•

HUll AffAIRSI shall have to launch intothis newsletter with 3 quickapologies. The first is toChris lantano who is theother Qld Ausglass rep (withGeorge Wolf) not Jeter Gossas was stated in the firstnewsletter. Chris' addressis - MS 1096 Dulong RoadNambour, Qld 4560.Ph: (071) 671 415178.

The second, as so succinctlyand promptly pointed out bythe Ausglass Tasmanian con­tingent (and e ball expert)Clements, was that I omittedto include my age among thebrief descriptions of theVic Committee given in thelast newsletter. For thisoversight I apologise;(and I am 28).

The final apology is directedmost sincerely to the paidAusglass members who did notreceive the May 19B5 (andour first) newsletter. Thisstate of affairs was causedby an absolute lack ofeXj,erience in the newsletterdepartment on our part anda certain amount of generalconfusion which remainedfrom the KSW changeover.However, we are makingheadway.in these areas, butwould llke to add that allof us are (only) human, andif yOli would like to criticiseor in any way respond, weare here to answer you.If you are in doubt of yourcurrent subscription statusplease write to Reg Loats37 Duncans Road, Werribee3030 and he will attend toyou el qliickly. ~inilarly,

we need to be informed ofany change of address onyour part, and of course,new subscriptions if yourshas lajsed. we can onlybe as accura te as theinformation we receive.

;'iessage from ]/i cnqel Keigheryis as follows:-

as you have noticed, docu­mentation of the SydneyAusglass Conference did notin fact arrive mid-June 1985but will arrive mid-September1985.

Julie Erand

HISIORICAllY SPIAIING

Interview - Alan SumnerI arrived for the prescribedtime of our interview atMr Alan Sumner's studio-home in Collingwood feelingsomewhat intimidated, andwas duly ushered upstairs bya man who, upon completinghis current comrr,ission willhave, as well as fiundreds ofindividual windows, illuminatedthe windows of 60 churchesaround Australia.

We sat in his living room,which has such a strong 196~s

flavour to it that anyBrunswick Street cafe ownerwould insta~tly feel at haDeand talked. The room wasfull of paintings; his,~illiam Frater's and George~ell's amon, others and theoccasional small coloursketch of a church com::,i ssio:-lcould be found proPled again .. tthe be ok case. T r,roul':hou tour talk, l{,r Sumner wasregularly interrupted by thetelephone regarding a paintin~

show he is organisinf" inwhich some of his ex studentsare exhibiting.

Although Mr Sumner is ratherreluctant to give out hisspecific age, a consideredguess would put him at about70, and he began his glassedlication at Yenckens at1ittle Collins Street, Melb,when he was 1~. He wasemployed under the officialtit Ie of "iml,rover" in theleadlighting and stained glasclshop and remained there for

1

a further 15 y~ars as apersonal assistant to WilliamFrater, learning as much as hepossibly could about allaspects of stained glass,leadlighting and generalglazing and assumed WilliamFrater's position when heleft.

Alan Sumner is as highlytrained in glazing as he isin art, a fact he thinksshould be attended to in theglass education of today ifstudents are going to befully professional. He wasnot retrenched during theDepression since he was oneof the only employees ofY€nckens to know all aspectsof decorative glass work.

During the war, Alan Sumnerdid 5 years of war service,largely In Melbourne, workingas an Official Artist forthe RAAF as well as SOIDe workfor the navy and army. hemade classified drawings ofaircraft, machinery andequipment.

"4hen he returned to civilianlife he decided to establisha stained glass studio at

,his.present home in Colling-wooo, and between 1947 and1951 was Assistant Art Masterat the National Gallery ArtSchool. It was then locatedat the site of the presentmuseum in Swanston Street.He worked there full timebetween 1953 and 1962 asDirector of the School of Artand then proceeded to workon stained glass commissionsfrom Collingwood.

From 1962, Alan Sumner hasnot stopped workin~ onchurch commissions: heworks on several at once ano~fually employs somebody tobuild them. Since the rene~al

of interest in stained glassand leadlighting in the mid70s Mr Sumner h~s not neededto push himse]f to the frontof the movement, but has, irfact, stood aside. Consequ­ently, many peorle who work

2

in glass currently, areunaw~re that he exists atall (:). And 60 churcilCSare a lot of churches(l).

