Hylla DESIGN & KONSTHANTVERK - Ih:d
Titel och upphov
Utgivning, distribution etc. Bloomsbury Visual Arts, London ; New York : 2021
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning ix, 269 pages illustraions 24 cm
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Anmärkning: Innehållsbeskrivning, sammanfattning "Throughout the 21st century, craft practices have garnered significant attention across the West, which these essays argue is a direct response to and critique of the economic, social and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a political opposition to the Industrial Revolution, Craft is Political contends that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology and even Western government policy are examined. Case studies consider craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education"-- Provided by publisher.
Term
Annat medium Online version: Craft is political London ; New York : Bloomsbury Visual Arts, 2021 ISBN 9781350122277
ISBN
Antal i kö:
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*650 0$aMaterial culture.
*650 0$aArtisans.
*650 0$aHandicraft $xPolitical aspects.
*650 0$aDecorative arts$xPolitical aspects.
*650 0$aHandicraft industries $xSocial aspects.
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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, 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 Politica l brings together authors from a variety of disciplines and nations to consider politicised craft.
List of figures p. viii Acknowledgements p. x Introduction: Re-crafting an unsettled world p. 1 Craft Legacy p. 19 Politics of tea furniture: Invention of ryurei style in late-nineteenth-century Japan p. 21 (Dis)playing politics: Craft and the Caughnawaga Exhibition, 1883 p. 34 Indigenous craft is political: Making and remaking colonizer-colonized relations in Taiwan p. 51 Coexistence of craft and design in Turkey as two separate epistemes p. 65 Leisure and livelihood: A Socioeconomic reading of craft in Australia and Egypt p. 79 Craft Practice p. 95 The politics of craft and working without skill: Reconsidering craftsmanship and the community of practice p. 97 From 'making flowers' to imagining futures: Rohingya refugee women innovate a heritage craft p. 109 Liminality: The work of Monica Mercedes Martinez p. 123 Jewellery is political: Ethical jewellery practice p. 136 Networks of economic kinship in Aotearoa New Zealand craft markets p. 148 It goes without saying: Craft talks politics p. 165 Craft World View p. 179 Crafts as the political: Perspectives on crafts from design of the Global South p. 181 Chilean arpilleras: Hand-stitched geographies and the politics of everyday life in Santiago's poblaciones p. 198 From essential skill to productive capital: Perspectives on policies and practices of craft education in Finland p. 212 Sincerity not authenticity: Craft's political path out of a modernist trap p. 225 Bellwether: Fingerprinting your woollies p. 237 Epilogue p. 250 Author biographies p. 253 Index p. 258