A termék adatai:
| ISBN13: | 9781350359949 |
| ISBN10: | 1350359947 |
| Kötéstípus: | Puhakötés |
| Terjedelem: | 280 oldal |
| Méret: | 234x156 mm |
| Nyelv: | angol |
| Illusztrációk: | 20 bw illus |
| 527 |
Témakör:
Craft is Political
Kiadó: Bloomsbury Visual Arts
Megjelenés dátuma: 2023. február 9.
Kötetek száma: Paperback
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Kiadói listaár:
GBP 24.99
GBP 24.99
Az Ön ára:
10 223 (9 736 Ft + 5% áfa )
Kedvezmény(ek): 20% (kb. 2 556 Ft)
A kedvezmény érvényes eddig: 2024. december 31.
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Hosszú leírás:
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 John Ruskin and William 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 globalization, 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 politicized craft.
Just as John Ruskin and William 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 globalization, 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 politicized craft.
Tartalomjegyzék:
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
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
