SEPTEMBER/OCTOBER 1980
NEWSLETTER
Thomas Prior House, Merrion Road, Ballsbridge, Dublin 4
Critical Review A recent comment by Dr Roy Strong, Director of the Victoria and Albert Museum, in an interview for Crafts magazine, regretted that the develop ment of craftwork in the past two decades in the UK has been striking but still widely unrecognised. He expressed his regret that craftworkers have not been the subject of serious review by art critics but, in his words, "banished to a Home or Woman's page." There is food for thought in this and one is led to wonder why there has not been much serious criticism of fine contem porary crafts, either the excellent commissioned work being done for churches in particular, or the one-man or group exhibitions held from time to time. Is it because there is a lack of truly informed critics who have the knowledge of crafts—not only the form but the craftsmanship? Or is it because crafts are not yet seen as collectors pieces and therefore likely to have a market value as investments—something worth going into because the value of a piece has out-performed the stock exchange index? Perhaps there is a hen and egg situation here. Maybe serious criticism can create the situation where the work of the artist craftsman can indeed out-perform the stock market. On the other hand, if it were to be shown that craft pieces by certain craftsmen in the past ten years have appreciated in value by a worth while percentage, the collectors circle would suddenly widen and the craft critic would develop which, in turn, would widen the appreciation and further increase the value. We have all witnessed the growth in the past ten years of art galleries, not only in Dublin where it must be ten fold, but in the provinces. Has this been because of
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a sudden rush of culture, or has it been because there has been a realisation, imagined or otherwise, that paintings or prints are not only nice to have around but are an investment? There are, of course, the buyers who purchase works of art to suit their decor but who don't forget the investment factor neverthe less. There has been no such development of craft galleries. The critics' fault? The craftsman's fault? Whisper i t . . . works by the best craftsmen do appreciate in value; they are an investment. And who are the best craftsmen and how are their best works to be judged? That would be telling. . . . Ask your critic.
Rush/Hedgerow Basketry School Some leading speakers are featured at this course which has already been announced in the May/June issue. Mr Ken Stott of Bristol University, a willow expert; David Drew, one of the leading creative basket makers in the UK; Barbara Maynard who is Chairman of the UK Basketmakers Association; and Dr Kevin Donagher. Mrs Joan Norman will be a class tutor—the rush classes— and both Barbara Maynard and Meg Taplow, secretary of the Basketmakers Association, will be class tutors in basketry. The whole course, lasting ten working days, will cost £65 to participants and, being a recognised course, applications may be made to AnCO for a con tribution towards this fee. Included are morning coffee, lunch and afternoon tea each day.
Crafts Officer Appointed Mr Sean O'Farrell has been appointed to the position of Crafts Officer of the Council. He is expected to join the staff early in November. Mr O'Farrell, for the past twelve years, has been associated with the Killaloe Weaving Company Limited, and has both administrative experience in that capacity and in his early career as an Army Officer with the Defence Forces, and first hand experience of running a craft business. He will be taking an early opportunity of visiting the various Member Organisations of the Council and it is hoped that those attending the Conference in Galway will be able to get to know Mr O'Farrell as this will probably be his first official presence at a Crafts Council gathering.
Seminar fees for the general public vary from £1.00 to £2.50 per session and for craftsmen and representatives of semiState bodies the fee, which includes lunch, is £10.00. Certainly, with the quality of speakers, the course should be a stimulating one and should be well attended. Our under standing of the basics of some oi^>ur crafts, while good, can always gain from outside contact which can make us look at things with other eyes. In this way we can find ways towards innovation which may be to our overall advantage. The course begins in Bunratty on 9 November, finishing on 21 November. Details are available from Alison Erridge or Michele Hughes, Ballycar Design, Newmarket-on-Fergus, Co Clare.