NEWSLETTER
JULY/AUGUST 1979
CRAFTS COUNCII OF IRELAND... Thomas Prior House, Merrion Road, Ballsbridge, Dublin 4 Telephone 01 680764
1979 Conference /Seminar The 1979 Conference will be in seminar form and the title "Craftsmanship is our Business" is indicative of the content which is in accord with the desire of many of the delegates at Wexford last year to hear speakers discuss certain aspects of the business of being a craftsman, such as the keeping of records, VAT, tax and such matters. While craftsmanship is undoubtedly about design and creativity, discipline and attention to detail, all discussed both philosophically and practically at Wexford, the craftsman cannot avoid, if what it is all about is more than a dilletante way of life, the economic realities of making a living. Inevitably, if a living is to be made, other disciplines must be recognised, however time-consuming and uncreative they may be; that they are, in many cases, imposed from outside makes them even less palatable. Understanding very often makes a task lighter and it is in an effort to aid this understanding not only of the discipline but of the reasons behind the discipline and the easiest ways to conform to it that this year's seminar will be concerned.
The seminar form will mean less philo sophy and more practical instruction and a greater opportunity for direct involvement and elucidation of what may not be clear.
Time will be given for discussion of problems of craftsmanship in general.
Christmas Store Promotion
Crafts Council Medal
Posters, craft shop identification cards and point of sale tent cards will again be available to craft shops wishing to avail of them during the Christmas season this year.
This year's winner of the Crafts Council of Ireland Silver Medal for excellence in craftsmanship has been awarded to Mollie Moore of Grange Con, Carrigrohane, Co Cork.
The intention, as before, is to help to identify to the general public craft shops as sources of interesting and good value gifts for Christmas. The theme, as last year, is that of "Pick and Perfect Present."
The award to Mollie Moore marks many years of skill and craftsmanship of a high order in a traditional craft, and the Crafts Council, whose interest in the encouragement and preservation of the traditional crafts is as strong as that of contemporary crafts welcomes the decision of the jury in making this award.
Craftsmen and Craft Associations and Guilds may wish to ensure that craft shops in their area which will be open for Christmas will have every aid to move stocks which, because of the poor start to this year's tourist season, will probably still be fairly high. Crafts Council will be pleased to cooperate with craftsmen, craft associations and guilds and craft shops in helping to make Christmas sales as high as possible this year. Posters, craft shop identification cards and point of sales material will be sent post free to applicants and it is to be hoped that everyone who can avail of this offer will do so.
f o r
Crafts Council to Sponsor Finnish Glass Exhibition Crafts Council of Ireland is sponsoring a major exhibition of Finish glass which will be mounted during Kilkenny Arts Week—25 August to 2 September. This exhibition features some of the most important artists working in glass in Finland in recent years and includes such names as Kaj Franck, Tapio Wirkkala, and Bjorn Weckstom.
The Conference/Seminar will be held at the conference centre at the Silver Springs Hotel in Cork on the first week end in November and details of costs and bookings may be had from Crafts Council of Ireland, and will also be announced in the national press.
The interest in studio glass in Ireland has grown considerably in recent years and the National College of Art and Design now has a course in studio glass. It is to be hoped that all those interest in the best of contemporary glass will visit and gain inspiration from this important exhibition.
The Bowl" Exhibition for Ireland As readers will know, Ireland is repre sented in the World Crafts Council European Exhibition "The Bowl" which opened in Gothenburg early in 1978 and which has been seen in various European cities since then. The opportunity has now arisen to mount this great exhibition in Ireland and in cooperation with the Kilkenny Design Workshops it will be seen in the Kilkenny Shop in Dublin in the two weeks beginning 28 August. Writing in the Foreward to the catelogue Lord Eccles, then President of WCC, explains the concept of "The Bowl" Exhibition. "For some considerable time the European Region of the World Crafts Council has been considering a suggestion from its Scandinavian members that an exhibition representing the best craft work in the region should be shown in as many member countries as possible. In 1975, at Dartington in England, the Regional Council approved this plan in principle. It proved difficult to find an attractive theme that would give a distinctive character to such an exhibition. I am told that James Noel White, Peter Rath and Ake Huldt sat up all night discussing the problem when suddenly the theme of the bowl occurred to them. They agreed to put the idea to the next meeting of the European Region which was to be held in September 1977 in Cracow.
