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The Arizona State University Art Museum is renowned for its extensive and notable craft collection and features international acquisitions in wood, ceramic, and fiber. This book, edited by the museum's curators, uses the ASU collection to explore the idea of craft within a critical context, as both idea and action. Crafting a Continuum begins with the genesis of the craft collection and relates it to the historical development of craft in the United States and abroad, exploring both anthropological and cultural concepts of the field. Peter Held and Heather Sealy Lineberry present photographs of the museum's objects alongside essays by distinguished scholars to illuminate historical and contemporary trends. Sidebars and essays by writers in the craft field offer a broad overview of the future of contemporary craft.
"By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada."--Pub. desc
Crafting New Traditions: Canadian Innovators and Influences brings together the work of eleven historians and craftspeople to address the two questions of “who has influenced the recent history of Canadian studio craft?” and “who will be considered as the ‘pioneers’ of Canadian craft in the future?”
Weaving Europe, Crafting the Museum delves into the history and the changing material culture in Europe through the stories of a basket, a carpet, a waistcoat, a uniform, and a dress. The focus on the objects from the collection of the Museum of European Cultures in Berlin offers an innovative and challenging way of understanding textile culture and museums. The book shows that textiles can be simultaneously used as the material object of research, and as a lens through which we can view museums. In doing so, the book fills a major gap by placing textile knowledge back into the museum. Each chapter focuses on one object story and can be read individually. Swooping from 19th-century wax figure cabinets, Nazi-era collections, Cold War exhibitions in East and West Berlin, and institutional reshuffling after German unification, it reveals the dramatically changing story of the museum and its collection. Based on research with museum curators, makers and users of the textiles in Italy and Germany, Poland and Romania, the book provides intimate insights into how objects are mobilised to very different social and political effects. It sheds new light on movements across borders, political uses of textiles by fascist and communist regimes, the objects' fall into oblivion, as well as their heritage and tourist afterlives. Addressing this complex museum legacy, the book suggests new pathways to prefigure the future. Featuring new archival and ethnographic research, evocative examples and images, it is an essential read for students of textile and material culture, museum and curatorial studies as well as anyone interested in history, heritage and craft.
Craft is an exciting new craft book crammed with more than 50 stunning contemporary projects for crafters of all levels of ability. It covers a vast number of disciplines, explaining the essential tools and materials you need, and demonstrates techniques with clear, close-up photography, simple text, and guiding annotations. Packed with key techniques across a large range of disciplines, Craft is the "homemade" bible for every crafter's bookshelf.
The UK handmade market is currently riding high as our attitudes to shopping and the products we want to buy are changing. With this change comes a new wave of manufacturers - small, local and talented. If you are a producer of handmade products, or you have a craft hobby and are thinking about taking the next step and wondering how to do it, then this book has the answers. In it you will find out: - How to turn your hobby into a small business - Where to sell your products, both on and offline - How to price your products - How to develop a unique and recognisable brand - Where to start with visual merchandising - How to use social media to market your business This book not only takes you through these points in no-nonsense plain English, but also has quirky craft activities to complete along the way. Jam-packed with top hints and tips from real-life crafty small business owners in the know, this book is essential reading for anyone looking to craft their way to success!
Drawing on a wide range of archival evidence, Abigail McGowan argues that crafts seized the political imagination in western India because they provided a means of debating the present and future of the country.
Offering a challenging new argument for the collaborative power of craft, this ground-breaking volume analyses the philosophies, politics and practicalities of collaborative craft work. The book is accessibly organised into four sections covering the cooperation and compromises required by the collaborative process; the potential of recent technological advances for the field of craft; the implications of cross-disciplinary and cross-cultural collaborations for authority and ownership; and the impact of crafted collaborations on the institutions where we work, learn and teach. With cutting-edge essays by established makers and artists such as Allison Smith (US) and Brass Art (UK), curator Lesley Millar, textile designer Trish Belford and distinguished thinker Glenn Adamson, Collaborating Through Craft will be essential reading for students, artists, makers, curators and scholars across a number of fields.
Craft Communities addresses the social groups, old and new, which have developed around craft production and consumption, exploring the social and cultural impact of contemporary practices of making. Addressing a wide range of crafting practice, from yarnbombs to Shetlands shawls, brassware to paper crafting, in a variety of regional and national contexts, the contributors consider how craft practices operate collectively in the home, communities, businesses, workshops, schools, social enterprises, and online. It further identifies how social media has emerged as a key driver of the 'Third Wave' of craft. From Etsy to Instagram, Twitter to Pinterest, online communities of the handmade are changing the way people buy and sell, make and meet.
Express your care and creativity with cards for friends and loved ones designed to celebrate the seasons, holidays,special occasions, tender sentiments, and more. With the ideas organized into easy-to-find sections, you'll find just the inspiration you need to create a card that will be a cherished gift in and of itself. Projects from the pages of Paper Crafts and Stamp It! magazines include greeting cards of all shapes and sizes, gift bags, tags, stationery and an organizer box, memorabilia boxes, mini albums, a calendar-even board games.Features:* One of the three newest editions in the Treasury of Favorites series* 288 pages filled with a variety of paper crafts to make for loved ones of all ages, for holidays and special occasions throughout the year* Popular designs from Paper Crafts and Stamp It! magazines include cards, tags, stationery, mini albums, and more