I think that I am typicalof the ilk of current glassmaker that seems to have a bitof a mental block regardingflat glass prior to the 1970s,but as Mr Sumner points out,it is not such a youn~ animal,it's been in Australia from the1860's.

Several days after I metMr Sumner, he invited me tosee 2 of his favouritecommissions. The first, whichwas made in 1974 and is about100 sq metres is in the chapelof Genazzano, a catholic girlsschool in the Melbourne suburbof Kew. It is modernist andstrikingly beautiful. It isimpressive by size alone,but moreover, it makes youfeel good and surely, a pieceof art can do no more thanthat.

The second commission wevisited is at Nth Balwyn, arather distant Melbournesuburb, in St Bedets church.J~r Sumner is slowly fillingits windows with stained glassand the way he described tome the scenes which hiswindows in turn describeD wasdelightful and charming.

Alan Sumner is a man of about70 who has been quietly makingan important contribution toAustralian glass for the bestpart of his working ]ife, andhe is not alone. Surelythere is an enormous amountto be learned from him andhis ilk, if we, as youngglass workers, have the interestto investigate glass furtherthan our immediate commissionor exhibition piece.

Julie Frand

1.... 1

Peerless Gloss Offer

Slill Of IffllRS

- Unioll

40 years of

There does not seem to be agreat deal to report atpresent. The FFTS (FederatedFurniture Trades Society)are still considering aproposal drawn up by GerryCummins (Ausglass approved)and given to them at, a meetingon June 26 1985.

Experience

Silvering

Bevelling

Bending

Basically what we are tryingto do is get an exemptionfrom the union for people onthe selected slide libraryin Sydney, Au~glass membersor not. We hope that thiswill provide an across-the­crafts reference and modelthat other unions could adoptwhen recruiting members frolliother crafts. Issues likesuperannuation and workers'compensation for bothemployees and employers willhopefully also be resolvedwhen next we hear from them.

Alan Steer

Antique Light Restoration

Sandblasting and

03

I

480 4011

I

Slill Of IHI IRI

lechnical UpdateAs some are aware (mainly atpresent in the hot glassfraternity) Vaughan Bryersglass technologist ex ACIhas set up "Vitrin GlassServices" - Flat 8/3 ThoqeStreet, Clovelly, NSW 2031.In these last months he hasbeen predominantly preoccupiedin sortihg ou~ variousdifficulties encountered by

3

hot shops as the movementtowards batching gainsmomentur.1.

He has been writing a seriesof small booklets of generaltechnical inform~tior. forthe glass move~ent. The first"Chords in Glass" will beavailable in mid August. ALhe is printin[ them himselfthe ccst of each is $2 pluspostage to cover typing and~rinting costs. The second,already under way, is an glaL;~'

formulre and colour, (remakinr your own). Thesebooklets will also be of useto some of the warm glasspeople interested in producingtheir own glass and colour,and are not to be consideredonly for those in hot glass.Suggest you check them out.

Rob Knottenbelt

Just Add WaterResearchers at the Universityof Florida have developed away to form glass without theuse of high temperaturefurnaces.

Dr Larry Hench who heads theresearch team which inventedthe material, known asSolar Gel, said the methodmade it as easy to make aglass object in a complexshape as it was to make jellyfor dinner. The processbegins with a relativelycheap ,chemic~ solution, tet­ramethoxysilane, which ispoured into a mould. Thenwater is added as a catalystand perfectly formed glassis the result. "I think weare on the edge of a new agein which chemical basedsynthesis of glass and other

4

new materials will be usedfor communications, for auto­mobile eneine parts, for jetengine componeLts, for largestructures in space, for newoptical systems and for novelbiomedical engineeringapplications," Dr Hench said.

Taken from the Age: March 251955.

COIIINIIhe German Show

I think by now most peoplein the glass community areaware an exhibition ofcontemporary Australian andNZ glass was taken to Europein late 1984. Now looselycalled "The German Show"it will have) venues,Germany, France and ~witzer­

land - the last 2 were addedafter its arrival in Germany.The venues are-Hessiches LandesmuseumDarmstadt 1984

Central International auVitrail Chatres, France 1985Mus~e du Vitrail, RomontSwitzerland 1985-86.

