CONTEMPORARY CANADIAN CRAFTNew Zealand QUILTS Once, the Alternative Furniture Show CONTENTS questioned the boundaries. Does itstilli.e Colin Slade has seen them all. 4 IN BRIEF Art schools and exhibitions, commissions ‘ 28 CRAFT WRITING RULES and new businesses, residencies and visits 1 An August seminar in Auckland ques- trom prominent crattspeople, the New Zea- l tioned whether art/crai't have a valid exist- land cral't community is a busy place to be in, Detail; "Evening Gatha", by Jenny Barraud. ence without the words which describe and position them in the minds at others. The meeting tried to get inside the editorial mind to Find what determines what type ol’ writing Nelson Suter Art Society about cratt we get. 16 GLORIOUS GLASS Michael Smythe recorded the discussion Spring Exhibition and made some conclusions. Suter Gallery, Nelson A Swedish couple are among New Zea» land's most prolitic makers oi glass. Julie October 14 - November 1 Warren talked to Ola (pictured above) and 31 GALLERY N EWS Guest artists: Marie Hoglund in Nelson. Is it a sign ol an upswing in the economy Jenny Barraud (Small works in mixed media) that new galleries are opening, particularly Christopher Braddock (Sculpture) 1 8 REVIEWS in Wellington, Avid and Indicator Gallery Ray Jennings (Paintings) are new on the scene and Auckland's Vault A plethora ot "Folk Crat‘t " shows may David Russell (Leatherwork, masks, boxes) will soon open in Wellington too. enable us to smirk at the nation's kitsch, but As well, some established galleries all over Douglas lloyd-Jenkins questions this use 0t the country have increasingly exciting pro— Wendy Toogood Pyramid 1981, Fabric construction: ourgallery resources. Howard Williams looks grammes. This issue looks at a Few, wool, cotton, synthetics. silk. nylon, 150x200cm, at what Alan Brown, winner at the l989 Cratt Biennale, is doing now. Noeline Bro- kenshire reviews a clutch oi embroidery Touring to the Wairarapa Arts Foundation, ‘ SI‘IOWS. PO. Box 15 Manawatu Art Gallery, Punakaiki Hawkes Bay Exhibition Centre, West Coast Aotearoa (N.Z.) Dowse Art Museum, Ph. (03) 7311 813 Waikato Museum of Art & History, & Auckland Institute and Museum. Patrick Crabb was a recent visitor to New Zealand, Open 7 Days "Kiln Relic” (above) is an example at his reaction to other cultures and to his environment. The region’s leading crafts people Brought to New Zealand by CRAFTS display and retail their own work. 13 TWO HANDS Exhibltour Margaret Milne has been a tocus and an Above; "The Gallery", at Northland Polytechnic, inspiration tor a generationot New gives students and graduates a taste ot the New Zealand's exhibition touring agency, Zealand potters. Cathy Kenkel traces her operation of a commercial gallery venture. Pictured is a cup in chrome lated brass, anodised with the assistance of path over the past three decades. aluminium and rub er, by Meg Black. Canadian Airlines International FISHER GALLERY 35 PEOPLE An exhibition organised by the Ontario Crafts Above; "Translation Chalice", by Alan Brown, A closer look at the motivation and meth- Photo; Howard Williams, Council and toured nationwide by Exhibitour ods ot potters Peter Oxborough and Gretyl CONTINUALLY CHANGING D00, and glassworker Garry Nash. Wallace EXHIBITIONS OF FINE with the support of the Master Works Gallery in Auckland invited Sutherland is a maker oi medallions. Judy Queen Elizabeth II Arts Council of New Zealand two guest curators to give an alternative Wilson talked to him about his work and the NEW ZEALAND CRAFT AND ART. t viewpoint and Helen Schamroth compares NZ Contemporary Medallion Group. their success. Above; Margaret Milne's workshop has been home to many potters over the years. Exhibit0_uz, PO Box 6401, Te Aro, Wellington. Whitireia Polytechnic held a huge show in 39 BOOK REVIEW tel: (04) 385-8298 Cover photo Porirua, so their students and shit could 13 REEVES RD, PO BOX 51222, PAKURANGA, PH 09 576 9999 Bottles by Oia & Marie Hoglund. examine a range at cultural alternatives. Hazel Walls reviews Weaving a Kakahu, ; Photo; Lynne Griffith Lesleigh Salinger reviews Origins. by Diggeress Te Kanawa. LETTERS EDITORIAL .MARKETING OUR IMAGE professional statt in Wellington it enjoyed the homes ot neighbours (few of them could raft New Zealand magazine lives on! Over twenty craftspeople considerable success at the former. The in» afford it anyway), but they are interested in and supporters of craft have invested in a new company — Craft Dear Editor, creased personal and professional contact whatI do. Sometimes they proudly bring their Print Limited. Ownership of the magazine will shortly pass to the Ron Roy’s thoughtful letter (Craft NZ 40) is with government departments, corporate visitors to meet me and see what I do. I would company, putting it back in the hands of the craft community. CRAFTN e w Z 