CCI-newsletter-1981-31-March-April

NEWSLETTER MARCH/APRIL 1981

LTD. Published by the Crafts Council of Ireland, Thomas Prior House, Ballsbridge, Dublin 4. Telephone

01 680764

Annual General Meeting The Annual General Meeting of the Crafts Council of Ireland will take place at Thomas Prior House on 14 May at 11.30 am.

As usual, this is the annual occasion on which the representatives of the various craft guilds and associations may put themselves up for election to the Management Committee so that they may take a closer part in the policy and decision making process of the organisation.

A visit to the Marlay Park Craft Workshop has been organised for those attending the AGM.

David Lord It is with regret that we announce the death of David Lord, who represented the North County Dublin Craftworkers Association on the Crafts Council. A fine craftsman, he attended-though far from well-the Fifth National Crafts Trade Fair in February and throughout the three rigorous days was never other than his cheerful and hardworking self. He will be missed by the community of craftworkers and all his many friends.

To all who were close to him we extend our sympathy.

Exhibitions

The Minister for Industry, Commerce and Tourism with some members of the Management Committee of the Council.

Council's Exhibition for Lowell,Mass.

In the David Hendriks Gallery, from 19 June, Sonja Landweer will be showing a new collection of ceramics, her first exhibition for some time.

A scaled down version of the Council's exhibition Weaving- the Irish Inheritance will be shown in the USA in early summer.

Owen Killen Ceramics will be having an exhibition in the Kilkenny Shop Mezzanine Gallery, opening 25 June.

The Cultural Relations Committee of the Department of Foreign Affairs has arranged for the exhibition to be shown in the Lowell Textile Museum in Massachessetts. It will, for security reasons, be without the items loaned

by the National Museum for its showing in London, but wilf otherwise be fundamentally the same. The Central Bank has loaned the six commissioned weavings which it bought after the exhibition had returned from London last year. We understand that negotiations are taking place for the exhibition to travel to other centres in New England when it is in the United States.

The Cultural Identity of Europe In a recent symposium held in Delphi some thirty thinkers, writers, university members and senior officials met to discuss the cultural identity of Europe, past and present.

Professor Henri Janne, Chairman of the Symposium, stresses in his final report: "Today, all the values that derived from the constituents of Europe's identity are in profound crisis. They are undergoing transformations which, while holding out promises of renewal, are currently tearing them apart. . . . Is there any real hope that the buds on the broken boughs of Europe's culture will actually blossom?

This question requires thorough, critical appraisal.

"Total disorder reigns if all these currents are viewed not as actual experience, ways of life and artefacts but as ideologies.

Moreover-and this is doubtless the most serious aspect—the acts of individuals and groups no longer match their words. The chasm between the values people still accept and the things they do adds an ethical dimension to the intellectual problem.

"This cultural crisis is superimposed on the evolution of a society which, despite the economic recession, is still a consumer society, where social relation­ ships and mental habits tend to become increasingly one-dimensional in the sense defined by Herbert Marcuse. In its megalopolises, it juxtaposes a crowd of people who might possibly recognise one another but who hardly get to know one another any longer. It isolates individuals mentally and forces introspection on them. The mass communications organised by this society constantly inform people about everything, that is to say, nothing, for if everything is repeated in news bulletins which are, of necessity, sporadic and incomplete and if everything is treated as equally important, nothing makes sense any more. It is the meaning of information itself (a sign made up of words and images).

"The result is a deep-rooted feeling of impotence which engenders indifference and withdrawal. How can authentic democracy exist in tne long term? Yes, there is pluralism in everything and of everything, but beyond a certain point pluralism of this kind becomes dispersal and isolation and thus frag­ mented homogeneity.

"Throughout history, in traditional societies up to the industrial revolution, culture was the final aim of societal

development. At least, there was a general impression that the functional aim of human activity was cultural production, the unique idiom of society's achieve­ ment. It comprised knowledge, art and technology. It left its mark on social structures, institutions, language, personalities, roles, laws and customs.

