Upcoming Craft Workshops, News and more.

The momentum is building. Over 400 people have shared their views on New Zealand craft by going online and taking the 2012 New Zealand Craft Survey, and over 370 individuals and organisations have 'liked' our Facebook page, in order to access the latest national craft news, opportunities, workshops, events and photos, and to network with others.

Since May 22nd, we have promoted the work of over 130 organisations and individuals involved in the New Zealand craft sector on our Facebook page and provided links to a further 25 international craft organisations. For those that have yet to view our Facebook page, we thought we would whet your appetite by sharing some of our Facebook page content in this blog. Head to www.facebook.com/CraftAotearoa if you would like to view photos of work, access links and find out more.

Upcoming workshops

Mide Hindmarsh furniture weekend workshop

 *  Would you like to learn how to make your own furniture in a weekend workshop? Learn how to create stylish plywood furniture by laminating and constructing interlocking panels to create an attractive stool and table set. More information at http://www.mikehindmarsh.co.nz/

*  Check out the range of craft and art workshops on at the Lake House Arts Centre in Takapuna, Auckland. This woodcut printing workshop continues for eight weeks and there are lots more too including a one day calligraphy course with Jan Leonard on 12 August. 

*  For all those interested in working with wood, the 2013 course Centre for Fine Woodworking course details have been released. 

*  Registrations are open for this fun and exciting course in claymation, just for teenagers aged 13 – 17 years on at Mangere Arts Centre. 

*  Workspace Studios, Wellington, is a hub for jewellers and small object makers and has grown into a bustling studio with jewellery classes almost every day, one-on-one tuition, short courses and bench hire for students and professionals. Everyone from professional to complete beginner is welcome to utilise the fully equipped studio.

*  Creative play day Saturday 28th July! Learn how to make a book and bind it using the Coptic Binding method. Come and experiment, learn new skills, enjoy being around other creative souls. What a great way to spend a winters day. $95 per person - includes all the materials needed to create one book. For more details contact liz@bookartstudios.co.nz

*  Two masterclass workshops are offered as part of this year's Wanganui Glass Festival. The first is with acclaimed English glass artist Galia Amsel who will also present a public lecture and the second is with acclaimed  Australian glass artist Clare Belfrage who will also present a public lecture and demonstrations. Further details at http://wanganuiglass.co.nz/

Welcome 

*  Introducing Wanaka based Andi Regan Art, also a finalist in the World of Wearable Art (WOW) Awards for the third year running. We will never look at zip ties the same again after perusing your beautiful photo albums!

*  Welcome to Darren Hunter Furniture Designs, one of our newest 'likes.'

*  Introducing contemporary New Zealand needlepoint and cross stitch design kits available from Auckland based The Stitchsmith.

*  Introducing Louise Douglas Jewellery, whose new retail store opens 1st August in Nelson.

*  Introducing colourful and fashionable statement pieces from Wellington based Shh By Sadie Handmade Jewellery using vintage and new materials.

*  Welcome to one of our newest 'likes' Marker Creative Workshops, an innovative public programme of hands-on, design and technology focused workshops based at AUT University’s City Campus.

*   Delighted to welcome Hocken Collections as one of our newest 'likes.' They have a wealth of archives including over 200,000 books and 2 million photos!

*  Welcome to one of our 'likes', a traditional bookbinder Tingle Vision Designs from Christchurch. 

*  Welcome to our latest 'like' White Heat; contemporary australian ceramic jewellery exhibition.

Galleries

'Nudge' by Tony Bond at The National gallery.

 *  Only four days left to see “Nudge” by Tony Bond at The National gallery in Christchurch. The 27 works, entitled “Formunculae”, vary in dimension from 85mm up to 200mm wide for larger works. A review of “Nudge” written by Craft Aotearoa Trustee Dr. Warren Feeney can be read here. 

 

*  Introducing Cromwell's hullabaloo art space. This work by Odelle Morshuis features discarded shotgun shells, a wide variety of coloured plastic cartridges as well as brass shells cut and curled into configurations resembling flora.

*  How much thread does it take to cover 192 treadle sewing machines in the new Govett-Brewster Gallery exhibition? Come and see N S Harsha's work 'Nations' this opening weekend in 'Sub-Topical Heat: New art from South Asia.'

