young daughter have travelled weekly and donkeys grazing down to the special function on 14 September, 1987, and hangs on a marble—faced wall outside the worked over dacron knits into her own sketched patterns. to Kerikeri, but distance and access inlet. Michael and Betty have been wadding, backed in Eva works from home on a small have meant that although he has potting for 25 years and concentrate Turnbull Room, visible from the main foyer of calico and lined with the National Library. farm near Kaikohe, and has been with retained his membership, he has now on domestic ware made from clay heavy cotton Origin from the outset. Initially she suspended his shop duty and has gone they mix themselves. When Michael was asked to knit selected patterns for onto a commission sales basis. first learned pottery, there was no the shop and was paid perjersey, just joyce Keniwell joined Origin in option but to dig and mix clay, and as she had been for twelve months 1985just prior to Terry, and has been still mixes his own because he finds it previously by Soutlierly Sweaters. weaving for over 15 years. Five years easier and more predictable. The When Origin advertised for another were spent in a community in Blocks sold their work through local member in 1983, Eva decided to put Scotland, where they had a weaving Kerikeri craft shops, a bookshop, and her hobby on a more solid footing, studio and wherejoyce broadened her at New Vision gallery in Auckland. and she now employs two self—taught skills by working with Within that time, Michael says “QUICKSILVER” spimier/knitters from Dargaville to people from all over the world. One tourism and local markets have supplement her own stock. Although of the techniques was weaving fine probably doubled, and the number she is still reluctant to plunge overshot patterns in cotton and on her and standard of potters has increased. Paul Johnson headlong into bright colours that may return to New Zealand she tried to “To survive from making pots now, Sculptor and Painter be fickle fashion trends, Eva is now get exhibitions to show the technique. you have to be good and that usually working with selected shades in but without success. Four years ago. takes time.” Michael has a pride in his mohair. She has been approached to the weaving member of Origin domestic ware. “The expensive An executive ofthe Board of Superannuation send work to the USA, but turned the needed a break and approachcdjoyce ceramic art available now is fine if you Investments approached I’aul directly regarding offer down to avoid production to help her with cushion covers. can afford hundreds of dollars, but the commission for their headquarters in pressures. For Eva, the shop is as Within a few months the other there will always be a place for good Wellesley Street, and asked him to submit three much a social contact as a business member pulled out, leavingjoyce a domestic pots. Over the centuries designs. No design parameters were imposed by what has survived proposition, and she has no doubt that chance to establish her own business. are the ordinary the company, and the final design was accepted SIL H use, pots that are it is a success primarily, “because of The cost ofjoiiiing made her hesitant a pleasure to use and to without modifications. Auckland the people in it. When you work out initially, plus she wasn’t confident that handle daily.” Michael and Betty Stylistically, “Quicksilver” consists of overlays the hourly rate for knitting, I’m she could support herself or that she joined Origin five years ago and say ofthe map of Aotearoa, allusions to the definitely not in it for the money”. would stay in Kerikeri, but she took the key to the eo—op is its people. surrounding cityscape, and images ofthe New The co—op’s newest member a he the plunge. For the first year she also “The organisation has a solid base, but Zealand Beech butterfly. The overall effect refers joined mid—1985 — is the most distant. sent work offto other outlets, until there is a lot of flexibility. All the to contemporary computer-generated imagery, written constitutions in the world while the butterfly motif represents hopefulness. CaiiI/Hi'm'mied11y: Board Terry Woods is a wood turner who she found that the difficulties of Superannuation lives and works in the remote outweighed the advantages. Origin won’t hold something together if the The contract provided the artist with a fixed people involved aren’t Investments Limited peatlands behind Ahipara where there gave joyce the opportunity to see compatible.” D fee to organise and oversee the installation, and Size: Six storeys ofa is no power and an unreliable access which works sold and she admits her material and labour costs were passed back 12—storey building, road. Terry shares a workshop in the production is primarily niarket—led. “I directly to the commissioning authority. The wall approximately 70 sq. bush with two other woodworkers can’t do the cotton work that I really relief was completed in February, 1986. Since metres and machines powered by a diesel want to do commercially, so I’m now then, Paul has been asked to redesign the foyer generator. Native area ofthe building, carrying the materials and Materials: 616 black slate timbers, especially busyjust trying to keep up production and 139 mirror—finish kauri heads and burls from fallen logs, with the yarn and fleece weaving. ” imagery of“Quicksilver” on to the walls in the stainess steel tiles, each are the raw materials for his large Harveyjones makes pots partly area that provides access to the buildings 12 300 x 3110 cm; mortar, platters, bowls, mirrors, and coffee from market leads, and partly from floors. adhesive

22 23 Arts Council fibre exhibition. She change. She is solving this problem masterly painter at work. She melds, PROFILE came and had a look and suggested by keeping back more work. moulds and strips—in ﬂashes of colour that I put them in. I didn’t know Almost all of her garments are that will appear as so much soft and whether I wanted to sell them, but seamless, and she is now working in enduring beauty when felted. Her Amy Brown proﬁles Jeanette Green — feltmaker par excellence. wasn’t sure that I didn’t want to sell three dimensions. Her beautiful intention is to move towards even them if anyone wanted them. I put jackets, capes, berets, boots and bigger pieces; larger—than—life wool what I thought were outrageous collars are seen by many people as the sculptures that suggest growth and Cloak “.Maiden From the mist arising" prices on them, put them in the ultimate in wearable art. Jeanette movement. P/ziitiagi’apl'i: Graeme Tidmmi. exhibition, and they were sold. I views her clothing as sculpture. She As a tutor at Carrington suppose that was the real beginning of says that people who wear her work Polytechnic, she stresses technique it. If people really do want to buy are the vehicles for display. Her work and technical information first, but at what you make, that’s incredible for can be described as wall hangings in the next stage she sets challenges that your confidence, especially if you’re motion; sculptural works that are must be solved by the student. She as untrained as I was.” transported by people. Certainly a doesn’t want tojust teach how to do Since that exhibition 6 years ago, Jeanette Green felt is a wonderful it, but to pass on thejoy and challenge Jeanette has never stopped learning object to own and enjoy. She does all of solving problems and increasing about her craft, extending her of her own dyeing, and may use understanding. This particular knowledge and stretching her hundreds of colours in a single piece. philosophy is one that has made horizons. Shortly after the show, she Watching her work on a huge wool Jeanette Green a formidable master of had the opportunity to attend a batt of colour is akin to watching a her craft. D workshop by a Swiss artist who had a different approach to what she’d been doing. This began a technical breakthrough in her work, ultimately changing completely the method she had been taught and substituting her own discovery of soap Jelly as the medium between wool batts and the interlocking of wool fibre into felt. In the past, she used detergent and water; prior to that, treadin

realised that that part of me was there ' because ofthe way I was educated. I was confident in that formalised

direction, but to start in another ” direction where I’d had no formal ﬂ ‘A‘ training at all was quite different. I Photograph: Russel/Jame“. think I still stiffer from that, and still gwt To this writer, Jeanette Green is New been responsible for her attitude to find niyselfthinking, ‘what am I Zealand’s best felter. There are felters the craft: the need to watch and know doing here?’.” who do beautiful work, no doubt what is happening, and analyse why it Wearable some of them introduced to felting by happens in a particular way. As she presented herself with her, but there are few who treat the Her interest in crafts began when challenges, she kept on noting and craft as a sculptural medium and who she took her children to play centre documenting her successes and Works of Art have achieved the breakthroughs in where, she says, she had as much fun failures, so that ifa piece of work was felting that she has achieved. Jeanette as the children. She went to a batik successful in either colour or shape, has led; others have followed. class, and then learned screenprinting, she was able to repeat it, or use an Attention to detail with emphasis on spinning and weaving. Her enjoyment element ofit in the next piece technical “know—how” has given her a in spinning had a lot to do with the Jeanette uses her work as reference certain freedom within the craft, and dyeing processes that were taught. points, always working towards has helped make her an outstanding She also studied weaving with something else. The medium dictates craftswoman and artist. Wilhemke “Willie” Calvin who what she’s going to do, and within Like many craftspeople, Jeanette passed on some knowledge of felting these confines, she stretches the began felting by chance via a handful to her class. Thus, Jeanette Green’s barriers and keeps altering the of other crafts, some ofthem also affinity for felting was born. parameters. The increasing demand chance happenings rather than “From the minute I began doing it I for her work has created some deliberate choices. Her educational loved it. I liked the freedom of design problems. She found that since she

background was in science teaching — as opposed to the structured work I’d was selling work so fast, she was \ a formalised training ground far from been doing. I did a couple of pieces unable to use it as reference for future Vest: Silk 8 M/ood. Photograph: Graeme Tidman. the freedom that she finds in felting. and plucked up the courage to ring work. There was insufficient time for But in many ways, this training has Ruth Castle who was organising an reflectiveness and future design

24 25 CONFERENCE

What is happening to paper? Adrienne Rewi outlines the First Australian Paper Conference.

