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20
Kevin Murray, Design & Craft: A Discussion Paper Craft Victoria, 2003; available at:
http://www.craftvic.asn.au/papers/craftbase.htm (24 October 2008). See also Hannah Arendt, The
Human Condition, Chicago, 1998, pp.15, 169.
21
Bernard Leach, A Potter’s Book, London, 1940, p.1.
22
Kavanagh, 'The Art of Earth and Fire: The Aesthetics of Robin George Collingwood and the Craft of
the Studio Potter', p.243.
23 D. S. Taylor, 'R. G. Collingwood: Art, Craft and History', Clio, 2, 1973, p.240.
24
ibid., p.241.
25 Philip Rawson, Ceramics, London, 1971, p.1.
26
C. B. Fethe, 'Craft and Art: A Phenomenological Distinction', British Journal of Aesthetics, 17, 2,
1977, p.131.
27
ibid.
28
Margaret MacDonald, 'Art and Imagination', Proceedings of the Aristotelian Society, 53, 1952 -
1953, p.210.
29 Leach, p.1.
30
Grace Cochrane, The Crafts Movement in Australia: A History, Kensington NSW, 1992, p.104.
Many of Cochrane’s comments about Australia are equally applicable to New Zealand, but not
necessarily within the same timeframe.
31 ibid.
32
Smith, p.53.
33
Grace Cochrane, 'Truth or Trap: The Australian Contemporary Crafts Movement's Pursuit of Art
Ideals', PhD thesis, University of Tasmania, 1998, p.3.
34
His seminal work, La Distinction: Critique Sociale du Jugement , was translated in 1984. See Pierre
Bourdieu, Distinction: A Social Critique of the Judgement of Taste, Cambridge, Mass, 1984.
35
Zander Navarro, 'In Search of a Cultural Interpretation of Power: The Contribution of Pierre
Bourdieu', IDS Bulletin, 37, 6, 2006, p.14.
36
Dennis Sobolev, The Concepts Used in Analyze "Culture": A Critique of Twentieth-Century Ways of
Thinking, New York, 2010, pp.475 - 6.
37 Colin Slade, 'If It's Craft It's Art', New Zealand Crafts, Summer, 26 1988, p.9.
38
John Stevens, 'Letter to the Editor: Handcrafted Publicity?', New Zealand Crafts, June/July, 10
1984, p.2.
39
Bourdieu, p.1.
40
Rosemary Crompton, Class and Stratification: An Introduction to Current Debates, Cambridge,
1993, p.19.
41
Kevin Murray, Craft Unbound: Make the Common Precious, Melbourne, 2005, p.10.
42
ibid., pp.9 - 10.
43
Crompton, p.178. Bourdieu’s reference to bourgeoisie refers to the generation born before the
Second World War. See Editor’s Introduction, Pierre Bourdieu, The Field of Cultural Production,
Cambridge, Mass., 1993, p.3.
44
June Freeman, 'The Discovery of the Commonplace or Establishment of the Elect: Intellectuals in
the Contemporary Craftworld', Journal of Design History, 2, 2/2, 1989, p.62.
45
Tunstall’s letter to the editor of New Zealand Crafts, expressed concern at this development. See
Robyn Tunstall, 'Fingers Pointed at the Index', New Zealand Crafts, 25 Spring, 1988, p.2. Noughts,
Crosses and Zigzags is a reference to the paintings of the abstract artist, Wassily Kandinsky.
46
John Scott, 'Art’s Art/Craft’s Craft Or: Tripping Along the Continuum', New Zealand Crafts, Autumn,
27 1989.
47
ibid., p.21.
48
ibid., p.22.
49
Campbell Hegan, 'Letter from the President', New Zealand Crafts, 12, Summer 1984/85, p.3. Later,
Hegan stated in New Zealand Crafts that: ‘All professional craftspeople’ were eligible to apply for
selection. In an editorial in the same issue ‘professional’ was defined as ‘(over 30 hours per week)’.
See, 'Editorial', New Zealand Crafts, Autumn 1985, p.2.
50
Heidi Penck, 'Letter to the Editor', New Zealand Crafts, 13 Autumn, 1985, p.4.
51
Colin Slade, 'Letter to the Editor', New Zealand Crafts, 14 Winter, 1985, p.2.
52
ibid.
53
Pierre Bourdieu, Homo Academicus, trans. P. Collier, Cambridge, 1988.
54
B. A. Milner, 'Aims and Ideals', New Zealand Crafts, Winter, 24 1988, p.3.
55
Peter Gibbs, 'Craft Index Ins and Outs', New Zealand Listener, March, 26 1988.
56
Lani Morris, 'Index of New Zealand Craftworkers', New Zealand Crafts, Autumn, 20 1987, p.18.
Constructing Craft