*  This Saturday in Christchurch see the launch of Form Gallery's exciting new exhibition featuring the work of six contemporary New Zealand carvers.

National craft news and events

*  The last remaining blacksmithing course in Australasia has just been reduced to one day a week. Check out the 60 Minutes interview with Greeny on TVNZ.

*  New Zealand Olympians are the first recipients to be given a special gift of "Tahutahi" pounamu from Ngai Tahu, but if anyone else has it, then it is stolen and Ngai Tahu want it back.

*  Entries for the Portage Ceramic Awards close 1st August. The Awards, totaling $22,000 in prize money will be presented at a special opening function on Thursday 11 October 2012.

* First guitars, and now furniture recycled from the wood of earthquake damaged homes. Craft sustainability at its best.

*  Are you interested in becoming part of the Te Roopu Raranga Whatu o Aoteaora - the National Maori Weavers Collective? Sign up now. Biennial hui, magazine subscription and much more.

*  Would you like to create new work from these locations? Malaysia, India, Korea, Taiwan, or Japan? Check out the arts residencies organised by Asia New Zealand.

*  Hugh Bannerman from Dilana will give a talk at Objectspace at 11am on Saturday 4th August as part of the second public programme for Ubiquitous: Aspects of Contemporary Pattern.

*  Policy update: Local Government reforms. What does it mean for your community?

2011 Wanganui Festival of Glass

*  Fancy watching the Glass Olympics? Or demonstrations of glass blowing in the dark? Then head along to the Wanganui Festival of Glass this October. Lots more happening as well.  http://wanganuiglass.co.nz/

*  "Jewellery’s intrinsic value relates to a sacred (personal) memory, projected through transcendence" says Peter Deckers of 'The See Here' - a group of artists and jewellers whose practice occupies the border between fine and applied art.

*  Entries are now open for the Woodturning NZ International Symposium run by South Auckland Woodturners Guild Inc. from 4-7 October. Detailed programme on their website.

* First guitars, and now furniture recycled from the wood of earthquake damaged homes. Craft sustainability at its best.

*  Are you interested in becoming part of the Te Roopu Raranga Whatu o Aoteaora - the National Maori Weavers Collective? Sign up now. Biennial hui, magazine subscription and much more.

*  Would you like to create new work from these locations? Malaysia, India, Korea, Taiwan, or Japan? Check out the arts residencies organised by Asia New Zealand.

*  Hugh Bannerman from Dilana will give a talk at Objectspace at 11am on Saturday 4th August as part of the second public programme for Ubiquitous: Aspects of Contemporary Pattern.

*  Policy update: Local Government reforms. What does it mean for your community? 

*  "Jewellery’s intrinsic value relates to a sacred (personal) memory, projected through transcendence" says Peter Deckers of 'The See Here' - a group of artists and jewellers whose practice occupies the border between fine and applied art.

*  Entries are now open for the Woodturning NZ International Symposium run by South Auckland Woodturners Guild Inc. from 4-7 October. Detailed programme on their website.

International news

*  A Cooper is a maker or repairer of casks and barrels and this craft can be traced back thousands of years. Read more about how the Scottish whiskey industry relies on these craft skills in the present day.

*  Pottery skills are in decline in the UK. Dr Herhoffer said: "At primary and secondary level the focus is on digital skills and working with computers – pupils don't get their hands dirty anymore."

*  San Francisco based kiwi designer Sam O'Leary has been busy developing a fabulous new craft website. It has a broad range of craft video tutorials so you can learn in the comfort of your home day or night.

Dunedin Craft Research Meeting Invitation

Mandoria pendants by Anna Claire Thompson. Photo courtesy of Quadrant Gallery, Dunedin.

Craft Aotearoa Charitable Trust and the Dunedin School of Art at Otago Polytechnic - Te Kura Matatini ki Otago are delighted to invite all those interested in New Zealand craft to the Dunedin launch of the 2012 National Craft Research Project.

This is rare opportunity to share your views on craft practice in New Zealand, and it is the first major craft research project to be undertaken in recent years. The research project aims to identify how the wider public engages in craft activities as well as profiling the craft sector itself. A broad range of views are sought from members of the public interested in craft, craft practitioners, students, teachers, craft industry groups and organisations, craft galleries and retailers, curators, online craft communities and more.