This exhibition has nowreached a far greater cross­section of the European artcommunity than most Australiansrealise. It is important tounderstand that from the out­set when the exhibition wasput together in Australia itwas intended to be synopticand not a collection ofmature work by mature artists.;Jespi te this the receptionhas been positive (some ideacan be gained from the factthat on the last day alone in;!armstadt 5000 people visitedthe exhibition).

Regrettably feed back isalways difficult. You haveto be there to catch thereviews and know whe~e tofind them. Klaus Zimmertranslated 3 such reviewsfrom the Darmstadt Echo12-8-84, Darmstadt Tageblatt8-12-84 and the Frankfurterrtundschau 8-12-84. We havechosen to print one reviewin its entirety, the lastnamed.

As Klaus noted, the Germanopening was well supportedby leading German glassartists as well as thedirectors of the Chartresand Romont Museums.Apparently the French openinGwas markedly different in J

that the space allowed worksto be seen individually.Klaus admitted it was the firsttime he had had a chance toactually look carefully atthe exhibition and it wasbetter than he expected. Hereinterest was also high. Hedas asked to take a group ofofficials around each workand explain pieces and tellsomething about the artist.;Ie thought that initially itWaS a joke but the requestwas serious and he ended up onthe opening night taking alarge group of people aroundthe entire show. From ourpe~s~ective one can be easilycr1t1cal and say Australiaand NZ are merely the currentflavour of the month. Butthis show has marked animportant point in an intro­duction of an antipodean artglass to Europe as a separateand distinctive body of workwithin the framework ofinternational art glass. Sotwo very well deservedguernseys to Klaus and JennyZimmer. Klaus for organisingand going with the show,despite 2 very major openheart surgery operations inthe 12 months that the showwas mounted, one in Oz andone in Europe (open heart isnot exactly minor wartremoval). Jenny for collatingthe bilingual catalogue and

writing various backuparticles that appeared ·h~Te

and overseas. A major o~.article was printed in thefirst issue of Craft Artearly this year. Articlesare more important than isoften understood, they keepbeing read long after showsare taken down and dismantled.

Thanks both of you, truly agood one, and we all havebenefitted from it now and inthe future.

The catalogue is availablefrom Ken Lockwood of CraftArt.

Rob K

"Those who have no traditionsare not bound by them. Theyare free to develop new rulesand thereby are free to createsomethinG fundamentally new.The Americans have profittedfrom this lac} of traditionin elass art. In the 60sthey built the studio -Glass kilr:I3 which rr.ade tLeIlIindependent of the traditionelglass factories. They beganto experiment and in the 70Gtrey conquered the world withtheir studio-glass. For quitesome time now, Studio-Glasskilns have also been in actionin the glass studios ofAustralia and New Zealand andhere, too, the artists are notin bondage to any kind oftradition. A close look attheir work from over the seashas become possible for thefirst time at the Hessiches­landes Museum in Darmstadt.

In the mobile (autonomous)glass panels the differencesto traditional European glasspainting became immediatelyobvious. Already the colourschemes do not coincide withthe inherited rules from theGothic. They relate to

5

realistic light and colourconditions as experienced bythe artists in their homecountry.

Terry Beaston, originallyfrom USA, created a slender,vertical landscape, whichdocuments this marked indivi­duality quite emphatically.Greens, browns and ochresdominate his palette. Narrow,horizontally running colourribbons graduate the pictureand abstracted broken bladesof grass characterise thevegetative programme.

Similar graduations organisethe landscape of Cedar Prestand short curves bend intoarches and are recognisablefurther above as mountaintops.These pictures too arestrongly abstracted and remindof primitive paintings, whichone already knows from theAINU, the aboriginal populationof Japan.

Technique, however, has beenstudied by most of the artistsin Europe or with Europeanmasters. Johannes Schreiterand Ludwig Schaffrath heldworkshops in these regions.With many, f.i. with EdeHorton and Linley Adams, stylisticimpulses given by the mastersfallon fertile ground. EdeHorton's work is entitled~rought' and in spite of itsEuropeanised forms it doesbelong to the experiencesphere inside an Australianculture.

