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Showcases work by designers and makers who use craft techniques rather than mass-production methods to create stylish, whimsical, covetable objects. The practice of handmade craft has undergone a huge resurgence in recent times. This book captures the new mood—a return to the unique and the artisanal. The first part of the book profiles over seventy international artisans who represent an astonishing array of crafts. The profiles include information on what inspires each artisan and how they create their products, often in innovative or eco-conscious ways. The second part of the book consists of an invaluable directory of products, divided into categories: art, ceramics, furniture, glasswork, jewelry, lighting, metalwork, paper and woodwork, stationery, tableware, and textiles. More than 800 color photographs illustrate the huge variety of design work on offer—exquisite paper flowers, handthrown pots and jugs, beaded necklaces, folk-inspired knitted scarves, handblown chandeliers, wooden table lamps, embroideries, and more. Resources include: contact details for the artisans, recommendations of shops, websites, and blogs to visit.
"Collectable, one-of-a-kind artisanal objects--whether hand-woven textiles or handblown glass--have become a fixture of the modern home; and the artists who produce them are increasingly sought-after. In this follow-up volume to The New Artisans, design expert and lauded blogger Olivier Dupon continues his exploration of the most creative artisans working today."--
From the colonial period onward, black artisans in southern cities--thousands of free and enslaved carpenters, coopers, dressmakers, blacksmiths, saddlers, shoemakers, bricklayers, shipwrights, cabinetmakers, tailors, and others--played vital roles in their communities. Yet only a very few black craftspeople have gained popular and scholarly attention. Catherine W. Bishir remedies this oversight by offering an in-depth portrayal of urban African American artisans in the small but important port city of New Bern. In so doing, she highlights the community's often unrecognized importance in the history of nineteenth-century black life. Drawing upon myriad sources, Bishir brings to life men and women who employed their trade skills, sense of purpose, and community relationships to work for liberty and self-sufficiency, to establish and protect their families, and to assume leadership in churches and associations and in New Bern's dynamic political life during and after the Civil War. Focusing on their words and actions, Crafting Lives provides a new understanding of urban southern black artisans' unique place in the larger picture of American artisan identity.
New York Times Book Review Editors' Choice A groundbreaking and endlessly surprising history of how artisans created America, from the nation's origins to the present day. At the center of the United States' economic and social development, according to conventional wisdom, are industry and technology-while craftspeople and handmade objects are relegated to a bygone past. Renowned historian Glenn Adamson turns that narrative on its head in this innovative account, revealing makers' central role in shaping America's identity. Examine any phase of the nation's struggle to define itself, and artisans are there-from the silversmith Paul Revere and the revolutionary carpenters and blacksmiths who hurled tea into Boston Harbor, to today's “maker movement.” From Mother Jones to Rosie the Riveter. From Betsy Ross to Rosa Parks. From suffrage banners to the AIDS Quilt. Adamson shows that craft has long been implicated in debates around equality, education, and class. Artisanship has often been a site of resistance for oppressed people, such as enslaved African-Americans whose skilled labor might confer hard-won agency under bondage, or the Native American makers who adapted traditional arts into statements of modernity. Theirs are among the array of memorable portraits of Americans both celebrated and unfamiliar in this richly peopled book. As Adamson argues, these artisans' stories speak to our collective striving toward a more perfect union. From the beginning, America had to be-and still remains to be-crafted.
Thomas Dennis emigrated to America from England in 1663, settling in Ipswich, a Massachusetts village a long day's sail north of Boston. He had apprenticed in joinery, the most common method of making furniture in sixteenth- and seventeenth-century Britain, and he became Ipswich's second joiner, setting up shop in the heart of the village. During his lifetime, Dennis won wide renown as an artisan. Today, connoisseurs judge his elaborately carved furniture as among the best produced in seventeenth-century America. Robert Tarule, historian and accomplished craftsman, brilliantly recreates Dennis's world in recounting how he created a single oak chest. Writing as a woodworker himself, Tarule vividly portrays Dennis walking through the woods looking for the right trees; sawing and splitting the wood on site; and working in his shop on the chest—planing, joining, and carving. Dennis inherited a knowledge of wood and woodworking that dated back centuries before he was born, and Tarule traces this tradition from Old World to New. He also depicts the natural and social landscape in which Dennis operated, from the sights, sounds, and smells of colonial Ipswich and its surrounding countryside to the laws that governed his use of trees and his network of personal and professional relationships. Thomas Dennis embodies a world that had begun to disappear even during his lifetime, one that today may seem unimaginably distant. Imaginatively conceived and elegantly executed, The Artisan of Ipswich gives readers a tangible understanding of that distant past.
Postdigital Artisans profiles 60 contemporary artists and designers, accompanied by rich illustrations of their postdigital work.
Discover the evolution of the artisanal movement from the fringes of the 1970s to the spike of domesticity—home-cooking, gardening, and DIY crafting—caused by COVID-19 and what it means for the future of work and American culture. In the 1950s, America was a world of immaculate grocery stores, brightly packaged consumer goods, relentless big brand advertising, homes that were much too clean, and diets so rich in salt, sugar, fat, and preservatives you nearly have a heart attack just thinking of them. And while this approach made a great fortune for large consumer packaged goods companies it has been detrimental to American’s overall health and wellbeing. Then, towards the end of the 20th century, Alice Waters and other pioneers figured out how to market natural, handmade, small-batch products to the American consumer again—and the rest is history. Now, we are in the third wave of a revolution. Thanks to COVID-19, millions of Americans went from being consumers of artisanal goods to being producers. People in the mainstream are baking bread, keeping bees, growing vegetables, and even raising chickens. Gardens are flourishing, workshops are growing, and sewing machines are whirring. Thousands have left the cities for the countryside, and if their companies don’t require it, they might never return. Return of the Artisan is a collection of stories and interviews with artisanal businesses across America including family farms and collectives. This book explores their business models, their motivations, and explores how you can join them by turning your own hobby or passion into your work. Whether you want to make this a profession or simply enjoy providing artisanal goods to your family and friends, this book is a must-have for navigating the ups and downs of the latest artisanal revolution.
Artisan/Practitioners offers an introduction to the history of science through new discussion of an influential thesis in the discipline. The "Zilsel thesis" argues that artisans, craftsmen, and other practitioners exerted an important influence on the development of empirical methodologies in the Scientific Revolution, the "new sciences" of the late sixteenth and seventeenth centuries.
Can an artist claim that an object is a work of art if it has been made for him or her by someone else? If so, who is the author of such a work? And just what is the difference between a work of art and a work of craft? In the first book of its kind, Michael Petry tackles these questions head on.
"This book takes the reader into the studios of master artisans in fields such as glassblowing, masonry, and wood carving as well as hatmaking, embroidery, and calligraphy. It provides the ultimate sourcebook for objects with real character—whether for renovating the home, re-creating a look from the past, searching for a one-of-a-kind gift, or restoring a beloved antique." --Amazon.