Modern and contemporary crafts (Art)

None of Us Is Sentimental About the Hand: Dorothy Liebes, Handweaving, and Design for Industry

by Alexa Griffith Winton

The Value of the Hand - Cathie Pilkington

by Benedict Carpenter

Published in 'The Medal' No.60 Spring 2012

This paper analyses the work of contemporary British sculptor Cathie Pilkington. It concentrates on her quotation of... more This paper analyses the work of contemporary British sculptor Cathie Pilkington. It concentrates on her quotation of craft and fine art processes as a satirical strategy to question the reflexive authority that aggregates around Romantic notions of genius. Her recent BAMS medal is discussed at some length, particularly in relation to the awkward status of the form, sitting as it does between the defined cultures of art and craft.

'An Analysis of the Art Craft Debate with Reference to the Work of Chatwin: Martin'

by Grace Lees-Maffei

In Ring of Fire (exhibition catalogue), ed. Steven Adams (Hatfield: University of Hertfordshire, 1998): 7-20.

Interventions in the debate about the boundaries and common ground between ‘art’ and ‘craft’ have proliferated in... more Interventions in the debate about the boundaries and common ground between ‘art’ and ‘craft’ have proliferated in recent years. Practical work that through form or content addresses this no man’s land has provoked some controversy, with artists and craftspeople differing over the aims and achievements of their work, and the reception of it. Despite continuing rehearsals of the craft/art debate and related arguments - some of which are outlined below - these issues remain live.

'Material engagement (forged steel sculpture): Pete Mattila

by Deborah Malor

Craft Arts International 82, 2011, pp.58-61

Bettina Baumann's Vessel-Spaces

by Deborah Malor

Ceramics Art & Perception 65, 2006, pp91-94

Nation in a sheep's coat: The Icelandic sweater

by Gudrun Helgadottir

Published in FORMakademisk 4(2), 2011

The Icelandic sweater is presented and received as being traditional—even ancient—authentically Icelandic and hand... more The Icelandic sweater is presented and received as being traditional—even ancient—authentically Icelandic and hand made by Icelandic women from the wool of Icelandic sheep. Even so, the sweater type, the so-called ‘Icelandic sweater’ in English, only dates back to the mid-20th century and is not necessarily made in Iceland nor from indigenous wool. Nevertheless, the sweater is a successful invention of a tradition (Hobsbawm & Ranger, 1983), popular among Icelanders and tourists alike since its introduction in the mid-20th century. It has gained ground as a national symbol, particularly in times of crisis for example in the reconstruction of values in the aftermath of the Icelandic bank collapse of 2008. I traced the development of the discourse about wool and the origins of the Icelandic sweater by looking at publications of the Icelandic National Craft Association, current design discourse in Iceland and its effect on the development of the wool industry. I then tied these factors to notions of tradition, authenticity, national culture, image and souvenirs.

Keywords: Lopapeysa / The Icelandic sweater, textiles, souvenir, heritage, image

‘British Interventions in the Traditional Crafts of Ceylon (Sri Lanka), 1850-1930’

by Robin Jones

The Journal of Modern Craft (November 2008) vol. 1, issue 3, ISSN 1749 – 6772, pp. 383-404, e-ISSN 1749 - 6780.

Gas Stations, Trees, and Rockets Wrapped in Weavings and Ideals: The International Fiber Collaborative and Provocations for Social Change

by Courtney Weida

With Jennifer Marsh, published in Creative Arts in Research for Community and Cultural Change, 2011, Editor Cheryl L. McLean, Associate Editor Robert Kelly Ph.D., University of Calgary, publisher Detselig Temeron Press
http://creativecommunitychange.blogspot.com/2011/01/about-creative-arts-in-research-for.html

This chapter examines the merging of art and activism within the International Fiber Collaborative (IFC), founded by... more This chapter examines the merging of art and activism within the International Fiber Collaborative (IFC), founded by Jennifer Marsh. As a fellow artist and educator, I have participated in and researched multiple collaborative projects with Marsh and the IFC over the past few years.  The large-scale, cozy-like creations of the IFC might be compared to the ephemeral wrapped works of Jeanne-Claude and Christo, yet they also seem to have a craft affinity with products of knitting circles.  Marsh and other IFC volunteers connect the individual fiber panels into vast coverings to wrap a gas station, a gigantic tree, and a NASA rocket. IFC’s community casts a similarly wide net: extending to artists, craftspeople, school children, college groups, and other makers working collaboratively or individually. Even while drawing upon the very tactile and hand-made traditions of fiber, knitting, weaving, and knotting; the IFC haptically utilizes blogging, email, and other digital networking to connect its global communities.  Online dialogues, exchanges, and collaborations offer alternative spaces of education and cultural production, even while providing participants with opportunities to (re)define artistic identities and conceptions of past and present craft communities. Parallel to this repurposing process is the utilization of a range of recycled materials within IFC fiber work.  This chapter will explore contemporary themes and approaches to globalization and activism in community art as they interweave with traditional craft processes with yarn, thread, and fabric.  As an arts researcher, I will draw upon portraiture methodology to describe the IFC’s unique artistic and social relevance for pedagogy.