The New Zealand artist LinleyAdams however retained some­what more individuality.Whereas Horton uses the hardmaterial to demonstratehardship, Adams uses thematerial to express thesoftness of textiles in herwork. Like cloth hangs theglass, denying any archi­tectural limitations such asare usually imposed onwindows. It is a work whichone can hang in front of awindow but which will neverbecome a window. This

G

structure could be called"window sculpture".

Some glass painters havebroken away from thefunctionalism of windows.They have opted for mobileglass panels, probably tomake their work easieraccessible to collectors.But, like in the case of Lin-ley Adams, this type of workoffers new creative possibilities.

John Grieg places severaldifferently coloured glasssheets behind one another,thereby achieving theimpression of three- dimension­ality.

A similar purpose is pursuedby Tom Henty who locked hor­izontally and verticallystructured glass rods into aframe. The transparenthorizontal rows - countingfrom the upper and loweredges - have been interruptedby 16 black rows each and thevertical rows along the sidesby 16 blue interrupting lines.The blue and black lines meetalong 2 diagonals. In 2other diagonals, both blue andblack lin El3 overlap, therebyleaving two bare triangularedges. The structure apparentlyis meant to guide the viewthrough the c?ntre of a cube­like barrel. In this aimHenty fails. The glass rodsare not sufficiently trans­parent and divert the viewbefore it has had time topenetrate.

Lack of tradition allow foruninhibited experimentation.But not every experimentsucceeds and not everythingshown in this exhibition isgreat art. Many an attemptis worthy to be carriedfurther. However, someexperiments have gone ontothe wrong track and do notdo justice to the material."

The Frankfurter Rundschau ­8-12-84

Radiant Stainless productsmanufacture and

distribute a wide range of Leadproducts including Lead Came.Because we use only quality LeadIngot in manufacturing, our LeadCame is widely accepted by manystudios and other users. such asthe hobbyist.

Our brochure highlights thebroad range of product which wecurrently manufacture but wealways welcome ideas andsuggestions to improve ourproduct range.

Our Window Lead is normallysupplied in 1200-1300mm lengthsand is packed in sturdy 25 kgcardboard packs. We can supplyour Window Lead in other lengthsor, on reels if required.

Our product is distributedthroughout Australia. Only limitedstocks are carried as we havefound that most users prefer toallow us a week or two to maketheir requirements to order sothat they can be certain that theirLead is "fresh" and easy to use.

We believe that our productwill readily meet yourrequirements and trust that youwill find it easy to use and mostsatisfactory for its intendedapplication.

Please contact us if you haveany queries. - it's the start of theRadiant revolution.

loF. SpittleManal!er - Lead Products

VIIWS fROM UIDIR IHI

HOOR - BOARDSHere follow several interviewsthat I think quite relevantto flat glass workers: thefor' and against argumentfrom architects, and a talkto a photograrher regardingthe hazards of photographingglass.

INURVIIW - SUI McfAllSue MoFall is a ~elbourne

architect who ha~ beenpractising for 16 years,spent the last 4 writingthe architecture column forone of Melbourne's mostwidely read dailies andwould neve~ dream of usingglass work in ary of herbuildinf,s.

Her reasons are simple."You seldom see decent flatglass. It is difficult notto put all flat glass workinto that lumpish and borinEcategory. The arty,craftmarket is totalling lackingin any creativity whatsoever.Anybody can make a lumpishpot."

And it is not that Sue isunreceptive to craft workin general. Although shechooses her shows carefully,she rer,ularly views them;in fact she has beencollcctinl' cerarr'ic,-' fur some:time, hence her referencL topots in the quote above.She has used and is quitewilling, for instance, tohang tapestries in buildin~s

she feels require them. Shehas these made at the veryprofessional Tapestry Work­shop in South Melbourne thathas been producing excellentwork for, 9 years now. Allin all, this sentiment, which

1

is by no means ne~d by Suealone, says some disturbingthings about the present stateof flat glass work.

I showed her a recent CraftAustralia which featured some"architectural" glass work.She immediately corrected theterm to "decorative" whichraises an interesting point.For glass work to be trulyarchitectural, according toSue, it has to be used inconjunction with the form ofthe building, not merelyadded on as in the case, forinstance, of a decorativedoor surround. Or some prettyglass work that has beeninstalled in a bathroomwindow to camo~flage theugly view beyond. Many glassmakers do, rather grandly,label this type of work asarchitectural, but they seemto be the only ones that do.