" I was at this meeting and saw the enthusiasm with which the theme of the bowl was accepted by all present. The bowl is about the oldest shape of objects made by hand of which we have examples from the most distant past. It has had both secular and religious associations throughout recorded history. The meeting at Cracow decided that each member country could submit up to fifteen bowls made from any material and made within the lifetime of the World Crafts Council, i.e. ten years. "Those present at Cracow were particu larly anxious that the catalogue should provide a record of the exhibits that would not only prove an instant success but be a reminder in time to come of the high quality of craft work in Europe during the past decade.
Trade Fair 1980
"The exhibition of "The Bowl" will do much to promote the interest in European crafts."
An official announcement of the Fourth National Crafts Trade Fair will be made at a press conference in September. Full details will be issued at that time.
Vice President James Noel White also writes of "The Bowl" in the following terms:
It is hoped that the 1980 Trade Fair will be even more successful than its predec essor in 1979 when almost £400,000 of orders was taken in the three days, but a certain amount of caution is necessary because of the disastrously poor tourist season which resulted from the prolonged postal dispute and the fuel crisis. There may well be a balance of stock in retailers' hands but this can be countered by craftsmen showing new ranges of products in 1980 which the retailer will not be able to ignore. Certainly every effort will be made to ensure another success.
"The European Assembly of the World Crafts Council conceived the exhibition as a manifestation of the spirit of co operation and a demonstration of the cul tural diversity of the European crafts; even within one category, the bowl. The bowl was chosen because craftsmen all over the world have created that form to meet a wide range of human needs, from the basic furnishing of the family meal to the symbolic expression of ritual and ceremony which still has its place in industrialised society. The bowl is also made from a great variety of materials, from basic clay and woods to the most precious metals enriched with jewels. The scope for the expression of skill and feeling in the making of a bowl is infinite. The bowl also stands for one traditional characteristic of the crafts which persists in the modern world and distinguishes the crafts recent history from the fine arts; that is the association of the crafts with use. No one extends from containing a morsel of meat or
packet or pins to the exotic display of orchids at a state banquet; it is a vehicle for the craftsman's art at its most pure or at its most fanciful, reflecting society at its grass roots round the family table and at its most formal in civic and religious rites. This collection of bowls gives an insight into the several cultures which exist together in Europe and offers a rare opportunity for compara tive study.
Broadly speaking there will be more stands, more stringent rules for partici pation and a higher standard.
Dates will be the same as last year—16 to 18 January. The closing date for entries will be 12 November. Application forms will be available from Crafts Council after 28 September.
International Conference and Workshop on Wrought Iron
"Europe itself can be regarded as a bowl into which the cultures of the world have been poured over the centuries, to be mixed and blended until they emerge with a detectable unity, although an endless diversity can still be discerned. This is echoed in the efforts of the World Crafts Council to encourage the cultural exchange between craftsmen and those who care for the crafts so that there is constant refreshment and creative inspiration, and at the same time to foster those vital regional characteristics which for generations have given to a people their identity."
The Crafts Council in the UK is planning a second international conference and workshop for April 1980—the first was the 1976 working with Hot Glass which was so successful. This time the discipline will be wrought iron. Lasting a week, the conference will consist of lectures, demonstrations, discussions, workshops and visits and is being organised specifically for practising craftsmen and those with a professional interest in wrought iron. The venue will be the Royal College of Art. Preliminary details from Crafts Council of Ireland.
The Kilworth Craft Training Workshops A brief outline of the Kilworth Project was mentioned in the May/June Newsletter as part of an IDA Crafts Programme.
The idea was first discussed as a means of ensuring that graduate status craftsmen could achieve a 'track record' of designing/producing and selling over a concentrated period before approaching IDA/SID for a grant for workshop and equipment. It was considered that this should be done in a partially subsidised environment in which they could develop towards commercial life. The concept envisaged a yearly intake of 6 to 8 graduates over a number of disciplines, working for a period of twelve months with the equipment provided at the Centre. It was envisaged that the Centre should be situated in a small community, with whose life the participants could cooperate, and preferably a community close to an area of craft shops and city stores which would be the initial market. The Centre would contribute to the community which would regard it as their particular interest and would benefit also from the cultural and tourist value which it would bring. Kilworth in the County of Cork, a few miles from Fermoy and about 25 miles from Cork City is a small town and its Community Council has purchased an ideal building for the purpose. This is being put into first class condition to suit the project. The Community Council and their architect have adopted a very professional approach and will lease the building for the purpose Crafts Council envisages. They are also prepared to help as a community in such matters as accommodation for participants, day to day supervision of a very general nature and involvement in the development as it progresses. The old Market House in Kilworth is a compact, attractive, roomy building, easily subdivided, well situated, in good condition and of sufficient size to allow six to eight small workshop units. There is room for growth if necessary.