The individual and communal themes explored in each participant’s contribution to the Gas Station Project, the Tree Project, and the most recent Rocket Project are myriad, yet share an interest in social change. While the Fiber Collaborative projects are intentionally open-ended and include many diverse political and ideological responses; the shared message of community and activism proves a common thread.  Further, the digital interplay of weblogging, linking, and online commentary allows a range of overlapping and divergent voices to coalesce in ways that transcend traditional, individual art-making and critical discourse. Though the original function of craft objects have utilitarian meanings, (such as a potholder or quilt), the purpose of an individual artist’s panel is often a uniquely personal and/or political expression.  In this way, contemporary craft projects like the IFC engender social change while building layers of multifaceted community space and artistic dialogue.

Morris in Mexico

by Kevin Melchionne

in the book, 'Copper, Stone and Fire: James Metcalf, Ana Pellicer and the Artisans of Santa Clara Del Cobre.' Temple Gallery, Philadelphia, PA, September 2000.

An interpretation of the work of James Metcalf and Ana Pellicer in the context of William Morris and the Arts and... more An interpretation of the work of James Metcalf and Ana Pellicer in the context of William Morris and the Arts and Crafts movement. From the exhibition catalogue for 'Copper, Stone and Fire: James Metcalf, Ana Pellicer and the Artisans of Santa Clara Del Cobre.'

La caida de una artesania: cesteria en San Juan Guelavia, Oaxaca

by Jeffrey Cohen

Chungara, volumen 43, no 2: 257-266

Los artesanos oaxaqueños son célebres por la calidad de sus trabajos, el éxito de sus negocios y la capacidad de sus... more Los artesanos oaxaqueños son célebres por la calidad de sus trabajos, el éxito de sus negocios y la capacidad de sus productos para trascender en el espacio y el tiempo. Los tejedores de algodón y textiles de lana, los fabricantes de cerámica de barro y más recientemente talladores de madera, que hacen alebrijes (animales de madera pintada), producen artículos que son comprados y vendidos en el mercado internacional y son exhibidos mundialmente en las colecciones de museos. Sin embargo, hay artesanías en Oaxaca que no son viables en el mercado y no aparecen en colecciones internacionales. En este documento examinamos la
producción de canastas en la comunidad de San Juan Guelavia. Argumentamos que la caída en el mercado refleja tres cambios
críticos: primero, una disminución en el uso local; segundo, un alza en los costos de producción; y tercero, una falta de apoyo de exportadores y una incapacidad para involucrarse en el mercado de exportación.

Remixed and Unstitched: Subversively Discursive Digital Communities of Contemporary Craft

by Courtney Weida

published in digital media project: Hacking the Academy, originally presented at MIT Media In Transition Conference, 2009.

In what ways can online networking sites for crafts define themselves, and how might these digital spaces compare with... more In what ways can online networking sites for crafts define themselves, and how might these digital spaces compare with physical communities of contemporary crafts? This remixed paper serves as an ongoing analysis of constructions of subversive speech and counter-discourses within digital forums for ceramics, fiber art, and other studio crafts. Communities of people working with studio craft media might seem unlikely netizens however, Internet forums for craftspeople are expanding. (A few examples include etsy.com, craftzine.com, and craftster.com. )In many ways, web forums such as message boards and tutorials offer alternative social and teaching spaces. Web dialogues, exchanges, and collaborations also provide participants with opportunities to reclaim and/ or revise artistic identities and conceptions of past and present craft communities.

Subversively Discursive Digital Communities of Contemporary Craft

by Courtney Weida

Published in 2009 National Art Education Association best-seller: Globalization.

