Jonsson, L., (ED), (2005), Craft in dialogue. Six views
on practice in change,Stockholm: IASPIS
Page 7
Crafts themselves are one of the areas in which the
contemporary is exposed and discussed.
Page 12
In the classical episteme, things are separate from history.
A thing is analyzed according to its visibility, measurability, and through
various tests......in the modern episteme the internal relations among things
are what is significant. The link to vision no longer plays the same crucial
role, the function of things and their determination do.
Craft is undergoing a revival in the 21st
century, but the question is why. Is it simply nostalgic yearning for the
human-made and the synthetic in between everyday life and art....
Page 31
Students now spurn the constraining focus on the physical
workmanship of finished products and the need to concentrate on a particular
material, and are instead becoming more
concerned with underlying ideas. ...There message is that if one resists
getting locked to a specific material, the possibilities of expression are
wider.
Page 39
“it is the uniformity of perfection that kills,”stated
Bernard Leach every thing is the same.
Page 64
“how can we remain indifferent to what is going on? Our art
must necessarily be a reflection of that which surrounds us.”
Page 65
With the use of poignant motifs, the public should be made to
react and then act by extension.
Page 68
To associate in groups and organizations is something that
has once again started to become more frequent among the crafts practitioners,
artists and designers in our time ...their association is based on mutually
shared attitude towards the work,
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