In the case of the bathroomleadlight that obscures aview, that scene/pattern/design could easily be trans­ferred to any medium, ega bamboo or rice paper blindand, as Sue points out, muchthe same effect could beachieved.

Unfortunately, for flat glassworkers, this is a view notheld by Sue ~cFall alone.Many of her colleagues shareher sentiments, but she didoffer some suggestions.

For instance, if there is aharsh industrial view from awindow, don't obliterate itcompletely, but rathersoften it with pastel coloursand beautifully texturedglass. Or if the view is abland grey paling fence,use those lines and add glasswork with more lines, perhapsin a different direction, toform a new design in relevantcolours.

Sue McFall sees professionalismas the difference betweengood and bad glass work.

8

Successful architects inparticular are very prof­essional people who have apretty clear idea of whatthey think is good and badin taste, aesthetics and insense of design. If we asflat glass workers wish tohave any credibility at allin this "architectural"field, we will have to getgood, organised and profess­ional folios of our ~ork

together. And as Sue pointsout, the personal linkbetween glass workers andarchitects is what, in theend, will get us largearchitectural cOill@issions.

Sue however was willing tobe persuaded on the subjectof glass. Although shehas held these views foryears she, like any responsiblearchitect, has to be receptiveto changes that may enhanceher work. And the only wayarchitects will change theircollective minds in regard toglass is if we make them.

And good architectural glasswork deserves to be regardedas quite different to thelumpish and boring productSue JV;cFall and her colleaguesare used to, and ~t con­sequently deserves a place ingood modern architecture.But we have to put it there.

INURlnwGRAHAM BOlION

An architect who holJS quitea different view regardingthe use of glass in his wor~

is Graham Bolton, anctherj',elbourne architect who h'isrun his own practice for 4years since graduating in1978. Although his workis predominantly domestic,he also designs child careand special accomrr,odationcentres as well as a sDal1

numher of commprcial ~remis~~.

Graham is quite open mindedregarding glass, preferringit to a solid screen orlandscaping in some instances,particularly on small siteswhere an unpleasant viewneeds to be obscured. He hastravelled and seen somememorable glass work in~witzerland and Germanywhich has obviously impressedhim.

In the past Graham hasliaised with 4 differentproducers of glass work.Two of these were largercommercial studios who gavehim satisfactory but notparticularly inspired work.So he has been happier withindividuals who design andmake their own glass work,whom he says he has beendelighted to work with. Heis quite happy to leave thedesign of the gl~ss to theglass designer, so long asthey liaise closely as tothe intent and general feelthat is desired. In additionto discussion of colour,type of glass and the designgenerally, it is equallyimportant to discuss technicalrequirements and timeschedules.

From an architect's pointof view the glass workeris one memter of a teamcomprising the owner, thebuilder, nominated sub­contractors and nomi~ated

suppliers. Ideally, theglass work should be deliveredand installed on site afterthe painters have finished,but before ~he final cleanin~

takes place, (so as not tocover the glass with million"of tiny paint spots).

rhe glass work should bebrought onto the site readyto be installed. If for anyreason it is left there overnight it should be storedvery carefully, because ifit is d~maged it is the glaosmaker's responsibility to

repair it.that

Archi tects require/specialiLts:

1. Work within the parametersas set in the contract.

2. Verify all dimensionGprior to commencement.

3. Adequately communicatewith the owner, architectand builder.

4. Work in liaison withother tradesmen.

5. Thoroughly clean up atthe completion of eachday's work.

6. Adhere to the timeschedule as agreed.

Obviously, the technical sideof installing glass must beattended to, ie. adequatereinforcement of lead lightpanels, individual panelsnot being too big, that thepanels of glass be securelyinstalled etc. All thesethings are the glass maker'sresponsibility, but if any­thing does go wrong, thearchitect should be contactedimmediately, so that thosewho may be affected can beinformed of the implications.

Another point of interest toadd here is that by the timeany special glass work isinstalled, the buildingproject is almost over andeverybody's nerves can befairly frayed. The owner isusually keen to move in,consequently, if any errordoes occur (according tohuman nature) the leadlightercould end up taking thebrunt of the owner's wrathover the previous uelays.You can imagine the responLeif slithers of glass makethe pet dog's foot bleed onthe new carpet or you damaGea finished surface. Havin[everything organised is .really just being professional,and if things are organisedanything can be done.

