Tapper, J., Zucker, G., (2011) Craft Activism, New York: Random House Inc
p5
"When I am asked to define craft, I don't and I won"t. I like to think of it as undefinable
- with no rules - and that is why I was drawn to it in the first place. Craft is a way to connect with people, a way to create a community that you are inspired by. I have come to realise that once one's hands are in motion, "making" is difficult to stop."
p6
"I came to realise that all kinds of crafts have moved from private passion to public statement."
"...we were stunned to realise how far reaching this new blend of craft and activism ......"craftivism" ...
really is. "
it's part of the DIY movement, which promots handmade objects ....over mass-produced articles.
p7
Profitability of the work of one's own hands and heart have been expanded by the most up to date technology, in particular the internet.
Showing posts with label economy. Show all posts
Showing posts with label economy. Show all posts
Monday, 7 October 2013
Saturday, 21 September 2013
Thinking through craft
Adamson, G., (2007), Thinking through craft, Oxford, New York, BERG.
p11
"artworks are something made that have become more than something simply made".
craft does not function as a vehical of self doubt and rigorous internal analysis that art does-far from it. It is instead a supplement of the art work, .... A supplement is that which provides something necessary to another, "original" entity, but which is nonetheless considered to be extraneous (irrelevant) to that original....the supplement as pointing to a "lack", which might be present in a single work....
p12
"the guilt frame that surrounds a painting ...is not part of the artwork, but ...conveys the sense of the paintings importance, it props up the artwork".
p59
"the way in which something has been produced shows itself in te finished product. the way it shows itself is what we call facture".
p71
"it's not the technical side of it that matters: it's something beyond that".
The implication is that the proper response is not theoretical discussion, but shoulder-shrugging amazement. when somebody's' got "it" ...we are usually content to admire, rather than analyze.
p74
"good workmanship is that which carries out or improves upon the intended design. Bad workmanship is what fails to do so and thwarts the design.
p74/75
...craft skill never comes free; it must be learned. ...skill is something that seems noteworthy only from the position of the unskilled.
p81
...any craft had inherent moral integrity as a creative experience, so it followed that every child should be educated to become 'self-expressive craftsmen...'. The inclusion of artistic and vocational courses in school's curriculum was not a way to make education a more efficient way of building the economy, but rather a means of working towards "a sound society".
p83
...technigue applied through materials gives access to a universal whole.
p84
"The best education is one;s own experience.Experimenting surpasses studying".
p139
If modern art....is grounded in serching for self-awareness, then amerterism is a form of creativity that can never be intergrated into this model.In the popular imagination, hobby crafts ar on a par with such activities as stamp collecting and weekend sport - activities done in a spirit of self-gratification rather than critique.
p140
Sewing in the living room or woodworking in the garage are activities that reflect a culture of prosperous excess.
.....idle hands make for potentially revolutionary work.Similarly, the succassful displacement of unused time into harmless leisure activities has been vital to the project of capatalist expansion.
....there are huge profits to be gained by selling commodities (materials/equipment) to aspiring craftspeople, amaturs perform a valuable ....service to the economy.
Presicsely because they are made so lovingly, homemade crafts betray the degree to which their makers are integrated into the larger structure of capitalist ideology, in which commodidity forms are the primary carriers of meaning.
p152
Seek to be good but not to be great
A womans noblest station is retreat
Her fairest virtues fly from public sight.
Domestic worth still shuns too atrong a light.
p153
"Quality is something that a white Anglo-Saxon protestant man does .....Quality is expensive decoration for rich people who happen to be blind."
p155
rather than "untying the apron strings" the artists involved in womanhouse were "keeping the apron on, flaunting it , and turning it into art"
p11
"artworks are something made that have become more than something simply made".
craft does not function as a vehical of self doubt and rigorous internal analysis that art does-far from it. It is instead a supplement of the art work, .... A supplement is that which provides something necessary to another, "original" entity, but which is nonetheless considered to be extraneous (irrelevant) to that original....the supplement as pointing to a "lack", which might be present in a single work....
p12
"the guilt frame that surrounds a painting ...is not part of the artwork, but ...conveys the sense of the paintings importance, it props up the artwork".
p59
"the way in which something has been produced shows itself in te finished product. the way it shows itself is what we call facture".
p71
"it's not the technical side of it that matters: it's something beyond that".
The implication is that the proper response is not theoretical discussion, but shoulder-shrugging amazement. when somebody's' got "it" ...we are usually content to admire, rather than analyze.
p74
"good workmanship is that which carries out or improves upon the intended design. Bad workmanship is what fails to do so and thwarts the design.
p74/75
...craft skill never comes free; it must be learned. ...skill is something that seems noteworthy only from the position of the unskilled.
p81
...any craft had inherent moral integrity as a creative experience, so it followed that every child should be educated to become 'self-expressive craftsmen...'. The inclusion of artistic and vocational courses in school's curriculum was not a way to make education a more efficient way of building the economy, but rather a means of working towards "a sound society".
p83
...technigue applied through materials gives access to a universal whole.
p84
"The best education is one;s own experience.Experimenting surpasses studying".
p139
If modern art....is grounded in serching for self-awareness, then amerterism is a form of creativity that can never be intergrated into this model.In the popular imagination, hobby crafts ar on a par with such activities as stamp collecting and weekend sport - activities done in a spirit of self-gratification rather than critique.
p140
Sewing in the living room or woodworking in the garage are activities that reflect a culture of prosperous excess.