Kilworth
Trendy or Quality
The studios suggested are as follows:
Donald Wycroft, writing in the US Crafts Report suggests that in the US— and we may take heed in Ireland—there is a necessity for craftsmen to realise that competition is not necessarily from other craftsmen but rather manufactured merchandise meeting style trends.
Two weaving studios, complete with weaving and tapestry looms, warping and other basic equipment Two jewellery/silversmith ing workshops, complete with basic benches, anvils, tools, buffers, small enamel kiln, crucibles and propane burners One woodworking workshops, flexible enough to be used by woodturners, musical instrument makers or small furniture makers and having as basic equipment handtools, bandsaw, planer and lathe One pottery studio with two wheels, one medium sized kiln, and ancillary equipment Space for a studio for batik or screen printing, or other crafts such as leather working will also be available. Entrants will be put forward by any of the Art/Design Colleges or recommended by a member organisation of Crafts Council or a County Development? Officer. Criteria for acceptance will be strict and limiting, will certainly include talent in both craftsmanship and business acumen and a commitment to setting up their own studio on completion of the induction period. There will be an inter viewing panel for entrants and the acceptance will be only after searching and in depth interview at scholarship level.
Applications for place would be invited by advertisement and by application forms circulated. The period of stay will be twelve months so that among others some of each year's graduate output from the third level system can be accommodated. All entrants will be subject to a probationary period and if not satisfactory will forfeit their position. The IDA/AnCO will provide a mainten ance grant to each participant sufficient to provide simple accommodation, board and pocket money during the period of stay. Accommodation will be found within the local community.
"The crafts," states Mr Wycroft, "have come to occupy a position in the gift, table-ware, home furnishings and clothing and accessories fields—fields which have a long history of professional retail expertise. The establishment of trends and style in these fields is the result of careful, studied efforts. From time to time the craft are produced as part of an 'in' look or a decorative style, and craftsmen are forced to produce in quick quantities. Just as easily, however, the trend for a warm comfortable feel of hand-crafted dinner ware can give way overnight to a well designed but manufactured sleek shining table setting." He goes on to show that craftsmen cannot make rapid change in their work, and that they do not wish to make these changes, but for the competition for the retail dollar change may be the name of the game. It is almost impossible to compete with the manufactured 'looks like craft' items even though the craftsman is not adequately compensated for the work which goes into handcrafts.
Each participant will have an agreed pro gramme to work to which will be part of the interview, which will include design, production, business methods and sales and this will be such that it can be monitored on a regular basis. It is hoped that each graduate can in fact come out of the project with some profit from production and sales to help towards working capital later on. On completion of the induction period the Crafts Council will work closely with IDA Small Industries and finance sources to ensure grants and some loan capital. It is the aim of the Crafts Council to have the Centre running before the end of the year.
The best way for the craftsman to have success, he suggests, is "to maintain the highest qualities of craftsmanship and to refrain from gimmicky and often poorly thought-out designs. Leave the clever, trendy things to the manufacturers who can change more abruptly but who cannot imbue their work with the individualism of the craft artist. "That there are many opportunities for craftsmen in the retail market is a fact. These opportunities will exist, however, for those who develop an ability to produce in sufficient quantity; to create well designed, well crafted items; to produce for re-order; to pack and ship carefully; to operate an on-time studio and to be totally professional as business people."
Mr Wycroft hesitates to encourage masses of people to compromise their lives to meet the demands of the market place which, by its nature, is only concerned with the lives of craftsmen when it makes good promotion copy—not a criterion of the retail industry, that's the way it is. However, he sees the continuing need for handcrafted items, but would like to see the craftsman to be above com peting at base level, capitalising instead on the strength and individuality of the item made by hand. Those were the qualities he sees which "exploded crafts into the market place as con sumers sought to surround themselves with greater warmth and humanism."
He concludes by stating: "These qualities cannot be purchased cheaply—it is time for American craftsmen to look at how best they can participate in the retail arena, not how quickly. The forces that have brought crafts to a market zenith can also operate with an opposite result. There is no need for this to happen. Let's not let it."
RDS Crafts Competition Prize Winners The first prizewinners in this year's RDS National Crafts Competition are as follows:
Class 12a—Work in Irish Leather Finian T Ferris, 59 Waterloo Road, Ballsbridge, Dublin 4
Class 18c—Irish Crochet Mrs Mollie Moore, Grange Con, Carrigrohane, Co Cork.