"Seen in this light, the purpose of producing goods and services in a system based on authority and social heirarchy is to create and maintain a culture which is fairly unevenly distributed.

"In human history the economy is there­ fore a means and not an end. 11 is a tool and as such does not normally constitute a central value, or a goal in its own right.

"Since the industrial revolution, however, a reversal has come about.The economy has become bourgeois society's central aim, determining the priority given to all human activity. Production is an end in itself. The production of goods and services which can be sold on the market is the yardstick of a nation's wealth.

Individual accomplishment is measured by profit and career success. The economic order is the key to, and the meaning of, social life. The principal doctrines (whether orthodox or dissident) governing human development (liberalism and Marxrsm) have an economic base.

Economic growth has become the sine

Ministers for Culture Report The Council of Europe has just issued the full record of the 1978 meeting in Athens of European Ministers from twenty-one countries, as well as representatives of EEC and UNESCO. It is interesting to note that only the British Minister mentioned and, indeed, gave prominence to crafts as a cultural medium. The majority were concerned with regarding the arts as consisting of painting, sculpture, dance, theatre and music.

Lord Donaldson's comment on craft was interesting. "We are," he said, "supporting the crafts pretty fully. They provide an entree into the world of art which is less off-putting to the nervous than the full fledged art techniques involved in, for example, sculpture or oil painting . . . there are many people who have taken up pottery or leather work as a hobby, or who have learned a little of this while at school, and who feel closer to this than to abstract art or avant garde theatre. The cultural gap they have to jump from crafts that they

qua non. It was the be-all and end-all of the "golden sixties". Life is moulded by the economy through labour regulations, access to social advantages and consumer practices.

"Culture thus becomes a commodity.

Far from being the normal goal of human activity, it has become "enter­ tainment" isolated from society's real purpose and constituting a means of increasing the ordinary consumer market (the cultural industries), that is to say, a form of consumption which, as such, is characterised by conditioned passivity. Culture thus loses its ability to create and transform; it disintegrates and becomes one-dimensional. Cultural activities have been down-graded because economic growth has supplanted culture as a basic aim. This is logical, for there is no room for two central systems of values which would be incompatible . . .

"Of course, it must be stressed that historical experience of the bourgeois system and its economic absolution is by no means completely bad, despite the fact that it is basically misdirected. This experience has fashioned a scientific and technological tool and methods of organisation which could conquer new cultural hejghts, provided they were placed at the service of cultural aims and based on satisfactory standards of living and health."

(Council of Europe News Report)

can do, recognise and appreciate, to what is being done by leading experts is much narrower than in the fine arts."

Anyone in this country connected with craft will have recognised this and seen the interest shown by the general public in any exhibition of crafts. We remember that the loldanas exhibition of crafts in Trinity in 1970 was a record breaker.

The 1976 All Ireland Crafts Exhibition in the Municipal Gallery was another public success, as was Weaving—the Irish Inheritance in London during the Sense of Ireland Festival last year, breaking the record for attendance at the gallery in which it was shown.

There are levels of crafts, of course, from the happy endeavours of the hobbyist through the many beautiful examples of our professional craftsmen available in the shops right along to the work of the craftsman as an artist. At all levels there is, in the ordinary man or woman on the street, an ability to identify, an understanding that the craft is something that they themselves could achieve.

Ceramic Research Award 1981/82 The South Glamorgan Institute of Higher Education, in Cardiff, is offering artistcraftsmen working in ceramics an opportunity to engage in research of a practical, technical or aesthetic nature, related to their personal or professional development. The award is offered in co-operation with the Crafts Committee of the Welsh Arts Council, with the support of the Crafts Council.

The Faculty of Art and Design at the Institute is extremely well equipped for both studio and industrial ceramics and offers good opportunities for research related to most aspects in these fields.

The Department is considered to be one of the leading ceramic departments in the UK, and it is staffed by a group of internationally renowned ceramists.

