The Australian Design Centre (ADC) is facing a bittersweet farewell as its final exhibition, 'Second Look — Legacy', showcases the reimagined works of renowned artists. Established in 1964, the ADC has been a beacon for local artisans, featuring the likes of Tjanpi Desert Weavers, Lola Greeno, and ceramicist Prue Venables. But now, this iconic institution is at risk of closing its doors forever.
The End of an Era?
'Second Look — Legacy' is more than just an exhibition; it's a poignant reminder of the ADC's impending closure, scheduled for June, due to the withdrawal of government funding. This decision will have far-reaching consequences for the Australian arts scene, leaving New South Wales as the only state without a dedicated craft and design organization. The beloved Sydney Craft Week Festival, an annual October event, also hangs in the balance.
"The real losers here are the artists and the community who cherish craft and design," laments ADC CEO Lisa Cahill. But the exhibition itself offers a glimmer of hope, encouraging artists to reinvent and reuse past creations, breathing new life into familiar materials.
A Journey of Reimagining
Conceived by textile artists Liz Williamson and Barbara Rogers, the inaugural 'Second Look' exhibition took place in 2021 at the Barometer Gallery in Sydney. It embodied their shared vision of sustainable and thoughtful creation, inviting artists to revisit and reimagine their past works. Now, in its fourth year, the exhibition has found a new home at the ADC, providing a larger space to showcase the artists' creativity.
The title 'Legacy' pays tribute to the late Liz Williamson, a textile art luminary who passed away in 2024. Her influence on Australian textile art was profound, and her passion for the craft was ignited during her travels through Asia and Europe in the 1970s. She immersed herself in the diverse weaving traditions of different cultures, studying Batik in Indonesia and exploring the Victoria and Albert Museum in London. Her journey culminated in establishing a studio in Sydney and a distinguished academic career, including a tenure as Head of the School of Design Studies at the College of Fine Arts, UNSW.
Williamson's family has generously loaned a selection of her 'Thrum' series for the exhibition. In weaving, a thrum is a leftover thread, and Williamson's series showcases the ends of woven works she created decades ago, waiting for a second chance at life. Her work is displayed alongside 20 other artists, including Stephanie Beaupark, a Ngugi artist and scientist who combines Western science with Indigenous knowledge in her captivating installations.
A Fight for Survival
The ADC's fate was sealed in October when the board announced its closure in 2026 due to funding cuts. Despite being deemed suitable for funding, the ADC, along with 18 regional galleries, faced the harsh reality of funding rejections. Cahill emphasizes the competitive nature of funding rounds, where the ADC, unfortunately, didn't make the cut. The government's shifting priorities have left craft and design on the sidelines.
To continue its operations, the ADC requires a minimum of $350,000 per year, a lifeline that remains elusive despite the board's efforts. The consequences are dire, with the potential loss of 18 exhibitions annually in Sydney, the touring program that showcases artists' work internationally, and the Object Shop, a platform for 150 makers to sell their creations. The ADC's role in nurturing emerging and mid-career artists is invaluable, providing a stepping stone to larger exhibitions.
As 'Second Look — Legacy' draws to a close on February 28, 2026, the future of the ADC and the Australian craft and design scene hangs in uncertainty. Will the ADC's legacy be celebrated or mourned? The debate is open, and your thoughts are welcome.
