'Beyond Craft’ exhibition

Press, 6 July 1983, Page 23

'Beyond Craft’ exhibition

"Beyond Craft” exhibition at the Canterbury Society of Arts, until July 10. Reviewed by Evan Webb.

This year’s “Beyond Craft” exhibition lacks direction and purpose. The main reason for this rests with the exhibition as a whole rather than the quality of the individual items displayed. Little thought appears to have been given to the selection and arrangement of the pieces making up the show. Consequently the exhibition looks and indeed is incoherent. Exhibitions of art and craft in art galleries are usually selected or curated for particular or special reasons. These reasons are largely formulated in a policy by the gallery. This policy guides the gallery as to what sort of work it elects to display and for what purpose it displays it. For example, municipal art galleries such as the Robert McDougall Arth Gallery usually collect and display works by well established artists of national or international importance and their policy reflects the shape and emphasis that this collection will have.

Some galleries, however, such as the Canterbury Society of Arts, promote an egalitarian and democratic policy which caters for the amateur as well as the professional artist. Consequently, although certain standards are expected, they are not rigorously enforced. The responsibility for the quality of exhibition therefore rests largely with the exhibitor.

The present “Beyond Craft” exhibition lacks the sort of exhibiting policy required to unite and guide its members towards a common goal. Although there are many fine examples of craft, the exhibition as a whole remains a pot pourri of bits and pieces. Such a disparate array of objects leaves one wondering what this group is collectively trying to say. “Beyond Craft” was formed after “The Group,” a Christchurch fraternity of artists, was disbanded some years ago. Unlike the title “The Group,” which only suggests an association of people, the title, “Beyond Craft,” implies a particular objective or philosophy common to all its members. Consequently as viewers we expect to see an exhibition of objects which is consistent with the idea of “beyond craft.” So what could this idea be?

One interpretation is that of extending traditional crafts to incorporate new materials and forms. While some members of “Beyond Craft” are attempting this, others are not.

Colleen O’Connor’s calligraphy, for example, is quite traditional in its form and content. This sort of handlettering does not explore anything of its modern descendant, typography. It would be a peculiar result if

it did. Yet such an exploration would be in keeping with the idea of “going beyond” the traditional craft and hand-lettering.

The same can be said for Noeline Brokenshire’s wood turning. Her kauri platters are simple, robust, and functional. There is nothing decorative or pretentious about them. Rather, they stand as good examples of this particular type of wood craft. Like other exhibitors in this show, neither of these two women have attempted to go beyond the tradition in which they work.

Another interpretation of “beyond craft” is that of extending craft into art, whatever that might mean. This particular exhibition implies that sort of extension by having several well known painters and sculptors (artists) as guest exhibitors. Indeed, the juxtaposition of some of the works, while unintentional, reinforces the absurd claim that unusual or “way-out” craft can be called art.

For example, Grant Banbury, as one of the guest exhibitors, has on display some recent paintings which use thread in a binding fashion to create lines of colour combined with smudges of paint. One such work is placed alongside the wall hangings of a weaver, Sally-Ann Griggs. Her recent work involves painting stiff fabric in bright colours with simple graphic designs. These banner-like works are enhanced with loosely hanging thread and yarn which is used in an unwoven or uncrafted manner. Yet the’ concerns of Mr Banbury and Ms Griggs are poles apart. Even though there is a material similarity between their work this association is not sufficient to sustain the implication that weaving can become painting any more than painting can become weaving. Another unfortunate juxtaposition, but for a somewhat different reason, is that between the sculptural assemblage of an invited artist, Eddie Sunderland, and Graham Stewart’s stained-glass window. Mr Sunderland’s work entitled “Winged Avenger” is a cynical parody on “born again” Christians. It sits irreverently close to Mr Stewart’s “St Andrew” window which was designed for St Barnabas’ Church.

However, the problem here is not just that one work inappropriately ridicules another, but that both works are in a peculiar and unsatisfactory context, particularly in their relationship to one another. Graham Stewart’s window has been designed for a church and that is the place to best appreciate it. Likewise, only in the context of similar sculptural work can Mr Sunderland’s assemblages be properly considered. Creating an appropriate context in which art or craft works are to be viewed involves some idea of what an exhibition of such works hopes to achieve. In group shows such as “Beyond Craft,” this is particularly important because the many unrelated ideas and activities of its members need to be coordinated and given visual cohesion so as to read as one exhibition and not many small ones.