Interested artist-craftsmen are encouraged to visit the Faculty to see the facilities, to meet the staff, and to discuss research ideas before returning their application forms. All application forms must be returned to reach the Welsh Arts Council by 31 May 1981. Application forms and further information are available from:

till "Chinese Waters"-ceramic Vicki Olverson.

sculpture by

Craft and Design Department Welsh Arts Council Hoist House, Museum Place Cardiff CF1 3NX Telephone 0222 394711

1st International Exhibition of Multi-Media Non-Precious Jewellery Most craftsmen are being effected by the economic situation but this is particularly true for the jeweller. Because of this, there would seem to be a case to redefine jewellery. Many jewellers, until recently working largely in traditional precious metals and gems, are now using a wider range of materials, such as plastics, paper, sponge, cork, textiles and ceramics. These are not substitutes but are used for their own individual characteristics.

The experience of using these materials can often cause the designer to go beyond the production of one-off pieces, to think in terms of editions and multiple production. Ten years ago a handful of jewellers pioneered this new approach, but now new and exciting ideas are coming forward all the time.

The British Craft Centre is now planning to provide the first opportunity to record

this burst of creative activity. An open international exhibition Jewellery Redefined will aim to assess the relevance and implications of the new ideas, and to show the selected work extensively both in Britain and abroad. This will be an exhibition of international multi-media, non-precious jewellery, to open at the British Crafts Centre in London in October 1982, before going on tour. It is planned to present this every four years alternating with the already wellestablished International Exhibition of Miniature Textiles, organised by the BCC with the support of the World Crafts Council—tUnited Kingdom Committee.

Entries for Jewellery Redefined are invited not only from professional jewellers but also from designers working in other disciplines. Research has shown that graphic designers, photographers, textile and ceramic artists, and others, are also likely to make an exciting contribution.

Further details, conditions of entrv and application forms will be available in June. Anyone wishing to receive these should send a self-addressed envelope,

marked International Jewellery 1982 to: Diana Hughes Exhibition Director British Crafts Centre 43 Earlham Street, Covent Garden London WC2H Telephone 01 835-6993

Musical Instrument Opportunities In co-operation with the Institute for Industrial Research and Standards, a new development of a traditional musical instrument has been patented and a craftsman-producer is being sought to bring the product to the market.

The development would probably suit a craftsman making musical instruments but not those requiring a high level of musical technique, such as classical instruments. Alternatively, a craftsman in wood or light metal who is capable of precise work might be suitable.

Enquiries to the Crafts Council.

WCC-Europe The European region now includes twenty-three member countries. Some of these countries are representated by organisations such as the Crafts Council of Ireland, others by National State organisations such as Cepelia in Poland, which is the State co-operative involved in international marketing for crafts.

A number of countries have been represented by various groups, not necessarily craft oriented, but this appears to be changing and the recent Norwegian grouping into WCC—Norway is an indication of a move towards an entity truly representative of craftsmen and craft related organisations, and not merely a small section of artistcraftsmen or others representing only themselves. In the Norwegian entity, both State based and craft based organisations are involved. The Norwegian Society of Applied Art and Environmental Design acts as secretariat and craft industry, home craft production, textiles, metal, etc. are represented by individuals related to the Societies or Guilds covering these disciplines.

Denmark'81 The Crafts Council of Ireland has made a proposal that the 1983 European General Assembly be held in Ireland and the acceptance of Ireland as the host country will be decided at the General Assembly in Denmark in June.

As the Irish delegation will be making a strong case, and some preliminary work has already been done, it appears virtually certain that the proposal will be agreed.

While the business session will be held in Dublin, it is intended that the workshops, which will be a central feature, will be held regionally. The regional associations and guilds will have a part to play in this concept and, while the workshops will be of serious and involved content, there will.be ample opportunity for the international craftsmen to meet on*an informal basis with Irish craftsmen during the four or five days which they will be staying.