9 a l a n (1 timely, its tinaI sentences aptly and passion- buyers and so on resulted in signiticant ad- like to think this is the New Zealand experi- The Queen Elizabeth II Arts Council has invested too, with $10,000 of Issue 4i , Spring I992. ately iustitying the need tor a national or- vancement tor the protiIe and ence compared to Ron Roy’s Canadian one. image of New seeding finance. The capital now available should stake the magazine for ganisation to represent craft to the world at Zealand craft. During the same period there The vast maiority of visitors to my workshop large. The failure of our own Cratts Council a year, but after that time the future depends on the level of income from was a growing perception by much of the express appreciation for my work; many of Publisher: sadly serves to emphasise both that need and advertising and sales. More people are reading Craft New Zealand than craft movement that CCNZ had become them confide their wish to be pursuing a Craft Publications, P O Box 3322, Richmond, Nelson. ever before - paid subscriptions are now at their highest level for many the difficulties in tuitiIIing it. remote trom their concerns and influence. similarlivelihood(Itrynottodisillusion thesel). Ph 03 544 2670; tax 03 544 27l6. The Crafts Council was born out ot the Justified or not, this perception developed Occasionally I have to explain patiently what years — but financial viability requires twice this number. There’s plenty Editor: vision and commitment of a few people into apathy and even ignorance about the it is that makes my work different and some- of hard work ahead. Peter Gibbs. representing the many who shared and who work of the organisation. Crattspeople were times (iortunately rarely) a visitor will go .The Craft Council’s gallery on The Terrace in Wellington still lies Assistant Editor: still share Ron Roy's convictions. I pay tribute either unaware of its existence or felt it had away totally mystified as to why my chairs empty, but negotiations are at an advanced stage and hopes are high that Julie Warren. to the work of those pioneers and to the many little to do with them, seem so expensive compared to mass-man- by the time you read this a new gallery will have opened on that site. Advertising saIes: equally committed people who have carried ufactured furniture. ”How much is it without Jan Cranslon, ph 04 686 624. The most effective form at selling is by The Arts Council has announced plans to set up a marketing board, on that work over the last 27 years. The last the gold plating?” asked one wag recently Julie Warren, ph 03 544 2670; tax 03 544 2716. direct contact; the most effective form of with staff appointments beginning late this year. executive and statt, who struggled at the end advertising is by word of mouth. The success before driving off in his icon which cost for Judy Wilson, ph 09 5766 340; tax 09 5347 526. Craft Aotearoa is working with limited resources to consult with the to save the Cratts Council, were no less of the Crafts Council in marketing the image more than my annual turnover. Well, you Layout concept: can’t win ’em all. craft community about its need for a membership organisation. What Lexicon Design Communications. aware at the vital place craft holds in our of New Zealand craft is proof of this. Its society than werethose pioneers And I express failure to sell itseltto the widercratt community I mention my personal experience to em- should such an organisation do? Lobbying and advocacy, event organisa— Layout and art direction: with equal sincerity my gratitude to them for demonstrates its much lesser degree of per- phasise my belief in the importance of per- tion, liaison between national craft groups and dissemination of informa— Peter Gibbs. their work on our behalf. sonal activity in that field. All of us who have sonal contact in our cause, in any marketing tion are obvious requirements. How is it best to do these things? Who Printing: As well as the obvious debts and withdrawal served on recent CCNZ executives share in venture. We are all individuals, whatever pays, and how? The organisation has limited time to find the answers to Stiles Printing Ltd, Nelson. of funding that ultimately caused the death at this responsibility, though itwould be wrong livelihood we pursue, and we need to seek these questions. Craft New Zealand magazine welcomes input to this Subscriptions: CCNZ, I believe there is another less tangible to say that executive members have been out that individuality when talking to others. debate. P O Box 3322, Richmond, Nelson. reason. The clueto it is contained in Ron Roy’s unaware ot that need, or have not tried to We live in a society drugged and weighed So from the ashes of the Crafts Council of New Zealand, new bodies Trade Distribution: Propaganda, CPO Box 582, Auckland I.