; ’amFF-ir:,.£u. w 7'

1. Carole Shepheard ”Giﬁxfar the journey” Multi Media.

2. Susan Warner-Keene "A/Iixed Signals, middle distante” Formed by hand carving, dying, soaking and inlaying paper.

Two exhibitions were staged to and many are challenging the coincide with the conference. “Paper boundaries oftraditional applications Plus: Artists’ Books and Designer for its use. Works were formed from Bookbinding” was organised by Anne handmade, re—cycled or cast paper, Virgo ofthe Arts Council Gallery of and papier mache, with paper as ACT. This exhibition presented a fine image, and paper as sculptural forms. Je n y To ynbee Wilson (NS. IV.) Amt, Prose/1min»: Series — formed by laminating Paper Shem, Inserts and dyeing. and innovative display of Australian Clearly the limitless potential ofthis works aimed to develop an awareness versatile and ancient medium is being ofthe book as an art form. Our well tested. It is being cut, torn, mass—produced culture has taught us sewn, crumpled, glued, painted, cast, to read books at the expense of really beaten, dyed, cooked, tied, sprayed, “seeing” them and it is this invisibility burnt, woven, vacuumed, laminated, that many artists and bookbinders embossed, layered, embedded and Paper — that new-old medium have consciously chosen to reverse by textured — physically manipulated in producing books that are significant every conceivable way, yet retaining aesthetic statements. that curious and subtle character that Perhaps one ofthe most significant meeting. The Papermill, (formerly Duren, Germany. Many ofthe bindings in “Paper sets it apart as a vital medium. points stressed at the First Australian jabberwock), housed within the new Virtually all aspects of papermaking Plus” showed unsurpassed technical A highlight ofthis exhibition was a Paper Conference, was that paper is centre for the arts building. was the were covered in the lectures by other excellence and a strong emphasis on representation ofalmost 20 Canadian being released from its conventional first institutionally based handmade main speakers: Sherry Cook (NSW), a the creative use of paper as a works of art selected by Alayn role as a surface for print, or paint, or papermaking workshop set up in classroom approach to handmade component of cover design, Ouellet. Most ofthe artists in this as a container for goods, to become an Australia and it remains the largest. paper in art education; Rod Ewins illustrating that contemporary section ofthe show already had exciting contemporary art medium in The Arts Centre itself was opened in (Tas), bark cloth/tapa and the origins designer bookbinding admits international exposure, but emerging its own right. 1986 in the refurbished structure of an ofpaper; Ruth Faerber (NSW), paper craftsmanship based on centuries of artists were also included. Their The last decade has seen a revival of oldjam factory. Many of the original casting and hand—forming bas—relief Wilson (NSW), exploring paper as acquired skills, as well as innovations works were highly innovative and interest in handmade papermaking structural features have been retained, works; Inga Hunter (NSW), colouring an art medium; Charles Turner (Tas), in technique and aesthetics. sophisticated. techniques and the conference was making it a fascinating and inspiring handmade paper and beyond; Ray preparation of fibres for papermaking; The tremendous variety of In summing up the conference conceived to fulfil the need for an environment. Lefroy (W.A.) practical Helen Waddlington (ACT) and expression made this an exciting overall, it seems a propriate to close exchange ofideas among craftspeople, The conference format included demonstrations on the running of Michael Lester (Vic), professional exhibition, with books developed in with the words ofijudy Silver of artists and those working in associated lectures, demonstrations, audio—visual papermaking workshops; Kathy Nix contemporary bookbinding and more traditional formats with NSW, artist, papermaker, art critic, fields. Almost 15(l people of varied presentations, discussion groups and (ACT), discoveries in plant fibre artists’ books. sequential content, through to broadcaster and lecturer: “In little disciplines from all over Australia and informal sessions. Delegates were also papermaki11g;]acki Parry (Scotland), The diversity of experience among sculptural forms. over a decade, the use of paper as an as far afield as the United States, able to gain ‘hands—on’ experience in papermaking in the United Kingdom; the delegates was readily apparent. The second exhibition, “Paper art medium has fired the imaginations Scotland, Canada and New Zealand, their favoured area ofinterest. Key Gaynor Cardew (ACT), slide Often isolated by large distances in Present”, brought together exciting of artists the world over. No longer attended the four—day conference held speaker, Timothy Barrett, Director of demonstrations of body—casting; Australia and elsewhere, papermakers paperworks by artists and craftspeople seen asjust a support, it now stands in Hobart, Tasmania, in May this Papermaking at the University of Maggie Carey (S.A.), coverage of an have had to develop individual from Australia, USA, Canada, the alongside other image—producing year. Papermakers, artists, art Iowa in the USA, generated a great intensive tour of American techniques and methods, and there UK and New Zealand, the latter media and has become an independent students and teachers, bookbinders, deal ofinterest with his papermills, funded by Crafts Board of was a strong spirit of willingness to represented with works by Kate means of expression. It has become fibre artists, paper inarblers and comprehensive lectures onjapanese Australia Council; Kathleen Rowley share this information throughout the Coolahan (Wellington); Carole image, idea and object . . . Such an printniakers made up a lively papermaking. Fred Seigenthaler, (Hawaii), large scale paper event. The in—depth programme was Shepheard (Auckland); and, Mark ancient medium has found a new life gathering. papermaker/artist presented excellent constructionsﬂudy Silver (NSW), guaranteed to stimulate and inspire, as Lander (Christchurch). The diversity in contemporary art all over the The Tasmanian School of Art, a coverage ofthe 1st International paper as an art medium; Margo Snape all people working in the creative arts of work in the exhibition showed that world. A whole new freedom is faculty ofthe University of Tasmania, Biennale of Paper Art 1986, held at (NSW), traditional and contemporary periodically need to recharge their paper as an art medium has sparked beginning and the best work is still to was an appropriate venue for the the Leopold—Hoesch Museum in watercolour marbling; jenny Toynbee ideas and energies. the imaginations of artists worldwide, come.” I]

26 27 Fiona Ciaran traces the history of Au Ti’ir Gloine stained glass in a New Zealand chapel.