Come along and share your views and then take the online survey at:
www.surveymonkey.com/s/CraftAotearoa2012

Sticatto sake cups bt John Paxie. Quadrant Gallery. 

Public Meeting:
 Friday 13 July, 4-6pm.
Dunedin School of Art Lecture Theatre - P152 Ground Floor
Entry from Reigo Street, Dunedin

Expected meeting format:
4 - 4:30pm: Networking.
4:30p - 5pm: Craft and Sustainability Discussion
5 - 6pm: Launch of the 2012 NZ Craft Research Project and facilitated discussion

Announcing Craft Aotearoa Charitable Trust

It gives us great pleasure to announce that Craft Aotearoa has been approved as a Charitable Trust and is now registered with the Charities Commission. Our registeration number is CC47849.

We are grateful for the support of Phillippa Wilkie of Chapman Tripp and also the support of our friends, craft practitioners and those organisations who have contributed advice and support to date - thank you for walking this journey with us.

As a demand-led organisation, we are looking forward to delivering projects as per our charitable objectives and proposed activities, and in response to the results of the current 2012 New Zealand Craft Survey.

Our charitable purposes are to:

• advance and encourage the exercise/practice of craftsmanship and the continued creation of craft work of a high standard in New Zealand;
• preserve and improve craftsmanship in New Zealand; 
• foster, promote and increase the understanding, knowledge and interest of the New Zealand public about craft and craftsmanship; 
• advance the education and development of children and young people in schools and tertiary institutes in craft and craftsmanship; 
• advance education and learning opportunities for the New Zealand public in craft and craftsmanship;
• undertake research into the craft sector and its profile in New Zealand and make the results available to inform business planning, education programs and employment services; 
• encourage employment into the craft sector including through facilitating careers advice to potential candidates and facilitating apprenticeships; 
• for any other purposes within New Zealand (whether relating to the relief of poverty, the advancement of education or religion or any other matter beneficial to the community) which are charitable according to the laws of New Zealand.

In order to achieve the charitable purposes, it is proposed that the Trust undertakes the following activities:

• facilitate craft artist residences, scholarships and awards and other learning opportunities relating to craft and craftmanship in schools and tertiary institutes;
• facilitate craft master-classes, workshops, lectures and seminars;
• develop a craft research library and collection of craft resources and craft objects open to the public;
• develop craft exhibition and touring opportunities throughout New Zealand and internationally;
• develop a regular programme of craft events in New Zealand; 
• encourage community craft projects; 
• develop a national network and contact point of reference for craftmakers and those interested in craft.

The following diagram outlines how we intend to work across the craft sector and wider economy, in order to deliver benefits to the wider New Zealand public.
Other News
It has been a very busy time of late for Craft Aotearoa with presentations in Wellington at Handmade 2012 and in Auckland at Objectspace's 7UP Talkfest. We have also been busy meeting with Statistics New Zealand, various craft practitioners, Form Gallery, The Big Idea and craft organisations, and we have launched New Zealand's first major craft research project.

2012 New Zealand Craft Survey
Over 170 people have so far shared their views on New Zealand craft. Don't miss this rare opportunity to contribute your thoughts - we are seeking a broad range of views from both the wider public and those engaged in craft practice including students, teachers, practitioners, curators, researchers, industry groups, galleries, craft organisations and more. To share your views just fill in our online survey questionnaire:
www.surveymonkey.com/s/CraftAotearoa2012   

It is vital that we receive as many responses as possible so please email the survey link to your friends and colleagues. The consultation ends on 19 August, and we will then begin the process of analysing the results and working with others in the craft sector to contextualise these results in a report that will be published for the benefit of the wider public at a later date. The diagram above outlines how our our project delivery will be led by the responses received in the 2012 New Zealand Craft Survey.

Receive national craft news direct

Contemporary jewellery by Jeremy Leeming.

Just over a month ago, we launched our Craft Aotearoa Facebook page and it has quickly become a central place to network with others, to access national and international craft news, upcoming workshop listings, events, links, stories, and photos.