Class 1—Pottery for Use Thomas Kevin Agnew, 2 Carlisle Terrace, Derry City.
Class 12b—Work in any Leather Carmen and Edmond Chesneau, The Hermitage, Newtownmountkennedy, Co Wicklow.
Class 19a—Decorative Embroidery B Browne/V Murtagh/E Flattery/ C O'Donohue, c/o 24 Richmond Grove, Monkstown, Co Dublin.
Class 2—Decorative and Sculptural Ceramics Thomas Kevin Agnew, 2 Carlisle Terrace Derry City. Class 3—Glass for Domestic or Decorative Purposes Eamonn Cunningham, Marlay Craft Courtyard, Rathfarnham, Dublin 14. Glass 4—Stained Glass No award made. Class 5a—Work in Any Metal Vincent N O'Hara, 60 Rockfield Avenue, Terenure, Dublin 12. Class 5b—Smithwork Anthony John Hedgecock, Gortahork, Co Donegal. Class 5c—Work in Tin and Copper by Travelling People John Berry, c/o Mrs L McVeigh, Strawhall, Carlow, Co Carlow. Class 6—Gold and Silver Work Peter David Donovan, 24 Altamount Park, Kilkenny Class 7—Jewellery Liam P Martin, Ballisodare, Co Sligo. Class 8—Enamelling Susan Jordan, 233 Wilson Estate, Dublin 13. Class 9—Objects made in Wood, including Sports Goods Joint first prize: Richard Gorman, 11 Doris Street, Ringsend, Dublin 4; and David Lord, 14 Upper Jervis Lane, Dublin 1. Class 10—Musical Instruments W D Patterson, Mill Cottage, Cuskinny, Cobh, Co Cork. Class 11-Rod, Rush and Straw Work Liam 0 Broin, Uisneach, Slane, Co Meath.
Class 13-Floor Rugs, Woven, Knotted, Braided or Lumra Beth Royds, Timmore House, Newcastle, Co Wicklow. Class 14a—Woven Lengths Alice Roden/Junko Okamura, 14 Appian Way, Dublin 6
Class 19b—Patchwork and Quilting Ruth McDonnell, 28 Heytesbury Street, Dublin 8. Class 20—Woven, Embroidered or Knitted Article for Ceremonial Use or Fashion Wear There were no awards in this class.
Class 14b—Knee Rugs, Bed Covers Mary O'Rourke, Castle Kelly, Glenasmole, Tallaght, Co Dublin. Class 15—Tapestry and Wall Hangings Liesbeth Fomkert, The Loft, Raheenduff, Foulksmills, Co Wexford. Class 16a—A Printed Length for Evening Wear No first prize. Second prize: Mary Cullen, 59 Glandore Road, Dublin 9 Class 16b—A Printed Length for Casual Wear Mary Cullen, 59 Glandore Road, Dublin 9. Class 16c-A Printed Length for Furnishing Purposes Mary Gray/Mathew O'Connell, Basement, 22 Adelaide Street, Dun Laoghaire, Co Dublin. Class 17-Resist-Dyed Fabric: Batik, tie-dyed, etc. Mathew O'Connell, Basement, 22 Adelaide Street, Dun Laoghaire, Co Dublin. Class 18a—Limerick Lace Mrs Irene Calvert, 25a Ailesbury Lawn, Dunlaoghaire Class 18a—Limerick Lace Mrs Irene Calvert, 25a Ailesbury Lawn, Dundrum, Dublin 14. Class 18b—Carrickmacross Lace Mrs Kathleen Flanagan, Cornanure, Broomfield, Castleblayney, Co Monaghan.
A Name to Remember The Crafts Advisory Committee, the UK body responsible for all craft matters there since its formation in 1973 and, among its other varied activities, pub lishers of "Crafts" magazine, is nOw to be known as the Crafts Council. This change of name occurred sometime during our eighteen week postal strike, hence our not publishing the fact before this. The address—12 Waterloo Place, London SW1Y 4AU, remains the same. Victor Margrie, who many will remember from the Wexford Conference, is Secretary General.
LOAN OF LOOM REQUIRED Bunratty Castle and Folk Park are recreating some pre-Christian clothing for their museum. Pre-Christian methods of spinning, dyeing and weaving are to be used but the problem is that they need a 58 inch loom. If anyone has one they would be willing to lend, please contact Tom Sheedy, Bunratty Castle and Folk Park, Bunratty, Co Clare. Telephone 061 61511.
