Pub Date : 2015-05-04DOI: 10.1080/17496772.2015.1057406
Elissa Auther
Elissa Auther is the Windgate Research Curator at the Museum of Arts and Design and the Bard Graduate Center. Her book, String, Felt, Thread: The Hierarchy of Art and Craft in American Art (Minnesota, 2010), focuses on the broad utilization of fiber in American art of the 1960s and 1970s and the changing hierarchical relationship between art and craft expressed by the medium’s new visibility. She is co-editor of West of Center: Art and the Counterculture Experiment in America, 1965–1977 (Minnesota, 2012). Most recently she co-curated Pretty/Dirty, a retrospective exhibition of the painter and photographer Marilyn Minter, and is the editor of the accompanying catalog.
{"title":"Commentary","authors":"Elissa Auther","doi":"10.1080/17496772.2015.1057406","DOIUrl":"https://doi.org/10.1080/17496772.2015.1057406","url":null,"abstract":"Elissa Auther is the Windgate Research Curator at the Museum of Arts and Design and the Bard Graduate Center. Her book, String, Felt, Thread: The Hierarchy of Art and Craft in American Art (Minnesota, 2010), focuses on the broad utilization of fiber in American art of the 1960s and 1970s and the changing hierarchical relationship between art and craft expressed by the medium’s new visibility. She is co-editor of West of Center: Art and the Counterculture Experiment in America, 1965–1977 (Minnesota, 2012). Most recently she co-curated Pretty/Dirty, a retrospective exhibition of the painter and photographer Marilyn Minter, and is the editor of the accompanying catalog.","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2015-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17496772.2015.1057406","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60111206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2014-11-01DOI: 10.2752/174967714X14111311183009
Joana Ozorio de Almeida Meroz
Stedelijk Museum Amsterdam, The Netherlands, February 22 to August 23, 2014. Curated by Marjan Boot, assisted by Jamie Tergau. Design by Bart Hess and Harm Rensink. Consultant: Gijs Bakker. The exhibition is accompanied by a publication (written by Marjan Boot) and a documentary (made by Lex Reitsma): Boot, Marjan and Lex Reitsma. De show van Gijs + Emmy: modeen sieraadontwerpen. The Gijs + Emmy Spectacle: Fashion and Jewelry Design. Gijs Bakker + Emmy van Leersum, 1967–1972 (Rotterdam: NAI010 Publishers, 2014).
2014年2月22日至8月23日，荷兰阿姆斯特丹市立博物馆。由Marjan Boot策划，Jamie Tergau协助。由Bart Hess和Harm Rensink设计。顾问:Gijs Bakker。展览还附有一本出版物(由Marjan Boot撰写)和一部纪录片(由Lex Reitsma制作):Boot, Marjan和Lex Reitsma。De show van Gijs + Emmy: modern sieraadontwerpen。Gijs +艾美奖奇观:时尚和珠宝设计。Gijs Bakker + Emmy van Leersum, 1967-1972(鹿特丹:NAI010出版社，2014)。
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Pub Date : 2013-07-01DOI: 10.2752/174967813X13703633980731
Otto von Busch
Abstract With the rise of the Internet, skills, patterns, and ideas are being shared more widely among people engaged in the crafts, which seems to break with some of the underlying assumptions about the lone genius craftsman. Much discourse about craft has been focused on the hands of the artisan, or the “tacit” knowledge used by the maker, but as crafters collaborate in a larger extent some other perspectives could be of use, especially since the surrounding environment seems to take a more active involvement in the production than the mere maker. Increasing Internet prevalence has made this even more obvious, as do-it-yourself instruction and the sharing of skills are abundant in craft forums online, blurring the borders between influences, makers, and situated modes of production. This article examines some concepts and metaphors by which some of the potentials of craft collaborations could be understood. Combining theories of cognition from super-organisms like ant colonies and their “bodyhood” with the “capabilities approach” of Amartya Sen and the concept of educational sloyd, the text builds an associative framework for a perspective on how collaborations actualize new craft capabilities. In conclusion, the article proposes a wider understanding of do-it-yourself activities as a shared endeavor toward expanded collaborative capabilities; do-it-together rather than yourself.
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Pub Date : 2011-11-01DOI: 10.2752/174967811X13179748904490
Joana Ozorio de Almeida Meroz
{"title":"Making Is Thinking","authors":"Joana Ozorio de Almeida Meroz","doi":"10.2752/174967811X13179748904490","DOIUrl":"https://doi.org/10.2752/174967811X13179748904490","url":null,"abstract":"","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2011-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2752/174967811X13179748904490","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69322538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2010-07-01DOI: 10.2752/174967810X12774789403528
Timo de Rijk
Abstract Within just a few years of its inception, the Dutch design group Droog Design rose to worldwide renown. The group's key constants were not its members, but rather the creators behind the Droog Design label: art historian Renny Ramakers and designer Gijs Bakker. Together they were responsible for not only the planning and organization of projects and the thematic content of presentations, but also for defining the significance of Droog. From the very outset, that significance was propounded in books, articles, lectures, and media presentations. This promotional material has generally been accepted at face value by the trade and popular presses and design industry. In many cases it was not until later that the designers' true aims were revealed in the individual work of participants. And yet the intentions driving Droog Design during its formative initial years have remained obscure. This article sheds light on the real significance of these first years, and compares this to the official reading given by Droog Design itself. The conclusion interprets the place of craft in Droog Design's work, within this new perspective on their ambitions.
{"title":"So-called Craft: The Formative Years of Droog Design, 1992–1998","authors":"Timo de Rijk","doi":"10.2752/174967810X12774789403528","DOIUrl":"https://doi.org/10.2752/174967810X12774789403528","url":null,"abstract":"Abstract Within just a few years of its inception, the Dutch design group Droog Design rose to worldwide renown. The group's key constants were not its members, but rather the creators behind the Droog Design label: art historian Renny Ramakers and designer Gijs Bakker. Together they were responsible for not only the planning and organization of projects and the thematic content of presentations, but also for defining the significance of Droog. From the very outset, that significance was propounded in books, articles, lectures, and media presentations. This promotional material has generally been accepted at face value by the trade and popular presses and design industry. In many cases it was not until later that the designers' true aims were revealed in the individual work of participants. And yet the intentions driving Droog Design during its formative initial years have remained obscure. This article sheds light on the real significance of these first years, and compares this to the official reading given by Droog Design itself. The conclusion interprets the place of craft in Droog Design's work, within this new perspective on their ambitions.","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2010-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2752/174967810X12774789403528","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69322516","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2009-03-01DOI: 10.2752/174967809X416314
Liesbeth den Besten
{"title":"Des Wahnsinns fette Beute—Schmuck an der Akademie der Bildende Künste München: Die Klasse Künzli","authors":"Liesbeth den Besten","doi":"10.2752/174967809X416314","DOIUrl":"https://doi.org/10.2752/174967809X416314","url":null,"abstract":"","PeriodicalId":41904,"journal":{"name":"Journal of Modern Craft","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2009-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.2752/174967809X416314","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69322888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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