179,288 research outputs found
Craft Generation - Exhibition / Symposium / Workshops / Tour
No full text2014 saw a national programme celebrating 25 years of contemporary visual art under the banner of GENERATION.
FCA&C (Fife Contemporary Art & Craft) wanted to recognise and celebrate the achievements of Contemporary Scottish Craft practitioners, highlighting creativity, skills, and the career of key individuals as well as and the continuation and renewal of skill and Craftsmanship.
Established craft artists will exhibited along with artists from the following generation whose work they admired.
Included were: John Creed with Thomas Jacobi; Maureen Hodge with Anna Ray; Dorothy Hogg with Andrew Lamb; Alison Kinnaird with Karlyn Sutherland; Archie McCall with Dawn Youll; Jacki Parry with Claire Barclay.
Publications containing short interviews with each artist were created to accompany the exhibition. (These are now available as a free online downloadable publication.) http://www.fcac.co.uk/event/craft-generation/
In addition to the Exhibition in St Andrews - This exhibition had a year long tour taking the show across the length of Scotland - Paisley - Wick - Dumfries
To engage the public there was an educational programme timetabled during the exhibition including workshops, a symposium and meet the maker events.
Craft in Conversation Symposium, lecture / panel discussion, St Andrews - Saturday 28th February 2015
My involvement included speaking at the symposium, discussing my own practice and innovations as well as the work of the Silversmithing and Jewellery department at GSA.
“The symposium reacted to the key themes of FCA&C’s exhibition ‘Craft Generation’. Craft in Conversation discussed the way in which craft is continued, taught and innovated through industry and personal practice. ‘Thought-provoking speakers included – two of the Craft Generation artists, Andrew Lamb and Karlyn Sutherland, as well as V&A Dundee’s Tara Wainwright and Harris Tweed’s Mark Hogarth”
On 22nd February 11am-4pm I also worked with Craft Scotland and Dorothy Hogg MBE for a ‘Meet the Maker’ event…. “Meet your maker 2015...see the skill, and discover the creativity a celebration of Scottish craft making. FCA&C is delighted to be partnering Craft Scotland again as part of their national Meet Your Maker initiative to coincide with FCA&C’s Craft Generation exhibition. In this national year-round celebration of Scottish craft making, visitors to St Andrews Museum can meet two jewellers in February. The makers will be present on their respective Sundays from around 11am to 4pm and will discuss the work they make and the processes they use, talking about examples of their work in the Craft Generation exhibition. As highly skilled artists, using complex techniques, both days should provide fascinating insights into the complexities of working as a top-level practitioner.
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Reflections on a craft design protocol
No full textFor some years I have been working on a design protocol of craft, which aims to unearth the working principles of one cultural area (contemporary craft) of production for the benefit of another (interaction design). The methodology that led to its formulation comprised my research as a doctoral student in Interaction Design, and made up the bulk of my thesis [22]. The protocol has recently been more fully explored for the craft community, with each tenet explored in more depth [24]; however, several important publications and conferences in the field have emerged since its initial formulation and if it is to have any relevance, the protocol needs to be revisited in light of them. These include Sennett’s The Craftsman [36], Risatti’s Theory of Craft [34], and Adamson’s Thinking Through Craft [1]. In addition conferences such as Neocraft [3], and collections of writings such as Extra/Ordinary [5], which includes Mazanti’s SuperObjects model of craft [28], have developed the field immensely. This paper critically reflects on the protocol in this new expanded context
Dangerous Liaisons: Relationships between design, craft and art
No full textThe introductory essay [co-authored] examines the background and current interconnections between design, craft and the fine arts. This Special Issue was able to expand the debate by showing how attitudes to materials – from 19C sculpture to current fashion – appropriate craftsmanship to reinvigorate notions of handmaking
Can Niche Agriculturalists Take Notes from the Craft Beer Industry?
No full textThis industry-level case study focuses on the growth cycles of craft brewing, a niche industry. The research case is defined as the craft beer industry evolution including the surrounding institutional and consumer environments. The research goal is to provide insight for niche agriculturalists by examining the case of the successful niche craft beer industry. First, the environment surrounding craft beer reemergence is analyzed. We examine the current state of the craft beer industry with a focus on competitive and logistical forces. We then highlight critical success factors of the craft beer industry and suggests how these factors can be applied to niche agriculture. Conclusions regarding the craft beer industry are drawn from both published documents and craft beer industry discussions. The primary craft beer industry “success†factors deemed transferable to niche agriculture include: 1) indentifying a consumer-driven niche opportunity; 2) engaging in marketing strategies leveraging consumer “hobby consumption†within the niche; 3) leveraging established industry logistics; and 4) participating in unified advocacy regarding both marketing and regulatory lobbies.Agribusiness, Marketing,
Craft in unexpected places
No full textWithin the shifting territories of craft practice, the handmade has become a relational form of contemporary activity that transforms our understanding of place through a hands-on, minds-on process of collective-making. The conceptual significance of craft is activated through a chance encounter with the handmade in daily life. During the article we aim to explore the confluence between crafting, social engagement, volunteering and the realms of education and creative practice that we have both experienced first hand. What will be revealed will be the voices of practitioners collectively exploring cloth’s potential as a metaphor for consciousness, carrier of narrative and catalyst for community empathy and cohesion. This will be informed by an enquiry into historical forms of communal crafting drawn from archival research at the Imperial War Museum London and Foundling Hospital Collection housed at the Foundling Museum in London and a primary case study of the workshop ‘Desconocida – Unknown – Ukjent’. We employ a method used in object-based research: a value system that can be applied to the consideration of cloth as an object of study – namely, the locational, iconographical, archival, aesthetic and transferral. Focusing particularly on the transferral and locational, we will examine the significance of the handmade gesture in particular artistic, political and social contexts. These visual and textual narratives will inform our perception of ‘Craft in unexpected places’ and bring visibility to a selection of craft interventions by making links between the wide-reaching possibilities for craft-based practices and their expressive potential within the social and political landscapes they inhabit
Editorial: Craft and the Handmade: Making the intangible visible
No full textIn November 2014, the Department of Fashion and Textiles at the University of Huddersfield hosted the conference Transition: Re-thinking Textiles and Surfaces. The conference sought to scrutinize current and future developments in textile research and its applications within the wider context of the creative industries. With keynote presentations from Professor Becky Earley, Professor Jane Harris, Dr Subramanian Senthilkannan Muthu, publisher David Shah and Trend Union forecaster Philip Fimmano, this two day event brought together a myriad of theoretical perspectives and material approaches through four distinct tracks: Science and Technology, Sustainable Futures, Craft and the Handmade and Enterprise/Industry/Business.
