Craft And Contemporary Theory

An innovative interdisiplinary collection which explores cultural perceptions of craft and their impact on contemporary practice.

What is craft? How is it different from fine art or design? In A Theory of Craft, Howard Risatti examines these issues by comparing handmade ceramics, glass, metalwork, weaving, and furniture to painting, sculpture, photography, and machine-made design from Bauhaus to the Memphis Group. He describes craft's unique qualities as functionality combined with an ability to express human values that transcend temporal, spatial, and social boundaries. Modern design today has taken over from craft the making of functional objects of daily use by employing machines to do work once done by hand. Understanding the aesthetic and social implications of this transformation forces us to see craft as well as design and fine art in a new perspective, Risatti argues. Without a way of understanding and valuing craft on its own terms, the field languishes aesthetically, being judged by fine art criteria that automatically deny art status to craft objects. Craft must articulate a role for itself in contemporary society, says Risatti; otherwise it will be absorbed by fine art or design and its singular approach to understanding the world will be lost. A Theory of Craft is a signal contribution to establishing a craft theory that recognizes, defines, and celebrates the unique blend of function and human aesthetic values embodied in the craft object.

Artists, critics, curators, and scholars develop theories of craft in relation to art, chronicle how fine art institutions understand and exhibit craft media, and offer accounts of activist crafting.

The craft of craft, the art of craft – here in Canada we're just starting to really talk about these things. In March 1999, Jean Johnson, who runs Toronto's Craft Studio at Harbourfront Centre, organized a wildly successful symposium on the state of craft in Canada. Curators, writers, critics, academics and craftspeople spoke about all aspects of craft: history, practice, theory, criticism. Taken together, these papers create a clear picture of the vibrant crafts scene in Canada. The symposium was a groundbreaking event, a first in Canada, offering to the crafts community a new depth of consideration. The book, too, is a Canadian first, and it will allow a dialogue about the academic side of the craft movement to continue. Each of the book's three sections, History, Theory and Critical Writing, contains a keynote paper and essays by experts in each field, including Mark Kingwell writing 'On Style,' Blake Gopnik on 'Reviewing Craft Exhibitions for the Art Pages,' and Robin Metcalfe addressing 'Teacup Readings: Contextualizing Craft in the Art Gallery.'

This book is an introduction to the way that artists working in all media think about craft. Workmanship is key to today's visual arts, when high 'production values' are becoming increasingly commonplace. Yet craft's centrality to contemporary art has received little serious attention from critics and historians. Dispensing with clichéd arguments that craft is art, Adamson persuasively makes a case for defining craft in a more nuanced fashion. The interesting thing about craft, he argues, is that it is perceived to be 'inferior' to art. The book consists of an overview of various aspects of this second-class identity - supplementarity, sensuality, skill, the pastoral, and the amateur. It also provides historical case studies analysing craft's role in a variety of disciplines, including architecture, design, contemporary art, and the crafts themselves.

In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cézanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing “process art” within a larger historical context, Grant looks at the changing relations of the artist’s labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist’s role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists’ explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world.

Exploring the breadth of contemporary feminist research practices, this engaging text immerses the reader in cutting-edge theories, methods, and practical strategies. Chapters review theoretical work and describe approaches to conducting quantitative, qualitative, and community-based research with participants; doing content or media analysis; and evaluating programs or interventions. Ethical issues are addressed and innovative uses of digital media highlighted. The focus is studying gender inequities as they are experienced by individuals and groups from diverse cultural, racial, and socioeconomic backgrounds, and with diverse gender identities. Delving into the process of writing and publishing feminist research, the text covers timely topics such as public scholarship, activism, and arts-based practices. The companion website features interviews with prominent feminist researchers. Pedagogical Features *Case examples of feminist research. *Running glossary of key terms. *Boxes highlighting hot topics and key points for practice. *End-of-chapter discussion questions and activities. *End-of-chapter annotated suggested reading (books, articles, and online resources). *Sample letters to research participants. *Appendix of feminist scholars organized by discipline.

Illustrated with 200 stunning photographs and encompassing objects from furniture and ceramics to jewelry and metal, this definitive work from Jo Lauria and Steve Fenton showcases some of the greatest pieces of American crafts of the last two centuries. Potter Craft

"The Phenomenological Mind" is the first book to properly introduce fundamental questions about the mind from the perspective of phenomenology. Key questions and topics covered include: what is phenomenology?; naturalizing phenomenology and the empirical cognitive sciences; phenomenology and consciousness; consciousness and self-consciousness, including perception and action time and consciousness, including William James, Edmund Husserl and temporal disorders in psychopathology; intentionality; the embodied mind; action knowledge of other minds situated; and extended minds phenomenology and personal identity. Interesting and important examples are used throughout, including phantom limb syndrome, blindsight and self-disorders in schizophrenia, making "The Phenomenological Mind" an ideal introduction to key concepts in phenomenology, cognitive science and philosophy of mind

This book is arguably the definitive undergraduate textbook on contemporary social theory. Written by one of the world’s most acclaimed social theorists, Anthony Elliott provides a dazzlingly accessible and comprehensive introduction to modern social theory from the Frankfurt School to globalization theories and beyond. In distilling the essentials of social theory, Elliott reviews the works of major theorists including Theodor Adorno, Herbert Marcuse, Michel Foucault, Jacques Lacan, Jacques Derrida, Anthony Giddens, Pierre Bourdieu, Julia Kristeva, Jurgen Habermas, Judith Butler, Slavoj Zizek, Manuel Castells, Ulrich Beck, Zygmunt Bauman, Giorgio Agamben and Manuel De Landa. Every social theorist discussed is contextualized in a wider political and historical context, and from which their major contributions to social theory are critically assessed. This book is essential reading for students and professionals in the fields of social theory, sociology and cultural studies, as it is both an original enquiry and a consummate introduction to social theory.