César González-Martín, A. García-López, E. Romero-Frías, María Jesús Cano-Martínez
Throughout history, certain stereotypes associated with the idea of feminine and masculine have been consolidated and maintained, framed within a binary sex/gender system. With the passage of time and the inclusion of women in the workplace, such stereotypes have been extrapolated to the latter, resulting in inequalities in access to certain positions and professional development. Although significant progress has been made in workplace equality, some professions continue to be characterized by a particular polarization, and within the artisan sector, this is reflected in specific trades. In this sense, this research aims to determine whether there are gender stereotypes in the Spanish artisan sector, the degree of presence of men and women in the various craft trades, and what elements facilitate this polarization. A survey of 547 craftspeople, and a review of the statistical data on the working population in Spain for the year 2020, reveals a perpetuation of gender segregation depending on the craft trade, along with an ageing sector, and continued stereotyping in the generational replacement in the Spanish craft sector.
{"title":"Gender-based stereotyping in the Spanish artisan sector","authors":"César González-Martín, A. García-López, E. Romero-Frías, María Jesús Cano-Martínez","doi":"10.1386/crre_00097_1","DOIUrl":"https://doi.org/10.1386/crre_00097_1","url":null,"abstract":"Throughout history, certain stereotypes associated with the idea of feminine and masculine have been consolidated and maintained, framed within a binary sex/gender system. With the passage of time and the inclusion of women in the workplace, such stereotypes have been extrapolated to the latter, resulting in inequalities in access to certain positions and professional development. Although significant progress has been made in workplace equality, some professions continue to be characterized by a particular polarization, and within the artisan sector, this is reflected in specific trades. In this sense, this research aims to determine whether there are gender stereotypes in the Spanish artisan sector, the degree of presence of men and women in the various craft trades, and what elements facilitate this polarization. A survey of 547 craftspeople, and a review of the statistical data on the working population in Spain for the year 2020, reveals a perpetuation of gender segregation depending on the craft trade, along with an ageing sector, and continued stereotyping in the generational replacement in the Spanish craft sector.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49127602","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: A Thread, Levitated and Hovering: The 4th Hangzhou Triennial of Fiber Art, Curated by Liu Tian Zhejiang Art Museum, Hangzhou, China, 18 October–4 December 2022 (main exhibition) Hangzhou Museum, Hangzhou, China, 20 September–4 December 2022 (special programme Pure Reason)
{"title":"A Thread, Levitated and Hovering: The 4th Hangzhou Triennial of Fiber Art, Curated by Liu Tian","authors":"Ye Zheng","doi":"10.1386/crre_00099_5","DOIUrl":"https://doi.org/10.1386/crre_00099_5","url":null,"abstract":"Review of: A Thread, Levitated and Hovering: The 4th Hangzhou Triennial of Fiber Art, Curated by Liu Tian\u0000 Zhejiang Art Museum, Hangzhou, China, 18 October–4 December 2022 (main exhibition)\u0000 Hangzhou Museum, Hangzhou, China, 20 September–4 December 2022 (special programme Pure Reason)","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43257248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the footsteps of specialization as well as studio crafts, making is commonly thought of as a solitary practice. The term do-it-yourself (DIY) emphasizes the singular and practical maker, empowered by his or her skills, taking action where deemed necessary. Along similar lines, tools are designed for the use by this lone maker, who seldom asks for assistance. The term co-craft, as explored in this article, suggests a collaborative mode of crafts, where participants not only work together, but become reliant on each other. Following the ideas of craftsman and thinker William Coperthwaite, such tools for togetherness make democratic ideals tangible and are ‘socially valid designs’. This article examines a series of workshops where socially valid tools are designed and implemented in Gothenburg, to model possible modes of co-craft and democratic ways of practical cultivation of craft capabilities.
{"title":"Socially valid tools: Sloydtrukk and co-crafting togetherness","authors":"H. Hansson, Otto von Busch","doi":"10.1386/crre_00094_1","DOIUrl":"https://doi.org/10.1386/crre_00094_1","url":null,"abstract":"In the footsteps of specialization as well as studio crafts, making is commonly thought of as a solitary practice. The term do-it-yourself (DIY) emphasizes the singular and practical maker, empowered by his or her skills, taking action where deemed necessary. Along similar lines, tools are designed for the use by this lone maker, who seldom asks for assistance. The term co-craft, as explored in this article, suggests a collaborative mode of crafts, where participants not only work together, but become reliant on each other. Following the ideas of craftsman and thinker William Coperthwaite, such tools for togetherness make democratic ideals tangible and are ‘socially valid designs’. This article examines a series of workshops where socially valid tools are designed and implemented in Gothenburg, to model possible modes of co-craft and democratic ways of practical cultivation of craft capabilities.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44547931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This position paper establishes a way towards a post-anthropocentric understanding of serendipity, or the happy accident, in making processes across art, craft and design. Throwing into question hylomorphic attempts to understand the application of the maker’s know-how, which devalues the enabling capabilities of the ‘happy accident’, this position paper sets a course towards a post-anthropocentric model of making. Exploring the ineffability of materials and other events or circumstances that lie outside of purposeful affordances diffracts the focus from purposeful human agency. Instead, re-understanding the maker’s process and knowledge as a transcendent intra-action between flows of material and cognition opens up space for a more subtle and comprehensive investigation into the complexity of human and non-human intra-action, which shapes the maker and the made in a reciprocal process.