Treasures in Karori The chapel attached to the Wellington (which record the Karori windows), Karori Crematorium opened in 1909, share register and minute book. To contains New Zealand’s single most date, designs for three ofthe Karori important set ofimported, twentieth windows have been found but no century stained glass windows. In cartoons. It seems probable that these terms ofillustrating overall stylistic were destroyed in a fire at An Tur development, they are the most Gloine in c1962. significant set of An Tur Gloine windows outside Eire and Northern Faith and Hope were designed and Ireland. made by Wilhelmina Geddes in 1914.4 An Tur Gloine (The Tower of The original designs, which differ from the finished works, were Glass), was a Dublin co—operative, purpose—built studio set Lip in 1903 discovered and exhibited recently in London.” Faith and Hope are chiefly by the painter Sarah l’urser extraordinarily rare, early works and and Edward Martyn, a play-wright and patron ofthe Abbey Theatre. The are probably Geddes’ seventh and eighth windows. She is represented founding of An Tur Gloine was a consequence ofthe Irish Revival and by only two other windows outside the United Kingdom and Ireland. the Arts & Crafts Movement in One made in 1919 is in the Governor stained glass that was lead by General’s Chapel in Ottawa. The Englishman Christopher Whall. An other is a 1938 memorial to the Tur Gloine was run on the principles Belgian King in St. Martin’s expounded by Whall and followed by the London stained glass firm and Cathedral, Ypres. co—operative Lowndes & Drury, Wilhelmina Geddes “Hope” 1914 Geddes was invited tojoin An Tur founded by Mary Lowndes and Vic Gloine by Purser in 1912. She had a Drury in I897. O’Brien (d. 1963) and Ethel Rhind monumental and highly individual (d. 1952). O’Brien became secretary and manager of An Tur Gloine in 1940 but in October ofl944 after Purser’s death, the co—operative was formally dissolved. O’Brien took over the workshop until c1962. Many An Tur Gloine windows are now recognised as among the greatest achievements in twentieth century stained glass. Their treatment is strongly grounded in Irish legend, religious tradition and the realm of the imagination. Stylistically the work looked back to the highly—wrought, Irish illuminated manuscripts and carvings made centuries earlier and broke new ground by presenting traditional subject matter in an unconventional and innovative way. An Tur Gloine and Arts & Crafts artists reacted against the mainstream, formula-based and mass—produced work that many studios were turning Hubert McGoldrick “(iv/hmnmn'” 1939. 0t. Instead, they sought to make Micheal Healy “Charity" 1930 individual, unique works. Martyn initially asked Whall to All except one ofthe six Karori style from the start ofher career. conduct stained glass classes at the windows commemorate members or Geddes’ figures are strong and Metropolitan School ofArt in Dublin, close relatives of William Ferguson’s confident and became more so as her but as he was unable to leave London, family. Ferguson (1852—1935) was work progressed. I-Ier iconographic Whall sent his pupil Alfred Child who born in London and studied at Trinity sources were eclectic and included became the manager of An Tur College, Dublin. He later became features of Romanesque sculpture and Gloine and stayed until his death in engineer and secretary—treasurer to Medieval stained glass. Geddes’ 1939. I’urser made few windows the Wellington I-Iarbour Board. depiction of drapery often reflects the herself and her role as the main Ferguson ordered the first four closely chiselled effect of clothing in shareholder was largely administrative windows in the chapel and may have Gothic sculpture. and supportive. With the exception of known a member of An Tur Gloine. Fair/2 commemoratesjane Ann Michael Healy (1873—1941), the The most likely candidate is Purser Moorhouse, the mother of William principal artists had all graduated from whose family was connected closely Ferguson’s wife, Mary. It shows the Child’s courses at the School of Art. with Trinity College. Made over a Angel of Faith with a sword and They were Beatrice Elvery, period of 25 years, these six windows lantern walking purposefully through Wilhelmina Geddes (1887—1955), Evie were designed to harmonise with each a dark forest inhabited by wild beasts Hone (1894—1955), Hubert other. The National Gallery ofIreland and a raven. A woman following her McGoldrick (1897—1967), Catherine holds the An Tur Gloine Workjoumals refuses to be side—tracked by a

28 Wilhelmina Geddes “Faith” 1914. ) red—haired woman (possibly an Ferguson’s wife. In a paradisal garden Acknowledgement is made to these people enchantress), holding a dandelion. two angels stroll, one carrying a who generously supplied information flom MYSTERY OR COMMON SENSE? Above the figures are scenes from the flaming torch and sceptre and the their research on An Tur Gloine work: life of Moses. As in many of Geddes’ other strewing golden dust.7 This David Caron, Dublin; Peter Cormack of windows there are small incidental window attests to Healy’s great skills the William Morris Gallery London; Dr details in the borders, including as a colourist and acid—etcher. The Nicola Gordon Bowe of The National goblin faces and mysterious birds and flowers and the tree feature unusual College ofArt and Design and Dr MARKETING beasts. Geddes often incorporated a juxtapositions of brightly coloured Michael Wynne of The National Gallery Biblical reference to give a clue to the glass in a manner which could be ofIreland, Dublin. Ifyou have stopped at this article, Identification and packaging are you will need to analyse each of the window’s subject matter but neither viewed as one ofthe distinguishing Acknowledgement is also made to Fr. chances are you are in the business of other aspects affecting the product. components of the marketing mix in of these windows has one. Hope characteristics ofIrish stained glass. F. M. Bliss, Ron Flook, L. D. creating and selling crafis, or you may Identifying your work, whether it be relation to them. You should commemorates Louisa who died as a Clarke and Hone are well—known for Galloway, Hilda McDonnell andjoan have an interest in becoming involved. by a swing tag or adhesive label, a commence with a careful quantitative child and was the daughter of William their superb manipulation of colour, McKenzie of Wellington; and Alistair What constitutes marketing and why do signature, or whatever you choose, is and qualitative analysis of the market and Mary Ferguson. Carrying but Healy has received less attention. MacRae, Hawera. you, as a business person, need to be a Vital part of promoting your demand for the product. The market flowers, the Angel of Hope waits for Wisdom executed in 1937 is among familiar with the concept ofmarketing? product. Packaging your work should can be defined as a place where a small girl in a boat to reach the I-Iealy’s last works. Commissioned in Notes This article is designed to provide some be a major concern. Attractive buyers and sellers meet and function, shore. Doves fly above the child’s memory of William Ferguson, it is the 1. No definitive history of An Tur general background on what marketing packaging can enhance your product where goods or services are offered head. In the upper section of the only window ofthe set that is signed. Gloine or comprehensive list of is all about. and provide direct benefits in terms of for sale and transfers of ownership of window, child angels play in a In the bottom right corner Healy windows executed there have been further promoting you and your , title occur. This concept ofa market The Marketing concept work, increasing the ease of handling also implies a demand for a product. garden.“ acid-etched in Gaelic: Miceal published, but the Irish Academic It is not so many years ago that In 1925 Geddes moved to Lowndes ohéaluidé An Tur Gloine Dublin ’37 Press is soon to publish a gazetteer and reducing damage losses. For those Given this basic concept it should not marketing was viewed as a function of you whose target is the tourist be assumed that the market is a single, & Drury in London where she rented Ireland. Healy did not usually sign his of An Tur Gloine work. not too dissimilar from selling. a studio until her death in 1955. In windows and on the few occasions . to . See Peter Cormack, Christopher market, careful attention to packaging undifferentiated, homogeneous unit. Whall 1849-1924: Arts 8c Crafts However, companies and small is a must. Visitors from North 1933 Evie Hone whose glass work that he did it was in Gaelic. In this business operations have become later received great acclaim, went to window Wisdom, assisted by an angel Stained Glass Worker (London, America, japan, Europe and Australia Market Segmentation 1979). Catalogue of an exhibition held at increasingly aware that in addition have an expectation that the craft For the craftworker it is especially learn the craft from Geddes since she with a goblet and flask, passes a cup to The William Morris Gallery, London, 17 to good sales techniques and a kneeling figure with a sword. At the NOV. 1979—3 Feb. 1980. work they purchase will be packed in important to determine what aggressive