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Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political , D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South,…mehr
Throughout the 21st century, various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political, D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social and technological contexts in which we live.
Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory and globalisation, is overdue.
A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicised craft.
D Wood is an independent craft and design scholar and currently teaches at OCAD University, Canada. Wood earned a PhD in Design Studies in 2012 at the University of Orago, New Zealand, and has an MFA in Furniture Design from the Rhode Island School of Design, USA. Her profiles of craft practitioners and reviews of exhibitions and books have appeared in an international array of publications, including American Craft, Ceramic Review, Fiberarts, Fine Woodworking, Metalsmith, Neues Glas and Textile Forum. She is also the editor of, and contributor to, Craft is Political (Bloomsbury, 2021).
Inhaltsangabe
Acknowledgements List of Figures Introduction: Re-Crafting an Unsettled World D Wood (OCAD Canada) Part 1: Craft Legacy 1. Politics of Tea Furniture: Invention of Ryurei Style in Late Nineteenth Century Japan Yasuko Suga (Tsuda University Japan) 2. (Dis)playing Politics: Craft and the Caughnawaga Exhibition 1883 Lisa Binkley (Dalhousie University Canada) 3. Indigenous Craft is Political: Making and Remaking Coloniser-Colonised Relations in Taiwan Geoffrey Gowlland (Museum of Cultural History and the University of Oslo Norway) 4. Co-existence of Craft and Design in Turkey as Two Separate Epistemes Cigdem Kaya (Istanbul Technical University Turkey) 5. Leisure and Livelihood: A Socio-economic Reading of Craft in Australia and Egypt Anne-Marie Willis (Independent Scholar Australia) Part 2: Craft Practice 6. The Politics of Craft and Working Without Skill: Reconsidering Craftsmanship and the Community of Practice Alanna Cant (University of Reading UK) 7. From 'Making Flowers' to Imagining Futures: Rohingya Refugee Women Innovate a Heritage Craft Lurdes Macedo (International Organization for Migration Lusophone University of Porto and University of Minho Portugal) David Palazón (International Organization for Migration Bangladesh) Shahirah Majumdar (Rohingya Cultural Memory Centre International Organization For Migration Bangladesh) and Verity Marques (Independent Writer Portugal) 8. Liminality: The Work of Monica Mercedes Martinez PJ Anderson and Habiba El-Sayed Heidi McKenzie (Independent Artist Canada) 9. Jewellery is Political: Ethical Jewellery Practice Elizabeth Shaw (Griffith University Australia) 10. Networks of Economic Kinship in Aotearoa New Zealand Craft Markets Fiona P. McDonald (University of British Columbia Canada) 11. It Goes Without Saying: Craft Talks Politics D Wood (Independent Scholar Canada) Part 3: Craft World View 12. Crafts as the Political: Perspectives on Crafts from Design of the Global South Fernando Alberto Álvarez Romero (Universidad de Bogotá Colombia) 13. Chilean Arpilleras: Hand-stitched Geographies and the Politics of Everyday Life in Santiago's Poblaciones Nathalia Santos Ocasio (Queen's University Canada) 14. From Essential Skill to Productive Capital: Perspectives on Policies and Practices of Craft Education in Finland Anna Kouhia (University of Helsinki Finland) 15. Sincerity not Authenticity: Craft's Political Path Out of a Modernist Trap Leopold Kowolik (Sheridan College/York University Canada) 16. Bellwether: Fingerprinting Your Woollies Seema Goel (Independent Artist Canada) Epilogue Author Bios Index
Acknowledgements List of Figures Introduction: Re-Crafting an Unsettled World D Wood (OCAD Canada) Part 1: Craft Legacy 1. Politics of Tea Furniture: Invention of Ryurei Style in Late Nineteenth Century Japan Yasuko Suga (Tsuda University Japan) 2. (Dis)playing Politics: Craft and the Caughnawaga Exhibition 1883 Lisa Binkley (Dalhousie University Canada) 3. Indigenous Craft is Political: Making and Remaking Coloniser-Colonised Relations in Taiwan Geoffrey Gowlland (Museum of Cultural History and the University of Oslo Norway) 4. Co-existence of Craft and Design in Turkey as Two Separate Epistemes Cigdem Kaya (Istanbul Technical University Turkey) 5. Leisure and Livelihood: A Socio-economic Reading of Craft in Australia and Egypt Anne-Marie Willis (Independent Scholar Australia) Part 2: Craft Practice 6. The Politics of Craft and Working Without Skill: Reconsidering Craftsmanship and the Community of Practice Alanna Cant (University of Reading UK) 7. From 'Making Flowers' to Imagining Futures: Rohingya Refugee Women Innovate a Heritage Craft Lurdes Macedo (International Organization for Migration Lusophone University of Porto and University of Minho Portugal) David Palazón (International Organization for Migration Bangladesh) Shahirah Majumdar (Rohingya Cultural Memory Centre International Organization For Migration Bangladesh) and Verity Marques (Independent Writer Portugal) 8. Liminality: The Work of Monica Mercedes Martinez PJ Anderson and Habiba El-Sayed Heidi McKenzie (Independent Artist Canada) 9. Jewellery is Political: Ethical Jewellery Practice Elizabeth Shaw (Griffith University Australia) 10. Networks of Economic Kinship in Aotearoa New Zealand Craft Markets Fiona P. McDonald (University of British Columbia Canada) 11. It Goes Without Saying: Craft Talks Politics D Wood (Independent Scholar Canada) Part 3: Craft World View 12. Crafts as the Political: Perspectives on Crafts from Design of the Global South Fernando Alberto Álvarez Romero (Universidad de Bogotá Colombia) 13. Chilean Arpilleras: Hand-stitched Geographies and the Politics of Everyday Life in Santiago's Poblaciones Nathalia Santos Ocasio (Queen's University Canada) 14. From Essential Skill to Productive Capital: Perspectives on Policies and Practices of Craft Education in Finland Anna Kouhia (University of Helsinki Finland) 15. Sincerity not Authenticity: Craft's Political Path Out of a Modernist Trap Leopold Kowolik (Sheridan College/York University Canada) 16. Bellwether: Fingerprinting Your Woollies Seema Goel (Independent Artist Canada) Epilogue Author Bios Index
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