Ireland'83 The European General Assembly of the World Crafts Council, which is being held during June this year, is very much a workshop:oriented conference. The

Above: A member of the Handweavers Guild of Cork, Mie Preckler, and Jacques Quisquator, run weaving courses at their studio, Rossmore Weaving Workshops, near Clonakilty, Co Cork.

craftsmen taking part will be attending specific workshops in their particular discipline, and these will be situated in various centres in Denmark. The formal business sessions will be confined to the final weekend. The main emphasis is on the exchange of techniques and of an up-grading of skills through working with other international craftsmen.

A number of craftsmen from Ireland will be attending on this basis and grantaid has been organised for them through the relevant agencies.

The exposure of some of our craftsmen to a wider influence can only be to the advantage of craftsmanship in Ireland as a whole. Being insular can mean more than living on an island.

Factors of Success In a recent article in the Craft Report on Toronto-born potter, Jani Walsh, her recipe for success as a production potter since 1970 is stated as her being in the right place at the right time—competition was at a minimum in Toronto at the time and there was a new and large market to tap.

There were other factors: "I had received a formal training in art and this provided me with a design sense. I received a rigorous apprenticeship and that is the way in which I really learned about the meaning of production pottery.

Also, I realised early that I had to become sales and business oriented to survive financially, and I was fortunate to have the initiative to follow through. Most importantly, I feel that my success flows out of my love and devotion to my work."

% ForArt

Ceramic Art in Blessington

Strokestown Craft Centre

Ten States in the US have enacted "Percent for Art" legislation which provides that a small portion of all funds raised for public construction goes towards financing original commissions of art or craftwork for the structure being built. The States are Alaska, Colorado, Connecticut, Hawaii, Iowa, Nebraska, New Hampshire, New Jersey, Oregon and Washington.

During March the Tulfarris Art Gallery held an interesting and large exhibition of ceramic art. The artist-craftsmen who shoWed a number of works included Pat Connor, Naomi Brandel, and Peter Wolstenholme, whose work is already well known. Also featured were works by some of the young ceramic artistsRosemary Gray, Lisa Young, Deirdre McLoughlin, Vicki Olverson and Seamus Laffan.

The new IDA craft workshop development in Strokestown will be opened officially at the end of April by the Minister for Industry, Commerce and Tourism.

The percentage varies, but is in the range of 1% or 1/2%. The New Hampshire Bill, for instance, creates a now lapsing fund consisting of Vi% of all appropriations of general funds for construction of new buildings as provided by the capital Budget Bill for the purchase of works of art and craft and historical objects.

Irish Patchwork in London Ruth McDonnell, the Dublin patchwork artist-craftsman, had work exhibited at the exhibition in London by the Quilters Guild during March. The exhibition featured both traditional and modern designs. The thirty-one exhibition pieces were chosen from a total entry of over 300.

The Quitters' Guild was formed in the UK by a group of people interested in various aspects of quiltmaking and is about two years old. The membership is over 800, which clearly shows the interest and enthusiasm for the patchwork and quilting revival and for the craft as a vibrant form of self-expression.

Furniture Exhibition Declan O'Donoghue from Cork, a young graduate of the John Makepeace School of furniture, is one of four graduates who held an exhibition of their work in the village of Badminton in Avon, England, from 1 to 12 April.

The few young craftsmen who decided, when they graduated last year, to carry on working together have converted a group of farm buildings into a wellequipped furniture studio/workshop.

Parnham training has produced craftsmen of the highest standards and this applies to the four who showed a range of pieces which included tables, desks, chairs, small boxes and other works made with skill and care, not only in the construction and finish but in the choice and use of the wood used.

It was an impressive exhibition, and beautifully mounted. The only pity is that it was at a time of the year when it got minimum exposure. We hope that we may see more exhibitions at Tulfarris devoted to crafts.

Below: Helena Brennan, who represents the Craft Potters Society of Ireland on the Crafts Council.

Some of these custom-built advance workshops—at the point of publicationhave been occupied by Kilteel Crafts (John Cassin), Cerama (Jeremy and Pauline Tyndale-Biscoe) and Paul Doyle.

Negotiations are in progress which should see the cluster filled by the end of the year.