advertising which sell boxes or containers ready for segments of the market are top, two figures sit reading on either 3. Harry Clarke (1889—1931) was the only products, an awareness ofhow to other well—known, contemporary, Irish presentation and secure for travel. appropriate to particular items. It may side of an open volume with Chapter satisfy customer needs is essentialfor 8:4 from the Apocryphal Boole of stained glass artist who did not work at An Packaging itself can be seen as a work be that large decorative works should Tur Gloine, but he was connected with success. You might say that this is all Wisdom written on it. Thejewel—like of art — sometimes of equal merit as not be distributed through retail some ofits members and Lowndes 8r very well for the production line the craft piece inside. outlets but should be placed in the effects on the drapery, wings and Drury. A considerable body ofliterature business, but the same principle hands ofa gallery or agent who has background have been achieved about Clarke has been published. See the applies to all product and service bibliogra hy in Nicola Gordon Bowe, Price channels into the corporate or interior through deep and extensive areas, including crafts. After all, it is acid—etching on flashed glass (glass Harry Clarke (Dublin, 1979). A It is important to determine a base design market. By carefully monograph and catalogue ofan exhibition the customer who decides whether price for your product and then identifying your market segments and with two layers melted together; one held at The Douglas Hyde Gallery, the quality, size, colour and shape is coloured and the other can be clear establish policies for discounts, freight tailoring your marketing programme Dublin, 12 Nov.—8 Dec. 1979. ofthe iece is pleasing. payments, packaging and other to fit those segments you will be in a or coloured). While Clarke is known 4. Dr Gordon Bowe considers Geddes’ Marketing is then a system of deservedly as one ofthe most Karori works to be pivotal in her career price—related factors. position to: and is currently writing a biography ofthe business activities designed to: i * channel money and effort into the accomplished acid—etchers of glass, * produce the product again Healy’s mastery is not widely artist. The Arts Council of Northern Promotion potentially most profitable markets; Ireland is to mount a centenary exhibition * price the product This is the component used to inform a design products that really match known. ofGeddes’ work in 1987. * promote the product All three of Healy’s Karori 5. See Peter Cormack Women Stained and persuade the market regarding market demands; it place the product your product. Advertising, personal us determine promotional tools which windows are characteristic ofhis work Glass Artists of the Arts & Crafts (distribution) in the year that Movement (London, 1985). Catalogue of selling, exhibitions, gallery displays will be most effective in those they were executed The marketing concept is a and show his stylistic development in an exhibition held at the William Morris and trade shows are major market segments. Gallery, London, 7 Dec. 1985—2 Mar. 1986, philosophy, an attitude, or a course of the 19305. Healy does promotional activities. Given the level The development of the marketing not appear to exhibitj.5, p. 20. Fiona Ciaran, business thinking; marketing itselfis a have executed any other versions of competition in the marketplace, programme is an essential component of “Windows to look up to" Listener May process, or a course of business Charity, Love or Wisdom. 17, 1986, 42—43. Nicola Gordon Bowe, product differentiation, inadequate of your business. It is equally action. market information and non—rational important to evaluate the results of The last window ofthe set, entitled “Women Stained Glass Artists" Irish Arts Rev1ew, 3 (1986), 66—67. Although much ofthe purchasing behaviour, promotional the programme in the light of your Gethsemane, depicts Christ’s agony in (1. The National Gallery oflreland holds craftsperson’s time is devoted to activities are essential. objectives. Michael Healy "Wisdom” 19.57 the garden. In the distancejudas leads se ia, studio photographs of Falth and designing and producing the product, While the above factors provide the soldiers to capture Christ. This ope. The latter shows a small flame it is essential that factors such as price, Place — Distribution only a general outline of the had found Child’s teaching and views window was made by Hubert (from a candle?) on the boat prow. This promotion and distribution are segment of glass had been destroyed and a The distribution channels for craft are marketing concept, it is hardly unsympathetic to her own highly McGoldrick in 1939 and is a memorial considered and developed into an original ideas. copy ofthe photograph did not reach New relatively direct in New Zealand. mysterious. Rather, it must be to james MacRae and Percival Parr. Zealand in time for this detail to be integrated plan if the business is to There are few wholesalers handling considered as applied commonsense, Charity, Love and Wisdom were McGoldrickjoined An Tur Gloine in replaced during restoration (see note 8). flourish. The effective blending of designed by Michael Healy who was a craft, and most craftworkers tend to carried out in response to research and 1920 and worked there until 1945. His 7. The National Gallery oflreland also holds product, price, promotion and place, sell direct to galleries or retail outlets. within a structured framework which member of An Tur Gloine from its work is more angular in style than a drawing that is probably a sketch design (known as “the marketing mix”), The choice of outlet, however, can be allows for objective assessment. inception, and worked there for the that of Geddes and Healy and the for Love as it is entitled in the An Tur Gloine Work ournal 2. In The together with an understanding of critical to the success of your work. rest of his life. Healy executed a large treatment ofthe angel with the cup in Rosemary Shannon National Ga lery of Ireland customer wants, the competition and Look for factors such as reputation, body of work but apart from his three Gethsemane strongly resembles Suggestedfurther reading in marketing: Illustrated Summary Catalogue other environmental forces, can result location, exhibitions programme, Karori windows, very few were Inade Clarke’s style. of.D_rawings, Watercolours and in a successful marketing system. The competition, display features and Fundamentals of Marketing, for locations outside Eire and In 1984 these windows, in a Miniatures compiled by Adrian Le components ofthe marketing mix are William] Stanton. McGraw-Hill Book Northern Ireland and most of these Harivcl, entry 18,401, p. 272 is described financial stability when making a vandalised and weathered condition, defined and discussed below. decision regarding who should handle Company. are in North America. were removed and restored in as “Two Angels ofthe Resurrection". 8. Slug—gun pellets were embedded in the The Product your work. Charity, designed and made in 1931, Dunedin. They have been reinstalled leading, some glass portions were Basic Marketing, Ejerome depicts St. Martin of Tours as a young Managing the product includes Having assessed all these factors, in the Karori chapel with clear, completely missing and the windows had the marketing McCarthy, Stanley] Shapiro. officer giving half ofhis cloak to a planning, designing and developing how do you determine protective poly—carbonate screens buckled. Stained glass artist Paul Hutchins mix? In any business enterprise it is Richard D. Irwin Inc. beggar and above, the Ark in the and the author worked on the windows at products you feel right about and placed across both the interior and Vital to identify your objectives. Flood. The window commemorates Miller Studios in Dunedin. The which are appropriate for the market. exterior surfaces.8 The Karori chapel These may be to make a certain William Moorhouse M.B.E., Mary Wellington City Council which maintains You need to regularly assess whether currently has a ‘C’ classification by the the Chapel appropriated funds for the number or type of pieces per year and Strategies and Programmes Ferguson’s brother and son ofjane existing products need changing and Historic Places Trust. It is hoped that restoration. The General Electric achieve a percentage of sales through Marketing Management,]oseph and William whether you need to add new ones. Sefton Moorhouse, a these windows will come to be Corporation of America generously commissions. Whatever your Guiltinan, Gordon WPaul. former Superintendent of Canterbury responded to a petition for assistance by You must also be prepared to take the recognised widely as the national objectives are, they should be McGraw-Hill Book Company. D and Mayor of Wellington. donating the protective Lexan screens in responsibility of stimulating a demand treasures that they are and some form attainable and measurable. Executed in 1931, Love is a recognition ofthe set's international for your work and maintaining the of preservation order placed on them. significance. Once you have set your objectives, memorial to Mary, William D quality of your pieces.