Over 300 individuals and organisations have 'liked' our page. This is the best way to receive our posts. Even if you are not on facebook you can still have a look by copying this link: www.facebook.com/CraftAotearoa

High Demand for Craft Gallery Space

There is overwhelming demand for dedicated craft gallery space in New Zealand with 77% indicating this is the most preferred way to show and sell craft objects, according to Craft Aotearoa’s first online poll earlier in the year. By comparison, exhibiting at a multipurpose gallery was the least preferred method. Online exhibition and sales of craft were a strong second (49%), followed by craft fair/show (32%) and retail outlet (32%).

In light of these findings, Craft Aotearoa approached four craft galleries in New Zealand for a response. We received interest from Form Gallery in Christchurch and Objectspace in Auckland and would like to thank Koji Miyazaki (Director) and James Horgan (Senior Gallery Assistant) of Form Gallery; and Philip Clarke (Director) and Laura Howard (Programme Manager) of Objectspace for taking the time to share their thoughts with us

1. Were you surprised to learn that the most preferred way to show and sell craft is in a dedicated craft gallery space and why do you think craft practitioners prefer this option above others?

Form: Yes, Form was very surprised. In a dedicated craft gallery, there are a number of factors present which are missing from the other examples:

*  knowledgeable staff as first point of contact is vital (online there is a delayed reaction time to queries)
*  a dedicated space that allows individual works to be seen and touched (retail/multipurpose gallery’s sometimes feels cluttered and certain works are dominated by others)
*  a relaxed atmosphere where the client feels at ease and not pressured to buying (craft/fair).

Objectspace: No. This is understandable. Many New Zealand craft practitioners report that there are limited opportunities for them to show within the existing network of visual arts retail/dealer or public galleries.

Form Director Koji Mijazaki, Kim Henderson & Akane Nakao

2. Could you share with us your thoughts on the role of craft galleries – how do they contribute to advancing the NZ craft sector? Has this role changed over time or remained the same?

Form: The role of a craft gallery is to promote – the artist, the work, the gallery itself. To be professional in all its undertakings, to give knowledgeable advice and service to the client. To build up strong ties with its artists and relationships with its list of clients. The role of the gallery has changed slightly over the years; of course clients are becoming more knowledgeable and in a consumer environment, are looking for the best price. This only really becomes an issue when a practitioner begins to show their works in differing outlet types – ie. craft gallery as well as fair, online or multipurpose gallery. What we find is that it undermines the role of the dedicated gallery and its value that it puts on works.

Objectspace: We are dedicated to positioning making - principally in the fields of craft, applied arts and design - within a range of cultural, economic and social frameworks in order to provoke new assessments about the making, functioning and value of works and practices. We are unique in New Zealand in having this focus. If other parts of the visual arts infrastructure shared this aim, Objectspace may not need to exist but currently the profile and visibility that we give to contemporary practice and practitioners is not widely generated by other institutions working across the visual arts.

Objectspace opened in May 2004 as the result of practitioner-led efforts over many years to create a more supportive environment for innovative objectmaking in New Zealand. Following the 1998 Persuasive Object conference, a group of practitioners, curators, educators and sector supporters came together around a vision of a dedicated centre for craft that would be a new sort of hub for the craft sector. With the assistance of Creative New Zealand, the working party engaged Starkwhite to research the need for such a centre and how it might operate. The 2001 Starkwhite Report found that there was a need for such a centre and proposed options for its operation. In 2002 the working party became a legally constituted organisation with charitable status chaired by jeweller Warwick Freeman. Following the preparation of detailed strategic and business plans in late 2003 Creative New Zealand agreed to provide Objectspace with annual funding to enable us to present an annual programme of activities. Through a programme of exhibitions, events, publications and partnerships Objectspace aims to create new opportunities for outstanding practitioners, generate critical discourse, support professional development, connect communities of makers, writers, collectors and supporters and advance the interests of the sector nationally and internationally.

3. Are other methods of showcasing and selling craft (such as online, craft fairs, markets, etc) complimentary to craft galleries or tapping into a different audience?

Form: In some cases these methods can be complimentary, but in some cases ie. online – a prospective client uses a ‘search engine’ to find a gallery and this can be a bit arbitrary. Also, online negates the need to touch hold and be in the presence of the work.

'Come for a Cuppa' exhbition at Form Gallery, Christchurch.