{"title":"The happy accident: Post-anthropocentric understandings of serendipity in making processes","authors":"N. Ash, Stephen Thompson, Martyn Woodward","doi":"10.1386/crre_00096_1","DOIUrl":"https://doi.org/10.1386/crre_00096_1","url":null,"abstract":"This position paper establishes a way towards a post-anthropocentric understanding of serendipity, or the happy accident, in making processes across art, craft and design. Throwing into question hylomorphic attempts to understand the application of the maker’s know-how, which devalues the enabling capabilities of the ‘happy accident’, this position paper sets a course towards a post-anthropocentric model of making. Exploring the ineffability of materials and other events or circumstances that lie outside of purposeful affordances diffracts the focus from purposeful human agency. Instead, re-understanding the maker’s process and knowledge as a transcendent intra-action between flows of material and cognition opens up space for a more subtle and comprehensive investigation into the complexity of human and non-human intra-action, which shapes the maker and the made in a reciprocal process.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41365878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This research studies glass decorations used in religious buildings from nineteenth-century Burma. It focuses on artworks found along the inner walls of the Buddhist shrine at Shwe Yan Pyay in Nyaungshwe City. Dating from the early nineteenth century, the shrine still serves as a Buddhist learning centre in the village and is thus an invaluable source of knowledge on Burmese and Asian art. Ancient glass artworks employed different techniques, many of which have since faded from practice, such as painting under glass or using lacquer. Their study can inform art education, promote art conservation and open new creative pathways for contemporary artists. This study has researched these ancient techniques through practice-based research and offers examples of its contemporary application.
这项研究研究了19世纪缅甸宗教建筑中使用的玻璃装饰。它专注于在Nyaungshwe市Shwe Yan Pyay佛教圣地内壁发现的艺术品。自19世纪初以来，该圣地一直是该村的佛教学习中心，因此是缅甸和亚洲艺术知识的宝贵来源。古代玻璃艺术品采用了不同的技术，其中许多已经从实践中消失，例如在玻璃下绘画或使用油漆。他们的研究可以为艺术教育提供信息，促进艺术保护，并为当代艺术家开辟新的创作途径。本研究通过实践研究对这些古老的技术进行了研究，并提供了其当代应用的例子。
{"title":"The creation of contemporary glass mosaics inspired by ancient Burmese glass art","authors":"Asawinee Wanjing","doi":"10.1386/crre_00093_1","DOIUrl":"https://doi.org/10.1386/crre_00093_1","url":null,"abstract":"This research studies glass decorations used in religious buildings from nineteenth-century Burma. It focuses on artworks found along the inner walls of the Buddhist shrine at Shwe Yan Pyay in Nyaungshwe City. Dating from the early nineteenth century, the shrine still serves as a Buddhist learning centre in the village and is thus an invaluable source of knowledge on Burmese and Asian art. Ancient glass artworks employed different techniques, many of which have since faded from practice, such as painting under glass or using lacquer. Their study can inform art education, promote art conservation and open new creative pathways for contemporary artists. This study has researched these ancient techniques through practice-based research and offers examples of its contemporary application.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47965402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This issue features the work of individual practitioners who explore making through established decorative arts such as fine jewellery in Paris, mosaic glass making in Myanmar and a ceramic installation in the Cathedral of Palma de Majorca, alongside socially engaged groups employing co-production methodologies for designing everyday objects and experiences. Within each article, materials and the immediate and wider environment are considered as partners in the co-crafting process, albeit to varying degrees. The notion of serendipity and the influence of eastern philosophy on embracing imperfection in craft practice underpins some accounts and is questioned in others. As a collection, the articles evidence a palpable shift towards, and need for a more equal relationship and level of agency between the maker and the material, as argued in the Position Paper. This includes consideration of gender equality in particular crafts, where roles are traditionally linked to the properties of the materials and skills involved, as highlighted in the Craft and Industry Report. Social engagement through craft is echoed in the Portrait where stitch and embroidery are practised as forms of participatory expression, supporting human connectivity between cross-cultural and trans-national communities to influence issues of social justice. The affective role and emotive sensations evoked by textiles are also explored in the exhibition review of A Thread, Levitated and Hovering, staged in Hangzhou in 2022 and the first of three book reviews; Feminist Subjectivities in Fiber Art and Craft (2021), the other two discussing The Pursuit of Pleasurable Work (2021) and Industrial Craft in Australia (2021).