30 31 Exhibitions don’t happen in isolation. Amy Brown on the interactions at work DIPLOMA IN CRAFT DESIGN

NATIONAL AIM AND OBJECTIVES FOR THE DIPLOMA IN CRAFT DESIGN The dependent exhibitor The Government has approved the establishment of major consideration will be proven ability to two yearfull-time Diploma Courses in four produce quality work, commitment and There is a great The exhibition also provides complain at thejudge’s are booked up at least 18 polytechnics; Carrington, Nelson, Waiarilei, Waileato, enterprise. Admission to each of the four diploma interdependency of people another interesting set of decision. Of course, if the months in advance. Both of to commence in 1988. courses will be open to students from any craft involved in the stimulating and personal transactions which whole group is not doing ‘their these galleries are interested Tutorsfrom thefour new crafi design diploma design certificate course. All other candidates lively activity of producing craft interact at many levels. The first personal best', it will be only in promoting excellence in courses and the Department ofEducation must clearly in New Zealand. There are the is the personal aspect between reflected in the show. There craft. As their philosophies demonstrate above average ability to creators who seek to make their the craftsperson and the gallery have been a number of seem to be markedly similar, a representative, met at Waiarilei in August to develop win a place ahead of students from certificate living at it; the shops, galleries, owner, who decide mutually exhibitions in the last couple of look at some of their basic national objectivesfor the diploma in crafi design and courses. government buyers, dealers and that one may benefit the other. years, where the best thing in criteria might help other gallery determine common selection criteria for all courses. fairs who sell it; and the In this respect it would be a them has been thejudge’s owners, both public and They discussed evaluation procedures that accord with GENERAL CONDITIONS countless thousands oflookers good idea ifthe gallery owner speech. private. (I’m not suggesting, by the purpose, process and outcome ofthe courses and and has a good sense ofhumour and buyers, on whom both the But let‘s get back to the the way, that these galleries are investigated a mutually agreeable and workable content The principle of open entry as for the certificate creators and the sellers depend is not hi hly volatile because rivate exhibition, agreed to the only good ones around — so courses was reaffirmed. The key factor being the there wifi be plenty of structure. They also addressed issues that will eflect the for the final transaction. The between gallery owner and don’t be offended if your applicants potential to achieve excellence in all creators range from the frustrations for both parties. It either one exhibitor or a small gallery wasn’t mentioned.) implementation ofdiploma courses andfinally and mediocre to the gifted and would be nice if you didn’t end group sharing a mixed media Their goals are: equally importantly looked at ways to support each aspects of craft design. talented artists whose work is a Lip hating one another. There show’. We have all seen 0 To promote, focus attention, other. Candidates can apply to any one or all diploma joy to behold and a privilege to are also personal connections exhibitions that have either and give support to top New courses. In the case of students from certificate own. The buyers range from between the gallery owner and insulted our intelligence or left Zealand crafts through courses, acceptance will be conditional on the non—discerning to the buying public. The owner is us with the “why did they exhibitions; AIM satisfactorily completing the certificate in design. high]y—discriniinating collectors, stating that he or she considers bother” feeling. The following 0 To follow through with stock with a vast majority being the work worthy of showing criteria for both exhibitors and to market and create a need For students to pursue excellence in craft design All candidates have the right to be represented people who like to look, want and~advertising. So if you don‘t gallery owners might help to and desire for people to and to make a significant contribution as artists at interview by an advocate who can speak in to learn, and who occasionally want them laughing behind make exhibitions more purchase; and craftspeople to the cultural and economic life support oftheir application and on their behalf. buy a piece they’ve fallen in their hands and pointing at you 0 To have full communication interesting and benefit the of New Zealand. Costs to attend the interview must be met by the love with. Somewhere in the in the street, it’s in your best important interdependency of at every level, including candidate. interests to make sure it's a middle are the people who creator, seller and buyer. physical and design In the event ofhardship, endeavour to make a living out good show. The public is no 0 The work should not have requirements, providing OBJECTIVES by prior arrangement ofselling craft. longer gullible. Further personal been seen before, unless it is props and layouts; applicants may be interviewed for any or all Varying attitudes towards the transactions flow between both so avant—garde that it can 0 To constantly seek out This will be achieved by students learning to — courses at a diploma centre nearest to their place craft product are reflected in the buyer and gallery, and buyer stand more viewing, or promising craftspeople and — think creatively and develop innovative ideas; of residence. kinds of operations that they and craftsperson which unless it’s in a retrospective promote them; — acquire the knowledge and skills to design and run: from combined craft/gift stimulate everyone. Finally, show. 0 To insist on high standards in produce work in selected media; SELECTION shops with lower cost articles there are transactions between 0 The work should Iiave put design, execution and finish; — apply professional attitudes and skills in the but high turnovers, to members ofthe public who are the craftsperson on his or her 0 To be a sounding board for All four diploma courses intend to co—ordinate co—operatives selling the work just looking and learning about mettle; it should have the craftsperson and the management and promotion of craftspeople ofcraftspeople involved in the that particular craftsperson or extended them. buying public; and their products; selection procedures to ensure conSistcncy and to co—op; from craft galleries that craft. They may buy the Ideally, there should be 0 To make it clear to the — understand the cultural origins and mana minimise delays. stocking a wide range of quality work on another occasion. And progression from the last craftsperson what is expected associated with art craft and design in New crafts, to the dealer gallery if they have enjoyed looking exhibition. No tired re—runs. and what they can expect Zealand and other countries; SELECTION REQUIREMENTS for all which exists to sell craft art in and learning, they will probably Shoddy workmanship is out. from the gallery; — critically evaluate craft work. diploma courses limited editions or one—off come back to look and perhaps 0 The work should be 0 T0 lan well in advance; pieces to a discerning number of buy work from another innovative, even daring, 0 To be knowledgeable about completed application form; clients and collectors. All of exhibition. When they ask, even ifit is not entirely what is sold; ELEMENTS COMMON TO ALL curriculum vitae; daringly, what it all means and them are needed and have their resolved. Feedback from 0 To keep main street hours DIPLOMA COURSES referees reports; niche in the marketplace. If how is it done, don’t look bored viewers could be the impetus and be repared to show you’re a craftsperson who wants and tell them to put any needed to follow through. privately outside those hours; Individual programmes will be designed to other supportive documentation; to sell what you make, you'll interpretation on it that they The work should not insult 0 To point out that exhibition accommodate each student’s requirements. .Uldrfwlv.‘ portfolio professionally presented showing need a middleman seller who like, because they’ll dojust that. the viewer’s intelligencejust pieces are what is im ortant — However all courses will include the following: evidence of craft design including drawing, will display your work to a Don’t say, “It would take too because it’s in an exhibition. iiotjust a question 0 filling 1. Drawing — expressive and technical. process and completed works (photographs buying public in one ofthe long to tell you." 0 Ade uate display space and space; 2 Art and Craft history, customs and cultural are acceptable); ways mentioned. Sometimes An exhibition of a slightly good1 lighting are essential. 0 To expect the best and be 6. interview with supporting advocate ofthe you won't want to sell it, but different kind is the public The work should not be prepared to pay good prices values. you still want people to see competition or award. These crowded cheek—by—jowl with to get It. 3. Business studies and professional applicant’s choice; what you’ve made. are usually sponsored, its companions. development. 7. evidence of ability to undertake personal At some point, every thankfully, and we should 0 Two good pieces are better 4 Individual projects including research investigations; craftsperson gets ‘starry—eyed’ consider them the showcase of than ten mediocre ones. methods, tutorials, project negotiation, 8. evidence of design knowledge and skills; about having an exhibition. This 0 People who are “just exhibitions. The work is recording 9. attendance at a two day residential workshop usually arises because you‘ve selected, and for that reason it looking" may be nervous and and documentation. completed a piece ofwork that should comprise the best that intimidated being in a U1 Work experience — 12—18 weeks over two if required. really captures what you’re can be seen. That is not always gallery. They may still like to years. trying to achieve. It’s a long the case. Too often the work is learn about the work. Don’t .0“ Media studies specialisation in ceramics, EVALUATION AND ASSESSMENT way from one good piece of boring and tired and hasn’t treat them as unnecessary fibre/textile, wood, flat glass, jewellery, work to sufficient exhibition reached out to anybody; it clutter. contemporary Maori art. Year I — attendance pieces. Twenty pieces should not be considered the Ideally, ifthe exhibition Related studies such as photography, Maori — ongoing assessment of sketchbooks comgleted doesn’t equal twenty public’s fault ifit remains doesn’t fulfill at least half of (diary) folder (working drawings, exhi ition pieces — unless you‘re unsold. Or it may be so daring these oints, then it shouldn’t studies, graphics. supremely lucky! The as to be considered ahead ofits be cal ed an exhibition. Call it a Design studies and applied design. notes etc) — end of year exhibition for each student exhibition should be a personal time, in which case you’ll have display, a sale, a ‘look—see', or a >990.“ Te Reo (Maori language is integral to the benchmark, a statement of to wait for an enlightened bargain day, but don’t describe contemporary Maori art course.) — self assessment — verbal (two tutors) intent, a sign of distance collector, or a swing towards it as an exhibition. An — — visual travelled, a culmination ofhard your new style. So craftspeople exhibition denotes quality and SELECTION CRITERIA ability to meet deadlines. work and a fulfillment of who enter awards and s ecialness. Don’t downgrade Year II — ongoing as above with more emphasis personal criteria that were laid competitions must consider that the word. A successful down before embarking on the their work is first—rate. It should exhibition doesn’t necessarily The diploma course will build on the sound on presentation of work concept, process frustrating, often nightmarish be the best that they are capable mean it has to be a sell-out. foundation ofthe 11 two—year certificate courses and development. and downright agonising of, and should not look like Selling doesn‘t always mean in craft design courses. At diploma level entry There wil be regular informal discussion and voyage of discovery towards some leftover from a garage ‘wonderful’! will be competitive but like the certificate courses negotiations between student and tutors on all openin night. You could be sale. Be prepared to be Good exhibition galleries like acceptance will not depend on academic aspects oftheir work including new accusecTofmasochistic measured against your peer Compendium in Auckland, and developments. tendencies. group, and don’t grumble and the Villas Gallery in Wellington qualifications such as Sixth Form Certificate. The