Graham Bolton also addsthat the professional a~d

9

personalised link betweenthe architect and the speci' list(in this case the glasswGrKcr) is w'jat, in the end,will make the jot either ~

pleasant and profitableITO jlC t or a lonr and pain.f,;,'eXl,erier;ce for all COllcenl'".

INUIVIII - JOHN BISII recently spoke to ahelbourne photographer, JohnBest, about his feelings inregard to photographing glassand its problems. "l'hoto­graphing glass is not allthat hard, there are just acouple of rules to follow"he says, "these are thatbecause it is a reflectivematerial it narrows down theoptions in regard to lightingand an absolute maxim is thatthe person who made the piecemust be present".

John is 25 and has beenworking as an assistant toDerek Hughes for the last31 years. Derek Hughes isregarded as one of Australia'stop fashion photographersand as John says "taught meeverything I know".

hE had never actually had agreat deal to do with glassuntil I contacted him re­garding photographing mywork. Since then he hasdealt with several otherglass makers and has developeda liking for the mediumadding that it's much easierphotographing a subject onelikes than a subject in whichone has no interest.

He pointed out several thingsthat are important if aglass maker is goinr to haveanything to do with a photo­grapher.

firstly, there has to be acertain amount of liking andof feeling comfortable ineach other's company. Ifyou don't like your photo-

10

grapher you're not going tolike his/her photofraphs.Trust automatically followson here; trust on a personallevel and trust on an aestneLicleyel. This is a fairly diceyarea because the ego s of bo tllp:arties are involved and bothare delicate. But this isjust normal human relati),~

,tl'ff.

The second point is the needbefore work commences of atalk about money. From hisl>oint of view it's easier tu~ork to a set figure,thandoing the work then havingto haggle over a figure,rather like a fish wife.Talking about money firstalso gets it over and donewith quickly and we all knowthat the money side of thingscan sometimes get a bit stiCKy.

Talking about money, Johngave me some examples whichmay surprise. If, forinstance, he were hired tophotograph a set of 6 differentglass goblets some glassblower had made and the v wereto be shot individually"buton the same background, thecosts would be as follows -

3 rolls of film $75.002 pkts of polaroids 30.003-4 hI'S to shoot

:t200.0G

Out of that 5200,~105.DO is spent on materialcosts. Uf the remaining !9~

half of that amount is paidfor the hire of the studioand the photo~rarher wouldmake 247.50 o~t of the job.

Cn the other hand, if hewere shooting the samescenario for advertising, hisfee would be between $GOO­S80D. Within each of thesefigures are the peripherals\'/hich include running thefilm to the lab, showingresults to the client, gettincsaid client's approval andgettin~ prints done.

-The third point is "the brief".The glass ffi~ker has to deci~e

on just what they want fromthe resultar,t photograI-hbefore they ever, contact aphotographer. ~here will th~

slide/print end up for exa~lle,

whether the glass work is tobe isolated or would it lookbetter ir, an ambient backgroundthat will enhance it, (againthe trust factor comes in here).The type of print qualityrequired also has to be dis­cussed and srecified.

The last and possibly mostimportant point is that open­mindednes5 is extremelyvaluable. We as glass makerstend to expect our clientsto be open minded in theirdealings with us, at leastin the initial stages andJohn feels that a lack ofopen mindedness is a commonstumbling block between photo­grapher and client.

He also made some suggestionsregarding choice of photo­grapher. One is simply amatter of opening the rellowBages and contacting anassistant photographer underthe "Advertising Photographers"section. He thinks assistantsare a good idea because they,like him, may want to extendtheir knowledge in more areas(ie glass) and they won'tcharge as much as theiremployers. And another ofJohn's suggestions is thatif you don't'like the firstphotographer you use, employanother one until you arehappy.

So they are some viewsfrom a professional photo­grapher ~ho has worked withglass and I would like tomake a further point here -in that you get what you payfor, in photography and every­thing else~ If you, as aglass maker think it'simportant to have your workshown in t~e best possibleway"you r~ve to pay for it.