4. What makes a good craft gallery space, and what are your gallery’s future plans?

Form: Again, good quality knowledgeable staff, a good list of artist and work, a space that allows the work to be viewed, touched and allowed to breathe. Form gallery, based in Christchurch, is currently working from the Director’s (Koji Miyazaki) home (following the Christchurch earthquakes).

Objectspace: A commitment to contemporary craft, expert knowledge of the sector and a commitment to widening the awareness of contemporary practice through exhibitions and publications.


5. From your perspective, how has the New Zealand craft sector changed in the time that your gallery has been operational?

Form: In the last 2O yrs of its operation, Form has seen many ups & downs. The biggest shift to date, as you can expect, came from the huge event of February 2011, with the loss of life, and loss of our city. Christchurch is rebuilding, but it is going to take a lot of time, effort and money to rebuild the confidence in our clients to replace, or reinvest in our art objects.

Objectspace: Many younger practitioners don’t particularly identify with the ‘craft sector’ but label themselves by their disincline and/or as an artist.

6. What do we know about buyers and collectors of New Zealand craft?

Form: We have found that NZ collectors & buyers are very loyal. This loyalty is to the artist that they feel they need to patronize, but also to the gallery, its owner & staff who introduced them in the first place. Once a gallery has built up a solid relationship with their client, then loyalty – in another words – friendship, is created and must be upheld by both parties.

Objectspace: There are a smallish number of very dedicated and knowledgeable buyers of contemporary craft. Most collectors, but not all, tend to focus their collections on one practice area.

7. Do you have any words of advice for craft/object arts practitioners?

Form: Once a practitioner begins exhibiting with a gallery, a relationship is born. This is a symbiotic relationship with both parties needing each other – without one, the other becomes pointless. A balance, as well as a good professional relationship is needed for both parties to work together, respect what the gallery does, and they in turn will respect you. 

Objectspace: Keep going!

8. What can we look forward to in 2012 at your gallery?

Form: As stated previously, Form gallery is currently working from the home of Koji Miyazaki. It has been over a year now since our necessary removal from our home of eight years, the Christchurch Art Gallery. We have been in negotiation with property developers over the last several months to return to the city, but with the continued demolition of our city it is proving very hard to find a viable, suitable place. If anything in 2012, Form gallery is merely trying to survive, hold onto the great artists that we have on our books, keep our clients up to date with our progress and hold monthly group exhibitions to show Christchurch that there is still something to enjoy in this broken city. Kia kaha!

Objectspace: This week we are presenting 7UP: a free talkfest for all with a stake in New Zealand's craft sector. Next is Contemporary Pattern (30 June – 1 September 2012), a curated thematic exhibition exploring contemporary pattern across craft and design by New Zealand makers and designers. Objectspace will then present Kobi Bosshard: Objectspace Masters of Craft from 8 September – 17 November 2012, which will tour nationally. This exhibition will be accompanied by Kobi Bosshard: Goldsmith - a substantial monograph authored by Dr Damian Skinner and published and distributed by Bateman Publishers, featuring specially commissioned photographs by Mark Adams of Studio La Gonda. As well as these Main Gallery events, Objectspace will continue to exhibit solo installations by contemporary makers in the Window Gallery and groups of work from private collections in the Vault. At the end of the year, we are staging Blikfang curated by Sheridan Keith which will explore the ‘eye candy’ quality of new and old objects. This exhibition is another example of our ongoing interest in the ‘consumption’ of craft and applied art, rather than being an enquiry into an aspect of contemporary production.

Share your views & take our survey!

Craft Aotearoa is excited to launch New Zealand's first major craft research project that aims to identify how the wider public engages in craft as well as profiling the craft sector itself. We would like you to help us by sharing your thoughts via this survey link: www.surveymonkey.com/s/CraftAotearoa2012

Craft Aotearoa intends to publish a report that profiles New Zealand craft and how the public engages in craft, fulfilling one of our key charitable objectives:

        (f) To undertake research into the craft sector and its profile in New Zealand and make the
        results available to inform business planning, education programmes and employment services;

The report will subsequently be made available to the public. To inform this report, we are seeking a broad range of views from members of the public who are interested in craft, craft practitioners, craft industry groups and organisations, online craft communities, craft galleries and retailers, craft researchers and publications, curators, and teachers and students engaged in craft practice.