.....idle hands make for potentially revolutionary work.Similarly, the succassful displacement of unused time into harmless leisure activities has been vital to the project of capatalist expansion.
....there are huge profits to be gained by selling commodities (materials/equipment) to aspiring craftspeople, amaturs perform a valuable ....service to the economy.
Presicsely because they are made so lovingly, homemade crafts betray the degree to which their makers are integrated into the larger structure of capitalist ideology, in which commodidity forms are the primary carriers of meaning.
p152
Seek to be good but not to be great
A womans noblest station is retreat
Her fairest virtues fly from public sight.
Domestic worth still shuns too atrong a light.
p153
"Quality is something that a white Anglo-Saxon protestant man does .....Quality is expensive decoration for rich people who happen to be blind."
p155
rather than "untying the apron strings" the artists involved in womanhouse were "keeping the apron on, flaunting it , and turning it into art"
Thursday, 14 March 2013
Craft council report 2012
Economics as well as Environmental effects and concerns are
changing Contemporary crafts.
Crafters are becoming aware of the effects of there practice on the environment and so they are sourcing materials more locally and using recyclable/sustainable and environmental friendly materials,,
and where possible have changed there making processes.
The income of makers has declined but this may be due to the makers cutting back on hours due to the economic difficulties within the country.
Crafters are becoming aware of the effects of there practice on the environment and so they are sourcing materials more locally and using recyclable/sustainable and environmental friendly materials,,
and where possible have changed there making processes.
The income of makers has declined but this may be due to the makers cutting back on hours due to the economic difficulties within the country.
as technology becomes more advanced crafters are expected to
collaborative more rather than stay as
independent workers.
Craft council report 2012,
Available a: http://www.craftscouncil.org.uk/files/professional-development/Craft_in_an_Age_of_Change.pdf Accessed on 19th February 2013 at
11: 05
The Persistence of Craft
Greenhaig, p., (ED) (2002) The Persistence of Craft, London:
A&C Black LTD.
1 Classification , 2 Economy, 3 Amatteuridm, 4 Techology, 5 Morality,
6 Ethnicity, 7 Place, 8 Domesticity, 9 Museolohy, 10 Gender,
11 History, 12 Modernity, 13 Quality.
Page 7
A key element of the idea of modern craft lies in these
observations. In an affirmation of
process over product, amateur craft is to do with the need to physically engage
with things ....it is not the same thing as the obsessive. Intense search that
is central to the professional sphere.
The former is to do with the injection of the subjective self into
objective phenomena the latter is to do with the objectification of the
subjective.
Page 13
Works of art are not objects, works of art are relationships
between people and oblects,. If the
relationship does not exist, neither does the work of art.
Art is primarily an ides. Remove the ides and only social class and economics remain.
Page 20
The actual making of beautiful objects is only one aspect of
the success or failure of a genre.
The Craft Reader
Adamson, G., (Ed), (2010), The Craft Reader, New York: Berg.
Page 2
With the onset of the industrial revolution in the late
eighteenth century craft began to suffer...the arts and craft movement ,
emerged to rescue it. .....First craft skill was ... not simply eroded as a
result of industrialization. Rather, it has been continually transformed,
Describing craft as an art form,....disguises the otherwise
obvious ... the potential radicality of craft’s non-art
status.
craftivism
craftivism
Page 325
The focus of his critique shifted from machine as villain to
the perversity of a system of manufacture that reduced the worker to an
unthinking, unfeeling drone. For Ruskin, the principle error of contemporary
society resided in its tacit presumption that the consuming pleasure of the few
justified the dehumanisation of the many.
“Art is the operation of the hand and intelligence of man
together.”
“Fine art is that in which the hand, the head, and the heart
of man go together”
Page 326
“craft was something of a higher calling, for it was the
real art of the people.” affordable
P 437
In the modernist view, design supersedes craft as a
historical stage. Through informed effort and precise methodology design is
able to guide mechanical work and render it superior even to handwork ... ‘art
as a pure intellectual exercise.
Imperfections and deviations came to be seen as legitimating
characteristics. The historical roles are reversed – perfect machine work is
depicted as bad and imperfect handwork as good.
Craft is eventually cornered into a position of terminal nostalgia
or, worse, of elitism. Via a notion of consumer exclusivity.expencive
Small-batch production and even one-offs are now feasible in
many industrial settings ---(computer aided design etc..) bespoke
P 330
“Craft is not primarily an individual experience, but a
collective one.” community projects
P331
At heart, craft aims for a type of creativity that is
universal and pervasive. ... the fact that craft has come to be seen as a
mainly personal, even solitary, activity is perplexing indeed.
The old paradigm of mass production is on its way out: a new
paradigm, the individuation of experience, arises in its place.
Some time way back around the sixteenth century, craft and
industry were synonyms, both capable of denoting the idea of skill. Now that
industry is in the process of reinventing itself, perhaps design and craft will
become synonyms too: complementary aspects of the same ongoing process of
shaping experience through the interaction between people and things.
P 389
“every kind of capitalist production....” writes Marx, “has
this in common, that it is not the workman that employs the instrument of
labour, but the instrument of labour that employs the workman. .....”
The hand....is made redundant by technological advances.unemployment
P390
The modern person only works at what can be abbreviated. mechanised ?
P392
Craft as mode of activity translates into craft as a power,
an obscure power, nestling in the imaginatively conceived object. craftivism
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