Travelling Exhibition Available International Project Competition for Craft Associations As the purpose of the travelling exhibition is an educative one to increase public awareness of good craftsmanship and to encourage the general public in Ireland to appreciate the gift potential of the products of craftsmen, and to aid them in making a judgement for themselves, Crafts Council hopes that the various craft associations and other member organisations will want to arrange for suitable showing of the exhibition in their areas. Applications should be made soon to the Council secretariat so that dates may be planned both later this year and during next year. Crafts Council will be responsible for carriage to and from the venue, insurance, and for lighting facilities and supervision will be the responsibility of the local organisation. Space wil! be all important and while the exhibition is designed for a flexible usage in terms of space, it will be obvious that however well mounted the exhibition may be, poor space facilities can offset this to the detriment of the exhibition. Hall space of at least 25 feet and 20 feet with a maximum height of 10 feet will be necessary.
Crafts Council Travelling Exhibition for Strokestown The first showing of the Craft Council's travelling exhibition will be in Strokestown commencing 8 September. This will be the first opportunity for the public to see this exhibition of 25 to 30 examples of good design and craftsmanship in various media. From one to three examples of top quality commercial rather than art crafts in each media will be shown and the broad categories will include woven, knitted and crocheted items, pottery, glass, enamel, leather, jewellery and silver, batik and traditional crafts such as lace, rush and basketware. The exhibition moves from Strokestown to Wexford for the Festival and then to Cork to coincide with the Conference Seminar.
Opportunity for Craftsmen at Muckross We have learned that studios may be available at Muckross House, Killarney, for craftsmen wishing to work there. Full details of this from Crafts Council of Ireland.
International project competition for the Manufacture Nationale de Sevres 1979/1980. Rules Article 1 The aim of the competition is the creation of a new Sevres object on the bases of drawings. The theme of the competition is a timemeasuring object, that is to say a clock, provided that this term designates the instrument but not necessarily the kinds of shapes traditionally employed in connection with clock. The object should not exceed 0.80m in its largest dimension. It should be primarily in porcelain, but need not exclude metal parts which may prove necessary in particular for mounting the clock. The system for indicating or displaying the time must have been worked out by a clockmaker or a watchmaking industry able to carry out, as appropriate, its production, even if it is limited. Article 2 The candidatures must be anonymous. They may be personal or collective (group project). Candidates must pledge themselves, in case of success, to come to Sevres in order to work out their project, in collaboration with the personnel of the National Manufacture.
— technological instructions concerning the object, if necessary; — instructions concerning the chronometrical system. Article 5 All projects should be addressed to the Director of the National Manufacture of Sevres and delivered to the Service des Archives, Manufacture Nationale de Sevres, 4 grande rue, 92310 Sevres (France) before 28 September 1979 at 4.00 pm. Article 6 The jury will be presided over by the Director of the National Manufacture of Sevres and will be composed of nine members belonging to the consulting committee of the Manufacture and, in addition, of two jurors designated by the "Chambre Francaise de I'Horlogerie" (Professional organisation of French Clockmakers). Article 7 The jury will meet before 20 October 1979 to examine the projects received and select those to be carried out in models. Only then will the jury reveal the candidate's name and decide on the opportunity of a public exhibition of the projects. Article 8 The models will be carried out in plaster at the National Manufacture of Sevres according to the instructions given by the candidates still in the running after this first selection.
Members of the National Manufacture of Sevres are barred from the competition ; Article 9 should their participation be proven, The jury will meet before 30 June 1980 their personal or collective candidature to deliberate and to attribute the awards: would be immediately declared null and void. First prize 15,000 French francs Article 3 Second prize 9,000 French francs A candidate may submit only one Third prize 6,000 French francs project. The jury may, if it so wishes, recommend Article 4 editing the winning projects to the Each project must be signed with a set Director of the National Manufacture. of initials which shall be repeated on a sealed envelope containing the can Article 10 didate's identity. In addition, it shall The candidates pledge themselves, in contain five to seven sheets: case of success in the competition, to yield to the National Manufacture the — a drawing of the ground-plan with exclusive right to edit their project. measurements; — a drawing of the cross-section with The projects will not be returned to the measurements; candidates; they will be kept in the — a sketch (watercolour or gouache) manufacturer's archives. representing the object and showing it in context; The projects will not be returned to the — a drawing of details, if necessary; candidates; they will be kept in the Manufacture's archives.