How do online networking sites for craft define themselves, and how do they compare to physical communities of... more How do online networking sites for craft define themselves, and how do they compare to physical communities of contemporary craft? This chapter examines the construction of subversive speech and counter-discourses within digital forums for ceramics, fiber art, and other studio crafts. Communities of people working within traditional craft media might seem unlikely netizens; however, Internet forums for craftspeople have become particularly robust and global communities. Web forums such as message boards and tutorials offer alternative social and teaching spaces. These online dialogues and collaborations offer opportunities to reclaim and/ or revise artistic identities and conceptions of past and present craft communities.

UK DIY: CRAFT RESEARCH REPORT

by Sally Fort

Crafting Connections in Stained Glass

by Rishav Jain

This article recently got published in HOME REVIEW Magazine in its July 2011 issue. it gives a brief insite on the craft of Stained glass , its arrival in India, the usage and touches upon the manifestation of craft form in contemporary times.

Naff? An Exploration of Value.

by Kathryn Lichti-Harriman

Lichti-Harriman, K. (2007) ‘Naff? An Exploration of Value’, 15 October 2007 – 24 January 2008, temporary installation, Marischal Museum, University of Aberdeen, Aberdeen, Scotland

PowerPoint upload pending.

Design e Artesanato: tecnologia social para capacitação e formação de multiplicadores do conhecimento

by rafo Barbosa

Artigo dos professores
Rena, Natacha S. A.; PhD; Universidade FUMEC / EA.UFMG
Menezes, Alexandre M.; PhD; Universidade FUMEC / EA.UFMG

Este artigo apresenta uma pesquisa da Universidade FUMEC, intitulada “Desenvolvimento de Tecnologia Social para... more Este artigo apresenta uma pesquisa da Universidade FUMEC, intitulada “Desenvolvimento de Tecnologia Social para realização de projetos de capacitação em artesanato e design tendo o Projeto ASAS como estudo de caso”. O Projeto ASAS tem a intenção de capacitar moradores do Aglomerado da Serra (conjunto de vilas e favelas situado em Belo Horizonte, Brasil) para o desenvolvimento de produtos com características singulares. O objetivo da pesquisa é investigar o processo criativo utilizado durante a realização de trabalhos manuais. A pesquisa parte da hipótese de que é possível identificar características e procedimentos criativos, coletivos e colaborativos que contribuam para empoderar, capacitar e formar multiplicadores do conhecimento adquirido na comunidade onde o projeto de capacitação em artesanato e design foi desenvolvido. O artigo apresenta a metodologia utilizada na coleta e análise dos dados e alguns resultados já obtidos neste procedimento de pesquisa.

Understanding the Individual Craftsperson: Creativity in North-East Scotland

by Kathryn Lichti-Harriman

Harriman, K. (2007) ‘Understanding the Individual Craftsperson: Creativity in North-East Scotland’ in New Craft Future Voices, eds. Follett & Valentine, Dundee, Scotland: Duncan of Jordanstone College of Art and Design

This paper draws on my own situation as a visual anthropologist doing doctoral research on craft as material culture.... more This paper draws on my own situation as a visual anthropologist doing doctoral research on craft as material culture. My work in the North East of Scotland, based on fieldwork undertaken in 2005-2006, combines art and documentary photography with traditional participant observation. The resulting research approaches craft from theoretical and methodological perspectives situated slightly outside those of trained crafts practitioners. The interesting questions for me do not involve debating categories, but understanding how they work; they’re not about judging the value of Art or Craft, but understanding the social mechanisms that drive their makers.

I ask questions about the role of creativity in vernacular craft, by looking how people synthesize different modes of creative agency, balancing the paradoxes that arise. Then I examine discourses of Art and Craft, femininity, and individualism as cultural categories that pervade Euro-American understandings of the individual craftsperson. The main findings of these questions that there are two modes of creativity operating within Craft, which are embraced differently in the realms of fine and hobby craft. This impacts widely held views of the individual, non-professional craftsperson by informing discourses of femininity and individualism.

In order to explore this topic, I rely on visual based, ethnographic research on skilled people who live with and make craft as part of their daily lives. And, in order to explore my results further, I am planning an exhibition for June - August 2007 in order to share these findings with the communities in which I undertook my research. The goal is to encourage community participation and critique of academic research. Additionally, I have produced a set of art/documentary photographs that I use in my fieldwork as the basis for photo elicitation interviews. A selection of them appears in the paper below.

'Primary Text: An Enquiry on Handicrafts Zodiac no. 4/5, 1959'

by Catharine Rossi

The Journal of Modern Craft, vol. 3, no. 2, 2010