Page 290 - Constructing Craft

The Review of the CCNZ

In 1990 the CCNZ prepared a travelling exhibition to coincide with the
th
sesquicentenary (the 150 anniversary) of the signing of the Treaty of Waitangi. Mau
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Mahara: Our Stories in Craft was designed to portray the history of craft in New
Zealand, but it was also hoped it would enhance the profile of the CCNZ. By 1991
however, low public attendance and mediocre reviews had diminished the cultural

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value of the exhibition. Furthermore, the CCNZ had borrowed to cover the cost of
the exhibition anticipating that it would break even or make a profit. In fact, by May
1991, it had amassed a deficit of just under $80,000. To add to the difficulties the

Chairman of the CCNZ was often overseas and was out of the country during the

time that the CCNZ was becoming mired in debt and controversy. The leadership the
CCNZ so desperately needed was missing. However, the review the Arts Council, as

the CCNZ’s chief source of funds, now ordered had its beginnings a number of years
earlier.

During the 1980s the CCNZ had gradually reduced the amount of technical

information it provided to its members and increased its promotion of craft artists.

Also during this period the convergence between what was considered ‘art’ and what
was ‘craft’ had intensified. By the end of the decade many within the art world

believed there was now little difference between an ‘artist’ and a ‘craft artist’. The
evolution of the CCNZ from an organisation that catered to all craftspeople to one

that predominantly promoted craft artists was underway but had not been sanctioned
by a government directive or a charter as in Britain. The organisational structure had

remained member-based and while many politicians were supportive, the cost of

running the organisation in proportion to the number of members was high. The
review of the CCNZ caught the organisation at a difficult time economically, culturally

and administratively. It was time for the art world to step in and sort the mess out.

Ironically, it was a founding member and honorary life member, Jenny Pattrick, who,

in her role as Chair of the Arts Council, was most prominent in deciding the future of
the CCNZ. In a letter to the Chairman of the CCNZ, John Scott, she reflected on her

involvement: ‘I joined the Crafts Council when, as a young jeweller with no national
body, I needed an organisation to belong to. ... But, my need to belong is not strong

Constructing Craft