32 33 extend and fully equip their studio workshops, so that they may cater for RESOURCE CENTRE CRAFT FUNDING POLICY FOCUSES ON EDUCATION the working needs of several craft graduates, and the work experience The Resource Centre operates a inks that makes a pattern bold needs of craft education students. catalogue, boo/e, periodical and slide or fine. Everything you need to Successful applicants must already library. The catalogues and booles know to get started on Turkish run efficient, studio workshops, and are availablejor hirejor 2 weeks at marbling. Polytechnic Principals and Heads of have demonstrated nationally that a cost ofSiOO. ‘Threads’ (USA)_Iune/]uly 1987. CRAFT DESIGN Department, Craft Education. - their own work is design orientated The slide sets are availablejbr pp 66-69 The QEII Arts Council ‘Craft’ Information Officer, Crafts Council of hire at the cost ofS7. 70 to members DEVELOPMENT and innovative. and $10.00 to non-members. funding policy has been redirected New Zealand and Manager Craft PROGRAMME It is envisaged that three or more The periodicals are subscribed to WOOD to underpin and support the new Programmes will liaise. such workshops will be funded up to or received on exchange. All developments in craft education. Applicants must apply through their periodicals are indexed and articles Scheme 1: Major Creative $10,000 each during 1987/88. ‘Protecting Wood from For the first time in the history of polytechnics or be nominated by their Applications are considered by the thought to be ofinterest to members craft art in New Zealand, Craft Development Scheme are mentioned in this section ofthe Humidity.’ Lab tests show polytechnic. There is no application Craft Panel. Closing dates are 3 which finishes work, which Education Design Courses are This scheme offers a number of form. There are no closing dates. nm‘oazine. Periodicals are not October 1987, 8 March 1988 and 3 availablefor loan, However don’t. being taught in 11 polytechnics substantial grants to established senior 'I-iiie Woodurorleing’ No. 64 Scheme 4: The Craft Training October 1988. members are most welcome to throughout the country, and the craft artists, for refreshment, peruse them and articles can be pp59-61 Arts Council have chosen to enrichment and prolonged study, or Enrichment Scheme photocopied at the cost oSct a The :esthetics of turned support initiatives linked to those time out to explore their own It is Council’s intention to extend the SHORT TERM STUDY page plus SAE. forms are now more aligned courses. These initiatives are creativity. advanced training workshops concept. PROJECTS Copies ofthe catalogue, lumh, with successful design than the designed to address the concept of To be eligible for support, craft National craft organisations, the periodical and slide library often spectacular visual artists must have a national CCNZ, the Education Department catalqoues are available on request. properties of the material, excellence, to raise standards, to Thejollourinp articles have Richard Raffan explains how ensure senior artists are given reputation, demonstrated a high level and QEII Arts Council are working This scheme is to assist established craft artists to engage in short term appeared injournals recently this has revitalized professional and creative of professional competence, and have jointly to bring world experts to New received by the Resource Centre. contemporary woodturning. advantages, and students are the creative ability to produce Zealand for extended periods, to tutor study/travel within New Zealand or These articles can be seen in the Crd/t Arts. Feb/April 1987. pp exposed to excellent tutoring. innovative works. in a number ofnational centres. abroad. These projects for up to 3 Resource Centre or copies can be 65-77 The general aim of the programme All polytechnics and national months, are worth u to $3,000. obtained. Requestfiir copies should be accompanied by payment o5¢t ‘The Custom—fitted Chair’. In recognition of the need to is to encourage artists to study, associations will be consulted and Grants are awarded or research, advanced training, attendance at per page plus SA E. An explanation ofergonomics, improve standards and establish especially design, abroad, or within asked to provide specific timetables Tom Hurley developed a productive links with the Craft New Zealand for personal and other information, in order that a conferences, workshops or special chair—fitting device to tailor each Education Design Courses, the Arts development, but also to prepare nationally co—ordinated programme events, a promotion of New Zealand ofhis chairs to its owner. Council has introduced two new them to tutor in the Craft Design may be organised. craft abroad. TEXTILES ‘14ine Il/oodumrlein‘g' Mar/April programmes. The Craft Design Courses. Council has set aside a small sum to Grants are intended for artists who 1987. pp 78-82 have attained a substantial professional Development Programme embraces a Applications are considered three assist with this programme, but it is ‘Interlaeing — The Elemental ‘Marblising Wood’ Tutor Training Scheme, intended to times a year by the Craft Panel. The envisaged that the Education reputation; artists who will share the Fabric’ Trick the eye with paints and provide gifted practitioners with closing dates are: 3 October 1987, 8 Department will substantially fund it. benefits oftheir study project, and A look at this exhibition curated glazes. artists interested in gaining design byjack Lenor Larsen. This ‘liine Ir'Vooduun‘leing 'july/Aup teaching skills; a Craft Enrichment March 1988, and 3 October 1988. Craft tutors should apply through broad term encompasses all Education Scheme, which helps their polytechnic. There is no experience. I987. pp 46—49 Scheme 2: Craft Artists in fabric constructions in which national associations to bring major application form. There are no closing one element passes over and Residence practitioners to New Zealand to work dates. VENTURE CAPITAL SCHEME under elements that cross its The aim ofthis programme is to with tutors in advanced training The Information Officer, Crafts Under the revised Venture Capital path. CRAFT EDUCATION create new working conditions for American Croft. April/May 1987. workshops; and a Major Creative Council of New Zealand, an Scheme Council will give capital professional artists; provide artists pp 42-49 The range of opportunities Development Scheme, which offers Education Department representative grants of up to a maximum of$5,000 with security of employment for an in Scotland. craft artists study grants or grants and the Manager, Craft Programmes or 25% ofthe cost of an approved ‘Japanese Ikat’ One ofthe extended period of time and the Crutiutorle No. [5. Spring I987. which enable them to take time off QEII Arts Council are the project, which ever is the smaller. most remarkably developed resources required to develop their pp 22-24 for refreshment and creative co-ordinators. These grants will be subject to (a) the resist dyeing processes in the work; and allow communities to balance of funds being obtained by the world. The small island of Education Supplement of development. Senior craft artists will engage with the ideas and aspirations Kumejime near Okinawa is the Colleges and Art Schools in also be offered residencies at applicant from a reputable source of of practising artists. home for some unusual Australia. polytechnics. Students who emerge THE NEW CRAFT ARTISTS funds on satisfactory terms, and (b) silk—weaving techniques. Craft Australia. Autumn 1987 Artists” stipends of up to $1,500 per from the Craft Design Courses as PROGRAMME the Arts/Crafts Council consultant Craft Australia. l’I/llllft’l' I987. month for periods of from two to deeming the project worthy in artistic pé-X7 Teacher/Student Interface. graduates need studio workshop or twelve months are available under the ‘nest’ situations to go to, and the New terms. Artists Airline Fisch andjoan programme. Scheme 1: New Craft Artists It is intended to assess applications ‘Baleneiaga’ The architect of Austin share their thoughts Craft Artists Programme was The implementation of the scheme elegant cloth. about the education process and developed with this in mind. It offers Promotion Scheme for the Venture Capital Scheme three is the responsibility of recipient ‘Threads’ (USAtne/july 1987. their experiences as instructors. The aims ofthis scheme are to assist times a year. Applications will close pp 20-25 Plus, two students conducted an Access Studio Workshop Scheme, polytechnics running Craft Education which encourages master craftspeople emerging craft artists and graduates on 16 November 1987, on 15 extensive interviews of vairous Courses. These institutions are to extend their workshops to cater for from Craft Design Courses, — with February 1988, and 17 August 1988. ‘Embroidery for the students and faculty members in expected to match the Council’s goddess’. order to develop their thesis on graduates, and a new Craft Artists potential, to purchase workshop contribution by the provision of a Ritual fabrics wove power and fibre arts education. Promotion Scheme which gives equipment; to establish themselves in CRAFTS COUNCIL OF NEW studio, housing assistance or beauty into women‘s folk life of Fibre Arts illaflazine, No. 1 1987. young artists grants for equipment or the market place, by assisting with ZEALAND Eastern Europe. pp 31-35 accommodation, materials, travel helps them establish themselves in the their first important exhibitions at The Arts Council has worked closely ‘Threads' (USA).]une/july 1987. expenses and other services. market place. recognised galleries and exhibition with its new client the Crafts Council pp 26-29 Applications for funding under this In addition to these major new spaces. of New Zealand to nuture craft artists; scheme will be assessed by the Craft Handknitted ‘Shetland Lace’. GLASS initiatives, funds have been allocated A limited number of grants of up to to develop sound marketing and Panel once a year. The closing date is These intricate shawls mark to the Venture Capital Scheme which $1500 will be available in 1988/89 to sponsorship policies and to negotiate handknitting’s finest hour. Tips 3 October 1987, 3 October 1988. ‘Tiffany Glass’. An Article replaces the Crafts Loan Scheme, but assist with such costs as materials, the education issues with the on lace—knitting, contemporary freight, promotional material, gallery about Louis L. Tiffany. fulfills the same purposes — finance for Scheme 3: The Craft Tutor Education Department. The craft tools and materials, Choosing 'Crdtt Arls'. Feb/April [987. pp patterns. Directions. equipment and workshop Training Scheme charges and so on, or to enable the budget contains an allocation of funds 49-51 purchase of essential/basic workshop to maintain the Crafts Council. D ‘Threads' (USA), june/july 1987 development. Council will continue The standard reached by graduates of pp 40-44 to fund Short Term Study Projects in the Craft Design Courses depends equipment or tools. New Zealand and overseas, and the very largely on the standard and type There is no closing date, Further detailed information on any of ‘Weaving Table Linens’ JEWELLERY International Programme is in sharp Ofteaching they receive. Senior craft Applications will be comparatively the Craft schemes may be obtained by Traditional fabrics keep their assessed by the Arts Council and its writing to The Secretary, Craft place at today’s table, focus as New Zealand craft art is to be practitioners form the core of the Ancient tradition, societal advisors throughout the year. Programmes, QEII Arts Council, 'Threads'(CS."1)._]une/]uly 1987 sent to major exhibitions in Australia, teaching strength in these courses and pp 52-55 function and superstition the Pacific Basin, Faenza andjapan. they must have education Scheme 2: Access Studio Private Bag, Wellington, or The determine the exquisite Most importantly the Arts Council opportunities, which will enable them Workshops Information Officer, Crafts Council of ‘Turkish Marbling on Cloth amuletic forms and ornate has worked closely with its new client to facilitate learning at the highest This scheme is intended to provide New Zealand, 22 The Terrace, or Paper’. motifs ofIslamicjewellery. It’s how you swirl the floating 'Craft Arts' Feb/April pp 72-76 the Crafts Council of New Zealand. individual level. master craft artists with incentives to Wellington.