Survey details
The consultation is open from 18 June - 19 August and is in three parts:

Part One - seeking the views of the wider public and those engaged in craft.
Part Two - developing a profile of those that design and make craft in New Zealand.
Part Three - craftsmanship skills and qualifications.

There are 25 questions (though not all may apply) including sub-questions for students and graduates, and  residents of Christchurch and Canterbury following the spate of recent earthquakes. The survey can be accessed at: www.surveymonkey.com/s/CraftAotearoa2012

The Auckland public consultation meeting will be held this Thursday 21st June at 7:30pm, as part of Objectspace's 7UP Talkfest. We are delighted to support Objectspace in celebrating seven years of their operation. Throughout the week, there are a wide range of guest speakers and an exciting programme. Additional consultation meetings will take place in Dunedin (6th July), Wellington and Christchurch (to be confirmed).

What happens when the consultation ends?
Craft Aotearoa is in the process of founding a national reference group to inform and support the development of a report that contextualises the research results. This group will comprise representatives from a range of craft disciplines across New Zealand, to ensure a national overview and is a model of collaboration that has been successful internationally. For example, in 2008-2009 it was used in the development of The Craft Blueprint: a workforce development plan for craft in the UK.

It is anticipated that the final report will provide a platform for future projects that ultimately ensures the public has greater access to a broad range of craft activities throughout New Zealand.

What are the key outcomes resulting from this research project?

• members of the public have an opportunity to share their thoughts on craft in New Zealand
• statistical evidence is gathered 
• a national craft database will be developed and managed by Craft Aotearoa
• leadership across the New Zealand craft sector is strengthened
• relationships are strengthened within the craft sector
• increasing awareness of craft strengths and weaknesses at the present time
• increasing awareness of how to engage the public in craft sector
• a current profile of the New Zealand craft sector and how the public engage in craft is developed

What are the constraints of the research project?
Due to lack of funding the research will not seek to include any individual face to face or phone interviews, and only four public consultation meetings will be held to support the project in Auckland, Wellington, Christchurch and Dunedin.

We have met with Statistics New Zealand who advise that as the data set for craft industries is too marginal to be of a good quality, it will not be possible to reference any government statistics pertaining to craft. (We think this makes this research project even more valuable.) 

Please help us to spread the word by:

• sharing the survey link in your newsletter, on your website or blog, on your facebook page, or by direct email to your colleagues and clients: www.surveymonkey.com/s/CraftAotearoa2012

 For any further enquiries please feel free to contact:
Jenna-Lea Philpott, Founding Trustee
Craft Aotearoa Charitable Trust
Phone: 022 615 3669
Email: jenna-lea.philpott@craftaotearoa.org.nz
http://craftaotearoa.blogspot.com
www.facebook.com/CraftAotearoa
 

'Like' our Facebook page to receive the latest craft news

www.facebook.com/CraftAotearoa 

On May 22nd, we launched our Facebook page! The content of our page reflects our vision - to create and promote opportunities for the New Zealand public to engage in a range of craft activities across a broad range of disciplines.

We regularly post New Zealand and international craft news and opportunities for the public to get involved and learn more about craft. Take a look and 'like' our page or 'share' it with your family and friends. www.facebook.com/CraftAotearoa  

  208 individuals and organisations like our page - find out why!

We are interested in posting content that stimulates, informs, provokes, engages, and educates. Occasionally we will let you know what we are up to but mostly we are interested in showcasing and supporting your craft activities. This might include upcoming craft workshops, conferences, events, markets, research, and publications, as well as resources and links that can inform and educate. We also want our page to be a place where you can connect with others and we welcome your ‘wall comments and links.’ You might like to look at our extensive range of craft and design organisations that we have ‘liked’ as well, both nationally and internationally.  

How can you get involved?

1.      ‘Like’ our page - then Craft Aotearoa updates will appear in your Facebook news tab meaning you will always be kept up to date and will also be a part of our journey as we grow and develop.

2.       Share what you read on our page with your friends and colleagues. You might want to encourage them to ‘like’ us too! We are starting from scratch, so your help in reaching those interested in craft will help us to build an audience and ensure that our content is relevant.  If you are a craft or arts organisation, you might like to support our work by promoting our page to your members via your e-newsletter, website, or direct email. Let us know so we can do the same for you too.

