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Issue 35: Robert Klippel (Australia),
'Opus 767, 1989, assemblage, ht 12cm
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Issue 32: Janis S. Kanter (US), 'City Lights', 1993
tapestry weaving with neon, 106.7 x 137 cm
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Issue 33: Yuri Kawanabe (Australia),
'Purple Lady's Shoulder Guard'
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Issue 34: Tanija & Graham Carr (Australia),
'Bowel', carved leather
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Issue 34: Klaus Moje (Australia), 'Untitled', 1994,
fused, cut, ground kiln-formed glass w 32.2 cm
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Today, it seems there is no main, predetermined
route to professional status in the visual arts and
contemporary crafts. Various opportunities now
exist outside the formal university structure,
including TAFE, evening classes, short- term
courses and specialised summer and winter
school programs, which provide many young
artists with sound aesthetic and technical
grounding. Others acquire their training by
serving an apprenticeship with a master. Some
gain skills through avocational pursuits that
propitiously evolve into full-time occupations.
Although a university degree or diploma is now
virtually a prerequisite for embarking on any
professional career, it alone will rarely suffice in
ensuring success in one’s chosen field. In the
visual arts, natural talent is a valuable attribute
that affords immense advantage, but unless it is
backed up with work and practice, success
usually proves elusive. Commitment and
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Issue 35: Richard Morrell (Australia), 'bowl
of Memory', 1994, cast glass, acid-etched,
ht 26 cm
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Issue 33: Rebecca Horn (Germany), 'Concert
for Anarchy', 1990, suspended installation,
central spine of the Tate Gallery
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passionate dedication to one’s mode of art
and/or object making seem absolutely essential
if the result is to attract and engage an
audience of devotees.
As we enter the new millennium, we hope to
maintain and continue presenting the finest
expressions of contemporary visual art and craft
from within Australia as well as the rest of the world.
Finally, in publishing this 50th issue I would like to
express my appreciation for all the generous support
the magazine has received from the artists whose
work has graced these pages, from the contributors
who have given unstintingly of their time and
knowledge, and you, our most valued reader, without
whom this independent magazine would not exist.
Ken
Lockwood
Editor, Craft Arts International
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Issue 38: Robert Howard (Australia)
'Circular Table', 1995, jarrah, 84 x 180 cm
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