Nick Mount is one of the world's leading glass artists. In his sixtieth year he was honoured with a major exhibition in Pittsburgh, Pennsylvania, as well as the Object Living Treasure Award. This book, written in the style of an extraordinary yarn, is not so much about Nick Mount's achievements as a glass artist as it is about the elements that have shaped his career and continue to inform his work. His philosophy, work ethic and environment, peers and family have all been factors in his work and success. Together they form the fabric of his work. Nick Mount has received numerous awards, including the Bavarian State Prize in Germany, an Australia Council Fellowship, and the Arts SA Triennial Project Grant. He acknowledges the honour of being able to work with his hands, and has enormous gratitude for a lifetime of assistance from Dr and Mrs G.J. Mount, Pauline, Hugo, Peta and Pip. Nick Mount The Fabric of Work is richly illustrated with photographs of Nick's pieces, including many made recently. These vibrant works range from the extraordinary flamboyant scent bottles to more recent wood and glass fruit pieces that reflect a lush quietude.

In The Persistence of Craft, contributors discuss the development of not only six specific crafts--glass, ceramics, jewelry, wood, textiles, and metal--but also the trends and movements that have helped shape their developments. Includes 180 full-color illustrations.

In the short period between the late 1960s, when the National Gallery of Australia project received the go-ahead from government, and its opening in 1982 the national collection of art took shape. Twenty years later, this book of essays tells how the various collections which make up the national collection came into being, and the way they continue to evolve. The authors include the Gallery's three directors and another three, young men when the Gallery opened, who are now gallery directors themselves. Others, close to the circumstances of the beginnings of the collections, provide insightful commentary. The stories included are as varied and full of interest as the collections themselves.

This book examines the relationship between art and tourism through the study of the material culture of tourism: tourist art and souvenirs. It thoroughly examines how to categorise the material culture of tourism within the discourses of contemporary art and cultural anthropology, and demonstrates that tourist art is a unique expression of place and genuine artistic style. The first investigation to consider the activity of souvenirs from both indigenous and settler tourist sites, it brings a unique addition to the existing, dated, research in the area. Working initially from Graburn’s definition of tourist art, as the art of one culture made specifically for the consumption of another, Tourism Art and Souvenirs sheds light on important aspects of the souvenir that have not been widely discussed. The most recent research is used to consider how the souvenir is designed and consumed, consumer expectations and influence on the character of the souvenir, how the souvenir maker is consumed by the tradition of heritage and how products become successful as souvenirs. The title also investigates the language involved in the representation of place and the recording of experience through the souvenir, developing a method that expresses the descriptive data of individual souvenir artefacts graphically so the patterns of language may be analysed. Enhancing the understanding of material culture in tourism and therefore adding to future tourism development this volume will be of interest to upper level students, researchers and academics in tourism, culture, heritage and sustainability.