This guest edited issue of Craft Research focuses on Craft and the Handmade and features articles that were first delivered as papers within this track
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Embodied craft practices: mindful flow, creativity, and collaboration as drivers for wellbeing
No full textThe experience of practising craft has become increasingly recognized for its relationship with, and contribution to, mindfulness and wellbeing. In this chapter, we argue that craft activities facilitate makers’ wellbeing in three ways through (a) sensorial material engagement, (b) the creative act of making, and (c) the social nature of craft. The chapter introduces the notion of mindfulness and elucidates it through examples from our individual practices of metalwork and textiles, demonstrating how wellbeing may arise from mindful interaction with materials. The discussion is expanded through selected examples from the field of craft to further explore how material, making, and co-creation practices can help support mindfulness and wellbeing
The Persistence of Craft
No full textCummings’ contribution to this text focused upon the emergence of a ‘signature’ style amongst contemporary glassmakers and its fundamental relationship to specific material inquiry. Documented in the introduction to this text, is the fact that Cummings suggested the book topic to the publisher, Linda Lambert; who worked with Cummings to recruit Paul Greenhalgh as the editor. (Greenhalgh was then Head of Research at the Victoria and Albert museum.)Cummings was interested in documenting the development and evolution away from the industrial separation of design and practice. Where artists and designer in glass once exclusively planned the work and artisans made the work; the contemporary glass artist is an integrated artist/maker. This is an essential period in the evolution of contemporary craft attitudes and creativity, with special reference to individual methods and outcomes as evidenced in a variety of written sources, personal contacts and interviews. Working from an examination of the literature and personal contacts with fellow practitioners, Cummings develops the history of the evolution of the modern glass artist. Arguing that it was the process of learning the artisans’ technique and methodology that led the contemporary glass artist into the evolutionary process, whereby design ideas were worked out with an intimate knowledge of the materials and processes of making. The work builds on Cummings 45 year engagement with this area of practice, and his ongoing original research which embraces texts, images, illustrations and personal interviews with experts and pioneers in the field
Reprogramming the hand: bridging the craft skills gap in 3D/digital fashion knitwear design
No full textDesigner-makers have integrated a wide range of digital media and tools into their practices, many taking ownership of a specific technology or application and learning how to use it for themselves, often drawing on their experiential knowledge of established practices to do so. To date, there has been little discussion on how digital knitting practice has evolved within this context, possibly due to the complexity of the software, limited access to industrial machinery and the fact that it seems divorced from the idea of 'craft'. Despite the machine manufacturers' efforts to make knitting technology and software more user-friendly, the digital interface remains a significant barrier to knitwear designer-makers, generally only accessed via experienced technicians
Conference proceedings of the 2nd Biennial International Conference for the Craft Sciences—BICCS 2023
No full textThe papers in this issue comprise the proceedings of the 2nd Biennial International Conference for the Craft Sciences, held 20–22 September 2023 in Mariestad at the Craft Laboratory, affiliated with the Department of Conservation, University of Gothenburg, Sweden.
Craft is an integral aspect of daily life and work, activated in all the knowledgeable processes of making and transforming ideas into artefacts and services. Craft is commonly anticipated as a form of production, but it may also be practiced as a social and political activity and as a way of knowing and being in the world. Craft is omnipresent and multi-folded. Consequently, craft research is diverse, conducted across and within different disciplines and academic contexts, and operates with distinct perspectives and approaches.
The Biennial International Conference for the Craft Sciences provides an international platform for the exchange and communication of craft research between different fields and across the borders
www.FormAkademisk.org 1 Vol.16 Nr.4, BICCS 23, 2023, Editorial1, 1–9
https://doi.org/10.7577/formakademisk.5589
Gunnar Almevik
PhD, Professor Conservation, University of Gothenburg [email protected]
Géraldine Brun
MSc, Doctoral student Conservation, University of Gothenburg [email protected]
Anneli Palmsköld
PhD, Professor Conservation, University of Gothenburg [email protected]
Katarina Saltzman
PhD, Associate Professor Conservation, University of Gothenburg, [email protected]
Gunnar ALMEVIK, Géraldine BRUN, Anneli PALMSKÖLD & Katarina SALTZMAN—Editorial. Conference proceedings of the Biennial International Conference for the Craft Sciences—BICCS 23
of faculties and disciplines. Craft sciences offers a community of shared interest in craft and research, and the conference aims to expose the variety of topics, source material, methods, perspectives and results that reside in this transverse field. The inaugural BICCS conference was held 4–6 May 2021 (Groth, Westerlund & Almevik 2021). Although technically based in Mariestad, the first edition of the conference was held online due to the Covid-19 pandemic. Thus, this second edition of BICCS provides the first opportunity to use this platform to meet, mingle and exchange experiences on site
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