| |
|
A
MARK OF ACHIEVEMENT
In
publishing this 50th issue we present the following
synopsis
of the fertile ground we have covered since the magazine
was
launched in 1984, and restated our future direction.
|
|
Issue
1: Wen-Yung Tsai (US),'Square Tops', 1983, cybernetic sculpture,ht
109x66x51cm
|
Issue
1: Alison Kinnaird (UK), 'Mirror, Mirror', 1983, engraved crystal block,
ht 18x13.5 cm |
Issue
2: Michel J Santry (AUS), Suspended Sculpture, Barbican Arts &
Conference Centre, UK |
|
On the eve of the third millennium, it is with a sense of achievement and
pleasure that we publish this 50th issue of Craft
Arts International. It represents a significant milestone on a
stimulating and challenging journey across 16 years of continuous
documentation of the contemporary visual arts, studio craft and design.
That the magazine has successfully weathered a sequence of inclement
economic conditions and not only survived, but prospered in a format and
style that has remained basically unchanged since the first issue was
published 16 years ago, speaks volumes about the appeal of its subject
matter and the manner of its presentation. |
|
Issue
2: Trevor Weekes (AUS), 'Sopwithicus Snipus, Species Extinctus', 1984,
mixed media |
|
|
Over the
years Craft Arts International
has retained a loyal and committed readership across diverse sections of
society, and stayed abreast of emerging developments and new technological
paradigms in the art world. From the outset, our aim was to publish
material of artistic merit and achievement, regardless of the medium in
which it was created and irrespective of whether it was |
|
flat or three
dimensional, non-functional or functional. Fundamentally, the mainstay
of our editorial perspective has always been to record the artists’
journey, in images and narrative, which elucidates important aspects of
their life and work, and explores the ideas, traditions and philosophies
underpinning their motivation, sources of inspiration and particular modes
of expression. Over the years this approach has resulted in the
accumulation of a vast resource of information that provides fascinating
insights into the human spirit, creative intelligence, imagination,
resourcefulness and innovation in the adaptation of techniques and
processes
of art and object making that transcend established boundaries.
Furthermore,
it highlights the importance of cross-fertilisation
among different disciplines and shows how effete ideas in one field of
activity, or medium, are often
revitalised when applied in another. Contemporary artists and
craftspeople come from a diversity of cultural and educational
backgrounds. |
|
|
)
)
)
)
)
)