3.       We are in the process of building an online photo gallery of contemporary New Zealand craft and object art – if you would like your work to be considered for publication email us at jenna-lea.philpott@craftaotearoa.org.nz

 

4.       Send us your craft news so we can let others know. Either email us direct, send a Facebook message, or post directly to our ‘wall.’

5.       If you have family or friends that like to buy or collect craft, or take craft classes, then you might like to forward them our page so they can learn more.

Thank you to all our supporters and over 200 'likers' so far – your contribution and feedback is invaluable. We look forward to seeing you on our Facebook page!

Craft collectors interested in quality of ideas and of making.

Founding Craft Aotearoa trustee, Dr. Warren Feeney, is the also the new director of the New Zealand Academy of Fine Arts, which was founded in 1882. With three galleries on the Wellington waterfront, the NZAFA is an easy two minute walk from the city's retailers making it the perfect lunchtime visit for busy workers. Regular exhibitions featuring new work from established and emerging artists throughout New Zealand are held in the Academy’s architectural award winning galleries. We asked Warren to share with us his thoughts on New Zealand craft including an insight into collectors of craft.

1. The gallery of the NZAFA has a long history of supporting craft and visual arts. What kind of support do you offer craft practitioners today?

There is a significant representation of jewellery and ceramics in the gallery’s exhibition programme – especially the four annual thematic members exhibition. In addition, the gallery space, Gallery One has a representation by members of the Academy working in jewellery (silver, jade), wood as well as ceramics. These are exhibited throughout the year.



2. It is great to see craft permanently displayed on the Wellington waterfront in the front of the NZAFA gallery. What kinds of objects can the public buy?  

As above – Jewellery and ceramics are key

Matariki Whenua - current exhibition

 3. Is there a typical craft collector/buyer profile?  

From my observation, serious craft collectors tend to be individuals with an interest in serious New Zealand art as well. They are interested in a quality of ideas and of making.

4. Craft Aotearoa recently found in an online poll that the majority of craft practitioners prefer to show and sell their work in a dedicated craft gallery space, as opposed to a public gallery, craft market or even online.  

That’s interesting and I imagine on one level it is about critical mass. That is, a centre for a specific form of art – its display and acquisition is going to attract an audience looking for that experience in one space. However, I would also imagine it is due to the shift in craft towards curation in galleries and the presence of dealer galleries specializing in craft. 

Matariki Whenua - current exhibition

5. How will the NZAFA be supporting New Zealand craft this year and beyond?  

The upcoming 'Kete' project is a key focus for the NZAFA looking towards the future. Located in Wellington, the gallery is in a hub of craft-based creative industries and centre for the arts and craft practice. I would like to see this grow over the next ten years into a unique craft event that reaches into the Pacific and Asian community. 

6. In another recent poll, Craft Aotearoa found that more than 90% believe there is a craft revival in New Zealand at present. Do you agree with this and if so, do you think the revival is here to stay or a passing trend?  

 I would suggest it is not so much a revival as a growing awareness. I still feel that the criticism leveled at craft in the 1980s by the fine arts community and art critics, accompanied by the demise of the Craft Council did serious damage to craft in New Zealand – and of course the deregulation of the economy and emergence of cheaply imported items from businesses like the Warehouse served to further and even more seriously diminish the status and value accorded to craft. Possibly it is not so much a revival as a new interest in something that hasn’t gone away. Potters, jewellers and ceramicists continued to make work regardless – they just didn’t get the kind of attention that they deserved and that was accorded to other art forms during the 1990s. 

Now showing:  

Matariki Whenua, an exhibition developed with support from Toi Maori Aotearoa and featuring the work of Baye Riddell, Colleen Urlich, Darcy Nicholas, Derek Lardelli, Diane Prince, Lewis Gardiner, Manos Nathan, Paerau Corneal, Rangi Kipa, Stacy Gordine, Wi Taepa, Brian Flintoff, Craig Potton, Jeanne Macaskill, Mike O’Donnell, and Russell Moses.

9 June-1 July 2012, 1 Queens Wharf, Wellington. 
www.nzafa.com