Along that line I think it istime we as glass makers haveto make tte decision tobehave in a professionalmanner. Whether that meansgood quality, well labelledslides of your best workon hand at your studio atany given moment, over andabove all the other placeswhere your slides should be,or gettinf, exhibition workto its destination on timo,we shculd be attemptin[ toleave behind us this "crafty"image. This is after all198') •

Julie Eraml

WORlD NIWSAusglass has been contactedby Fenny Egan from the CraftCouncil of Britain asking fora compilation of 35 mm slideso~ work from Australia toillustrate some of the bestand most innovative environ­mental glass projects com­pleted over the last fewyears. Selected slides willbe appearing during theconference in a continuousElide projector facilitywhich will take place inLondon in April 1986.

Flease send quality fullylabelled slides to Ede Horton,61A Armadale Street, Armadale,Vic. 3143.

Labelling should includename, date of completion,size, title and materialsused.

To facilitate fair selectionAusglass will be using ajury of informed glassconnoisseurs and that jurywill not include any AusglassCommittee members. lleasesend slides to Ede by Nov­ember 31, 1985.

11

news

craft

110 IllS fROM HOMIKlaus Zimmer has contactedAusglass regarding the~chreiter Workshop thatChisholm Institute hasorganised and is paying for.It is a purely in-house thingopen only to CIT students,but as a sign of good willKlaus has invited 2 Ausglassmembers to attend the work­shop, which will run between12-25th March, 1986 at CI~.

However, the organisersstipulate that it is onlyfair to select from peoplewho have not as yet workedwith Schreiter.

If you have not and areinterested in participatincin this workshop please SE:;IJ

5 fully labelled slides ofyour work to reach ~de Hortonby November 1, 198~. ~e

will then present (nameless)slides to independentadjudicators to select the2 workshop entrants.

CRAFT VICTORIA

The relevant

Ietter for

workers who

want informahon.

03 329 8719

12

HUMAN INURISIOur congratulations go tothe small band of leftists:rom tropical northern QLDled by the entrepreneurialGary Burgess. They haveput the very entertainingand informative "HerbertonShire Independent" togetherwhich Gary generously sentAusglass in reply to theAusglass newsletter hereceived. Thanks for thisand continued correspondenceis in order. All I needadd is - watch your step Joh;and its address is Box 42,Ravenshoe, N.QLD. 4872

NA1I0NAl RISOURCISHave you submitted slidesof your work for the annualslide selection?

The Craft Council ofAustralia's InformationService provides a nationalreference service on thecrafts in Australia andoverseas. This includes thepromotion of Australiancrafts and craft people bothon a national and internationalbasi s.

The Selected Slide Libraryis organised on a selectivebasis and is an effectivepromotional tool for pro­fessional and semi-professionalcrafts people representingthe best current work occurringin Australia. The Libraryis used regularly by peoplewishing to commission, exhibit,buy or sell the work ofcrafts people. It is thebasis for selection for majoroverseas exhibitions and forCraft EXJo and is used regu­larly for Craft CouncilCentre Gallery exhibitions.Other regular users includeteachers, students, researc' lrs,Craft Australia ~agazine,

-1.nd ot)]er reorlt; \'iri t, llf (11ubli sl1inC 0)1 the c ra t c;.1 tis, ho'.'.ever, esse!) ] ~l tGubmit good quality s Juesof yo~r \'iork, as many craft:reol~e hav~ missed out onbeinr selected because ofpoor' quality slides makincit difficult to jUdge ihework. There is no charge forsubmitting slides or beingincluded in the SelectedSlide 1ibrary.

If you have not alreadysubmitted slides of yourwork and you wish to berepresented you still havetime to do so. The closingdate for the 1985 selectionis 25th October and between5-12 slides would be required.

Slides should be sent to theCrafts Council of Australia,100 George Street, Sydney,2000. Tel: (02) 241 1701.

Robyn DenmeadeInformation Officer

IN CONClUSION

If you would like to see anyparticular topic or subjectdiscussed in the corning news­letters drop me a line and 1will see what I can do aboutit. I think I should addhere that all of us on thisAusglass Corr~ittee are quitenormal, approachable andfriendly people who ratherlike gettin€ letters. Soall correspondence is welcooe,will be reflied to and (ifapplicable) printed. Foradvertising informationcontact me at 76 King WilliamStreet, Fitzroy. 3065 orphone (J3) 419 4727.

Kind regards,

Julie Brand

13