{"title":"Shifting craft’s horizons: From individual makers to post-anthropocentric models of co-production","authors":"K. Niedderer, K. Townsend","doi":"10.1386/crre_00091_2","DOIUrl":"https://doi.org/10.1386/crre_00091_2","url":null,"abstract":"This issue features the work of individual practitioners who explore making through established decorative arts such as fine jewellery in Paris, mosaic glass making in Myanmar and a ceramic installation in the Cathedral of Palma de Majorca, alongside socially engaged groups employing co-production methodologies for designing everyday objects and experiences. Within each article, materials and the immediate and wider environment are considered as partners in the co-crafting process, albeit to varying degrees. The notion of serendipity and the influence of eastern philosophy on embracing imperfection in craft practice underpins some accounts and is questioned in others. As a collection, the articles evidence a palpable shift towards, and need for a more equal relationship and level of agency between the maker and the material, as argued in the Position Paper. This includes consideration of gender equality in particular crafts, where roles are traditionally linked to the properties of the materials and skills involved, as highlighted in the Craft and Industry Report. Social engagement through craft is echoed in the Portrait where stitch and embroidery are practised as forms of participatory expression, supporting human connectivity between cross-cultural and trans-national communities to influence issues of social justice. The affective role and emotive sensations evoked by textiles are also explored in the exhibition review of A Thread, Levitated and Hovering, staged in Hangzhou in 2022 and the first of three book reviews; Feminist Subjectivities in Fiber Art and Craft (2021), the other two discussing The Pursuit of Pleasurable Work (2021) and Industrial Craft in Australia (2021).","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42870884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: The Pursuit of Pleasurable Work: Craftwork in Twenty-First Century England, Trevor H. J. Marchand (2021) New York and Oxford: Berghahn, 482 pp., ISBN 978-1-80073-274-2, h/bk, £132.00
回顾:追求愉快的工作:工艺在二十一世纪的英格兰，Trevor h . J. Marchand(2021)纽约和牛津:Berghahn出版社，482页，ISBN 978-1-80073-274-2, h/bk，£132.00
{"title":"The Pursuit of Pleasurable Work: Craftwork in Twenty-First Century England, Trevor H. J. Marchand (2021)","authors":"Stephen Knott","doi":"10.1386/crre_00100_5","DOIUrl":"https://doi.org/10.1386/crre_00100_5","url":null,"abstract":"Review of: The Pursuit of Pleasurable Work: Craftwork in Twenty-First Century England, Trevor H. J. Marchand (2021)\u0000 New York and Oxford: Berghahn, 482 pp.,\u0000 ISBN 978-1-80073-274-2, h/bk, £132.00","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48158079","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
An analysis of Miquel Barceló’s ceramic intervention in the Chapel of Saint Peter (renamed Chapel of the Holy Sacrament after the intervention), inside the Cathedral of Palma de Majorca (Spain), engenders a discussion about the relationship between the artist and his material. This analysis uses a Taoist lens to give a novel reading of the artwork, the artist’s practice, and of contemporary western notions about art, architectural space, materiality and the body. On the basis that, in Taoism, human organisms and ‘nature’ are understood to be a single integral unity, this conception is hereby extended to include matter, thus presenting a vigorous physical engagement with materiality as an ‘artful erotic contact’ between the human organism and a material.
{"title":"A single ecstasy: Material intimacy in Miquel Barceló’s ceramics in the Cathedral of Palma de Majorca","authors":"","doi":"10.1386/crre_00095_1","DOIUrl":"https://doi.org/10.1386/crre_00095_1","url":null,"abstract":"An analysis of Miquel Barceló’s ceramic intervention in the Chapel of Saint Peter (renamed Chapel of the Holy Sacrament after the intervention), inside the Cathedral of Palma de Majorca (Spain), engenders a discussion about the relationship between the artist and his material. This analysis uses a Taoist lens to give a novel reading of the artwork, the artist’s practice, and of contemporary western notions about art, architectural space, materiality and the body. On the basis that, in Taoism, human organisms and ‘nature’ are understood to be a single integral unity, this conception is hereby extended to include matter, thus presenting a vigorous physical engagement with materiality as an ‘artful erotic contact’ between the human organism and a material.","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48745314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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