Craft Training Workshops The initial participants in the Kilworth Craft Training Workshops have been chosen and will commence work at Kilworth in early May. Those chosen are Elizabeth Corcoran, a potter from Crookstown, County Cork; Terry Dunne, Dublin, a weaver; Rosemary Gray, also of Dublin, a potter; and Rose Marie McGonagle from County Donegal, a jeweller.

Elizabeth Corcoran has been working for the last two years with Radley and Maria Searle in County Roscommon, and previously had a year's apprentice­ ship with Fred Williams of Aherla Stoneware. She holds a National Institute of Higher Education/AnCO certificate in pottery and ceramic technology. She is an experienced thrower and has worked in stoneware.

Terry Dunne completed his training at Dun Laoghaire School of Art and Design with a National Council for Educational Awards Diploma in Textiles with distinction in 1980 and has made some tapestries to order and commission.

Rosemary Gray has completed four years at the National College of Art and Design and holds a Diploma from that College. She has been a prize winner at the RDS National Crafts Competition in 1978, 1979 and 1980 for sculptural ceramics. She has done summer work with Carley's Bridge Pottery, Fergus Pottery and in Beleek. She has participated in the Butler House Scheme at the Kilkenny Design Workshops and has had a one-woman show at the Kilkenny Shop in Dublin. She has exhibited at both the Tom Caldwell and Tulfarris Galleries.

Rose Marie McGonagle has a Diploma in Design (jewellery) from the Regional Technical College in Letterkenny, County Donegal and spent a period in the Butler House Scheme at the Kilkenny Design Workshops and exhibited, with others, at the Kilkenny Shop in Dublin in early 1980. Like all the others she has already sold some of her work and intends to set up her own studio eventually.

Each will spend nine months in Kilworth during which time they will develop a range of products and a marketing strategy, and will

participate in a varied programme of lectures aimed at increasing their knowledge of the commercial aspects of being a professional craftsman.

Award Winners The Irish Post—AIB Community Awards 1980 involved an award for Ms Mary Mullin who served for a number of years on the Crafts Council of Ireland's Management Committee.

The awards, which are described as essentially an exercise in celebration—in reminding the Irish community in the UK and at home of Irish individual and community achievements.

The award to Mary Mullin was for her achievements as Chairman of the Sense of Ireland cultural event in the UK last year.

The award was extended "to her and, through her, to all who contributed in any way to A Sense of Ireland which dominated London's West End for six weeks a year ago.

The Irish Post comments that "it is difficult to quantify what it achieved but, a year later, the newspaper is of the opinion that its achievements were profound—particularly in the area of the second generation, many of whom found within its diversity an element of Irishness which will remain permanently sustaining."

The Crafts Council of Ireland contributed Weaving—the Irish Inheritance which was the most successful exhibition ever mounted at the UK Crafts Council's gallery in Waterloo Place. Mary Mullin is to be congratulated for this well-deserved honour. The award, appropriately enough has been designed and made by Kilkenny Design Workshops with which Mary Mullin was closely associated for some eleven years.

Miss Ann O'Kelly of 4 Eglinton Park, Dublin 4 — telephone 693565 — is agent for Dryad weaving accessories and Russel Dye Kits and is in a position to offer to craftsmen assorted dyed and undyed wools and silk yarns in quantities from 1 oz upwards. Prices are in the range of 50p per lb., to £4.50 per lb.

The Mid-West Crafts Awards, sponsored

by Shannon Development and the Industrial Credit Company, were presented by the Minister for Industry, Commerce and Tourism during February.

The award winners were: Brian Gleeson of Ballycasey Workshops for a range of gold and silver jewellery based on the Burren flora; Michael Byrne of Limerick, for a ceramic cup and jug set; and Eugene Lambe of Fanore for his proposals for the manufacture of a traditional Irish flute.

The prizes were £1,500, £1,000 and £500 respectively and all three craftsmen have been approved for grant assistance by Shannon Development.

Crafts Council of Ireland was represented on the panel of judges.