34 35 RESOURCE CENTRE

w photographs; 185 diagrams. SLIDES BOOK REVIEWS shows, it has been used by US$60. every Culture to make mats, ..illlll|...illlll|.. gfifiafldcar This is the book thatjack baskets, nets, ornaments, and The following slide sets are Tbefbllowitrq books have been I 5‘ i ‘ Lenor Larsen, among the clothes. Material as dissimilar as recent acquisitions and are favourably reviewed in recent world’s most influential fabric wire, bamboo, silk floss, and .ilIIIlt New Zealand Handcrafts — available for hire for a period of periodicals received in the Resaitrte designers, has been working clay can be interlaced. Larsen is two weeks at a cost of 55770 Centre. towards all his life. “lnterlacing” the first to synthesize all ofthe Pottery, Porcelain, Bone, Leather, members, $10.00 is Larsen’s term for the techniques, traditions, and non—members. criss—crossing fabric method vocabularies into one coherent Jewellery — also Paintings by talented Photographing your common to knotting, plaiting, whole. New Zealand artists ‘Spheres’ An exhibition by Craftwork — A Hands On braiding, and weaving, As he D TAI TOKERAU WANANGA members of the NZ Society of Guide for Craftspeople by Steve Potters on the theme ofthe Meltzer; illadronn Publishers Inc, sphere. PO Box 22667, Seattle, Shop 42 BNZ Centre 1 Willis Street Washington 98122, USA, 1986, Small Tapestries Scottish Arts Paperbarle. 144 pp, b 8 w Wellington Telephone 736-650 Council Exhibition ofsmall photographs. US$10.95 tapestries which toured NZ in Five years of writing a 1980 monthly how-to-take pictures Fletcher Challenge 1987. column has culminated in Steve Meltzer’s book which is Winstone Crafts Biennale 1987 designed to lead craftspeople Design For Living The work through the processes involved FESTIVAL OF THE ARTS of NZ furniture makers shown in taking good photographs of at the Crafts Council Gallery their own work. Meltzer has CERTIFICATE in 1987, tried to include in his book the CRAFT SHOW information that is most CRAFT DESIGN u frequently asked ofliiin by Wgtn Overseas Terminal — March ’88 crattspeople, Chapters on CERTIFICATE in BOOKS photography from ajurors point gallery of view, camera basics, film, theVillas lighting, coping with glare, SHOW SPACE AVAILABLE CRAFT FOUNDATION rl‘llt'gfldlliII’I-llfl boo/ex are recent exhibitions featuring New shooting glass, camera and slide FOR CRAFTS PEOPLE TO SHOW & continuing nrqnisitionx and are availabletbr ’care. Once past the basics he liirefiir a period Q/illllt) wee/e5 at n SELL THEIR WORK North/and Polytechnic Tai Tokerau Wananga Zealands top Crafspeople rmr an}. ()0. gets onto some ofthe techniques of the studio Whangarei, P.B. ph=489-659 Wellington NZ. photographer. He has Write: Craft Promotions NZ 89 Upland Road, Kelburn, British Craft Textiles by Ann assembled some helpful PO Box 30859 Lower Hutt 757—943 Stilton, Collins. I’lm/qqrapliy by techniques and how—to’s David Crippx, Ctr/mil" and 13 {4 II" ranging from table top set—ups or Tel 664-107 anytime Monday—Friday 10230—4230. Saturday 10:00-12:30 [)lllWQQI’tIp/IS. 1871);). to photographing stained glass. A drirexses/[iidex. This is not a step—by—step The work of almost ninety of photographing of all media but Britain‘s most influential textile rather an approach to particular artists presented by highly prohlenis and possible ways of acclaimed weaver Ann Sutton, solving them. Examples ofthe best embroidery, knitting, weaving, . '_,\ \«Qflf - tapestry, .and printed dyed and The Makers Hand: A Close '12-“; a‘ "’ painted textiles. ‘3‘ -~\.:é£3\. SADDLERS CRAF'I 8 Look at Textile Structures by THE \WAITWATO " r . Rig-""-

Peter Collingwood. Published - L511: 415., . Craft today: Poetry of the 1987, Lark Book, Asheville, Physical by Paul] Smith and North Carolina and Interweave POLYTECHNIC ALL the top Wairarupa Edward Little—Smith, \X/eidenfeld l’ress, Loveland, Colorado, loll Art Museum Ta- Crafts, Z‘\' Nicolson. 328 pp. colour and W The Dowse or! ”9. pp. ()4 colour and 48 b & \v Plus a lively selection of b S‘ w illus. photographs; 163 diagrams, collects the fine arts in materials r‘ SADDLERS The catalogue ofthe exhibition glossary. US$129.95 traditionally associated with the what’s good in by the same title. The Hardbound. crafts. New Zealand book/catalogue and exhibition I’eter Collingwood, the noted At the old Suddlers Shop coincided with the opening of British weaver and author, 133N HIGH ST, CAHTERTON the new American Craft resents more than 90 objects SUMMER SCHOOLS Museum in New York City. by anonymous makers to reveal Open weekdays 8 Saturdays The object, made either to how different cultures have of ARTS January 5 — 10 1988 or on request. make a statement or serve a assembled threadlike elements Ph. CI 7051/8318 purpose, inﬂuenced by new into strong, functional technology, better educational structures. Collected by of MUSIC January 22 — 24 1988 opportunities and a new sense Collingwood over 35 years for design application, has now because ofhis fascination with made ‘the big time”. And big it their structure and the 35 courses is, Colour photography is used ‘inevitable’ beauty that results to show each piece in the from the marriage of top national and international tutors. exhibition. appropriate material and Identifications with details to structure, these diverse objects each work are placed into an include Ecuadorian shigras, Accommodation available. appendix which unclutters japanese metal strainers, Indian pages visually so as not to camel girths, Afghani socks, distract from the art. An Nepalese shoes, and the seat interesting ‘Chronology of springs ofhisjeep, to name a Art Museum hours American Craft 1851—1986 has few. In an informal tone, he Monday to Friday 10am — 4pm been compiled, putting analyzes each example, Brochure from: education, organisations, and providing bibliographic Weekends and public holidays institutions, periodicals and references, ethnographic and 1pm - 5pm conferences together in a way historical information, and that reﬂects the growth of the personal anecdote. WAlKl/QITCC) POLYTECHNIC industry in the United States of FINE NEW ZEALAND CRAFT America. The book also Private Bag, Hamilton Picture Framing contains a complete biography Interlacing — The Elemental Phone : (071) 392-500 242 Heretaunga St. East, Telephones: Bus. 65-802 ofthe artists and a bibliography. Fabric byjack Lenor Larsen Hastings, N.Z. A real treat, the exhibition must with Betty Freundenheim. 308 A/H 786-557 be magnificent. pages; 36 colour pages, 250 b 8:

36 37 Visitors to Compendium Gallery tell us how thrilled they are to see so many quality handmade craft items in one Gallery, and at such realistic prices. Every item displayed Become a member of the represents a personal achievement by the craftsman. We The aims of the have exciting wood, rugs, woollens, silk, pottery, g‘lass, Crafts Council and you L’Etacq College offers courses and: ' 'ewellery, leather and Maori craft, and each is at ing of will beneﬁt from the ) diplomas in fine woodworking eauty. Come and see for yourself. ”Well worth the trip techniques and design. over". Credit card facilities. Overseas posting facilities. Crafts Council opportunity to:

