Crafts Conference in New Zealand

This has just appeared:

Korero a te whatu - The Persuasive Object

jewellers, ceramicists, fibre artists, sculptors, glass workers, potters,
architects, painters, furniture designers, product designers, graphic
designers, theorists, historians, educators, collectors, creators…

16-19 April 1998
UNITEC, Institute of Technology

The Arts Board of Creative New Zealand has initiated a major direction
setting conference to debate the state of crafts in New Zealand and plan for
their future development. This initiative follows a wide consultation with
artists and crafts organisations. Unitec has been contracted to develop and
manage the conference in association with Creative New Zealand, supported by
a national steering committee of seven crafts practitioners and

Korero a te whatu - the persuasive Object

is an international conference addressing the future of the crafts in
Aotearoa, preceded by a series of practical workshops led by outstanding
exponents of contemporary craft. It will bring together craft practitioners,
writers, curators and academics from many disciplines to formulate joint
approaches to the next century of craft activity in Aotearoa.

Korero a te whatu - the persuasive Object

will focus on the interaction of innovation and tradition and how this might
lead to the emergence of new visions of craft. International participants
will join New Zealand contributors in examining how contemporary definitions
of craft have been informed by a series of allusions to design, the fine arts
and many cultural practices. These issues will be discussed with particular
reference to contemporary practice, museological display, mass production,
theoretical discourse, cultural tourism and education. The Korero a te whatu

  • the persuasive Object conference and workshops will locate the indigenous
    crafts of the Pacific within an international context and will centrally
    address the role of the makers, objects and exhibitions which define craft.

Responses in the form of paper might address questions such as:

  • What role has craft played in the formation of national identities?
  • How have developments in design and manufacturing brought a new dimension to the crafts?
  • What relevance does a modernist vision of craft as a laboratory for design hold today?
  • How has the provision of tertiary training in the crafts impacted?
  • Is academia attempting to capture the crafts?

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B r i a n � A d a m J e w e l l e r y E y e w e a r �
@Brian_Adam1 ph/fx +64 9 817 6816 NEW ZEALAND NEXT - Queenstown Mar11 to Mar18 1998 across the bench from me