DIPLOMA COURSES (Approved by Department of Education under Section 186A act 1964) #7"l Diploma courses commence February 1988 * Submit work for sale in the Crafts Council Gallery * To represent craftspeople on a national for the very best of New Zealand craft 0 Fine Furniture Making (Dip. F.F.) i 00% aflw’, — the showcase 36 weeks (21 hours/3 days per week), Fee: $8745 Incl, GST basis — on favourable terms O Advanced Fine Furniture Making (Adv. Dip. F.F.) FINECRAFT . 49 VICTORIA ROAD, " Participate in the Gallery’s exhibition programme 24 weeks (21 hours/3 days per week) Fee: $6045 incl. 637’ DEVONPORT, AUCKLAND 9, PHONE 45I'577 * Participate in the Crafts Council’s Corporate 0 Commercial Furniture Making (Dip. CF.) * To lobby for and negotiate on issues 32 weeks (21 hours/3 days per week) Fee: S8888 incl. 637' Membership Scheme O Carving (Dip. C.) affecting craftspeople * Provide slides and information on your work for in- 24 weeks (21 hours/3 days per week) Fee: $5742 incl, 687 clusion in the Resource Centre’s slide library for use by OTHER COURSES A VAILABLE INCLUDE: * To provide a comprehensive informa- architects, designers, Government Departments and O Tool Sharpening 0 Introduction to Solid Timber Corporations 7 night classes. Furniture tion service of resource material on all * Submit slides and/or photos of your work for inclu- . The Art of Dovetailing Stage I: 11 classes. twrce weekly. Jewellery & Crafts People 7 night classes, mornings and evenings. Our company supplies jewellery findings and aspects of the crafts sion in the Crafts Council’s “Architectural 0 Stage II: 10 classes, twice weekly, evenings. chain, in gold, silver and brass. Quartz clock Commissions” Portfolio 0 Intermediate Carving 7 classes, evenings. movements complete with hands a specia- * To facilitate communication between * Receive information on workshops/lectures organised 0 Exploring the many uses ofa Router 7 classes, twice weekly. lity. We also buy and sell new and second- for visiting craftspeople evenings and mornings. hand jewellery equipment. craftspeople As wellyou will receive: For further information contact: For further information and catalogue please "‘ Four issues of the “New Zealand Crafts” magazine. L’Etacq 20 BUCHAN STREET send $2.00 and return address to: * To promote the image of New Zoaland Sydenham. P.O. Box 7192. * “New Zealand Crafts” is the only New Zealand College Phone (03) 67—946 any time. Jewellery Craft Supplies craft publication which covers all the crafts and keeps people PO Box 34, Waimauku, Auckland in tbuch with what is happening in other crafts. 11 car- or phone 412-8329 or 411-8698 Auckland. ries feature articles, profiles, reviews of exhibitions, * To ensure the availability of appropriate Crafts Council news and views. craft training and education * Bi-monthly “Crafts Council Newsletter” And you will also benefit from: Wanganui * To amnge discussions, lectures, * All the developments which the Crafts Council are workshops and other activities to pressing for; for example craft education at an advanc— SummerSchooiofthe flirts ed level instruct and stimulate craftspeople and ‘* The stimulation, support and inspiration that comes 2 - 10 January 1988 the general public from belonging to a body with a variety of members who share common ideals

Dunedin.

wood, environment. * BLAIR studies ' DRUMMOND a

courses

* SHEPHERD * MUNE Bag, * VREEDE ‘ GREGG

working Application/Renewal Form Application/Renewal Form " BOSWIJK ' HILL Design

contact: N a m 6 Private

textiles, N amc

* FULLMER ' MANHIRE in

a study:

“ KOJIS ‘ CRIBB Craft Address Address

of complementary

and

* CLEGG ' MCCARTHY a Phone Phone stimulating

* KUEPFER ' SIMON areas information New Member/Renewal (delete one) New Member/Renewal (delete one) " HARRISON ' COLLIER and

Polytechnic, $40 (incl GST) D Individual member 5540 (incl GST) Certificate jewellery, 1:) Individual member * VAN Major DE KLUNDERT " BROADHEAD Certificate

design, further E] joint member $55 (incl GST) I:] joint member $55 (incl GST) * REWI ' PLUMB unique

Otago a

* FREEMAN for [3 Craft Design Student $30 (incl GST) E] Craft Design Student s30 (incl GST) Art,

Ceramic (Please tick appropriate box) (Please tick appropriate box)

of creating

drawing

ceramics, Arts, Receipt E] Amount Enclosed 3 7 .7 Receipt [:]

Brochures available September a Amount Enclosed 3% site,

Fine Craft Interest:

School Craft Interest: W Wanganui Regional one Community College Return with cheque to: Return with cheque to: . Private Bag Wanganui Crafts Council of NZ Inc. Crafts Council of NZ Inc. Telephone (064) 50-997 PO Box 498 PO Box 498 Wellington 1 Wellington 1

38 %I AND | DESIGN APPLICATIONS FOR 1988 ACADEMIC YEAR ACCEPTED FROM NOW (Close early February) All courses and modules registered internationally and with the Department of Education under section 186A of the Education Act 1964. No academic prerequisites — entrance folios are required for admission. (These can be Secondary School folders). The Whitecliffe Art School is an internationally registered Tertiary Institute of Fine Arts. The biggest private Art School in New Zealand. DIPLOMA OF ART — 1 YEAR 32 module classes in all disciplines. Majors can be in figurative studies, photography, film, fibre, glass, printmaking, landscape. 38.5 hours per week.

Total hours 1450 (POST GRADUATE COURSE AVAILABLE) 1)

DIPLOMA OF ART AND DESIGN — 2 YEARS SCHOOL 55 module classes in all art and design disciplines. Majors can be in industrial

product, fashion, craft, graphics, film or packaging design. Total of 2680 hours. AUCKLAND

DIPLOMA OF GRAPHIC ARTS & DESIGN — 1 YEAR AUCKLAND 395-970

ART I Award 39 module classes in all graphic art disciplines. Majors can be in film production,

art direction and advertising, art illustration or finished art and design. 40 hours ROAD,

per week. 1650 hours total. (09) PARNELL, DIPLOMA OF INTERIOR DESIGN — 1 YEAR

36 classes in all interior design disciplines. Majors in residential, industrial, 37-036

commercial recreational interiors. 40 hours per week. 1650 hours total. PHONE GRAFTON 13 OTHER COURSES AVAILABLE Box

GLASS ARTS O PHOTOGRAPHY O FILM O FIBRE ART 0 FIGURATIVE (PO STUDIES (Art of Fashion) 0 LANDSCAPE (Art or Design) 0 SCULPTURE O 136 PRINTMAKING O BURSARY ART (Certificate) 0 ARTS ADMINISTRATION I g In conjunction with Crafts Council of New Zealand AND EDUCATION (Post Grad.) 0 POST GRADUATE (Overseas Students) I and New Zealand Spinning, Weaving & Woolcrafts All Fees cover Tuition, 80% of Class Materials, Course Equipment, Society.

Consultation, Student and Campus Facilities and On-Course Work WHITECLIFFE Programmes. Fees range from $3300 to $8500 for full—time courses inclusive of ’ Send for prospectus and Entry Form to Crafts GST. New Zealand, PO. Box 498, Wellington. NB: (Minimum age for admission is 16 years on March 1st. 1988) Council of “.‘TCI: 727-018.

PLEASE SEND ME THE FREE INFORMATION BOOKLET AND APPLICATION . Closing date for receipt of entries, 15 April 1988

FORMS WHITECLIFFE

NAME ......

ADDRESS ......

...... ‘ PHONE Robert McDougaIl Art Gallery PLEASE SEND ME INFORMATION ON: ...... Library

Received The Registrar, Whitecliffe Art School, PO Box 37-036, Parnell, Auckland 1 Cat. No. RobertsHinting Co.Ltd. WALTER STREET, WELLINGTON

PRINTER OF “NEWZEALAND CRAFTS” AND OTHER FINE QUALITY COLOUR PRINTING

TELEPHONE 846 472 HO. BOX 6074 WELLINGTON N.Z.