Here is a summary of Critical Craft Forum Sessions at College Art Association from 2014-2019
2019 10th Critical Craft Forum: Craft Scholarship in the Next Ten Years
Co-chairs: Jenni Sorkin and Namita Wiggers
Expanded Crafts: Text and Textile-Based Practices in South American Conceptualism
Jackie Witkowski, Vancouver, BC, Canada
Women’s Work: Transforming Contemporary Woodworking
Phoebe Kuo, Franklin, MI
Late 20th-Century Jewelry Rags: Design/Content/Meaning
Renee Roll
Where Did the “Users” Go? Understanding the Israeli “Craft as Design” Discourse in the Field of Israeli Ceramics
Orly Nezer, Hof Ashkelon, Israel
Information Technology and Craft in Rural America: How Information Technology Infrastructure, Innovation, and Behavior Influence the Aesthetic Progress of Contemporary American Quilting
Renée Lynn Reizman
Shared Memory: Cloth, Coping, and Art in the Armenian Diaspora
Emma Welty, Purchase College, State University of New York
2018 9th Critical Craft Forum: Full Day of Sessions at 2018 College Art Association Conference
Co-organized by Shannon Stratton, Namita Gupta Wiggers, and Marilyn Zapf. This year marks an expansion of sessions to a full day on Saturday’s conference at CAA’s invitation.
SESSION 1 OF 4
“CRITICAL CRAFT: DECOLONIZING CRAFT”
Chair: Aram Han Sifuentes
“Queering Craft and Social Practice”
PJ Gubatina Policarpio, Contemporary Jewish Museum
“Art Versus Craft? A Personal Experience”
Marianne Sadowski, Independent Artist
“A Thing Well Made”
Vanessa Dion Fletcher, Independent Artist
“Gentrification and Colonization: What’s Craft Got To Do With It?
Carol Zou, Asian Arts Initiative
Discussant: Namita Gupta Wiggers, Warren Wilson College and Critical Craft Forum
SESSION 2 OF 4
“CRITICAL CRAFT: VOICE OF THE OBJECT “
Chair: Shannon R Stratton, MAD | Museum of Arts and Design
“Dismantling the Patriarchy One Brick at a Time: Voulkos and the Changing Landscape of Ceramics at UC Berkeley”
Nicki Green, Independent Artist
“Craft as Bridge: The Complex Connections of the Craft Practice to the Object-oriented Turn”
Erika Lynne Hanson, Arizona State University
“Object Lessons”
Judith Leemann, Massachusetts College of Art and Design
SESSION 3 OF 4
“CRITICAL CRAFT: CRAFT’S EVOLVING RELATIONSHIP WITH INDUSTRY”
Chair: Marilyn Zapf, The Center for Craft, Creativity & Design
“The Invisible Women of Modern American Hobby Crafting ”
Susan Richmond , Georgia State University
“Disruptive Cloth Making Practice in History and the Hudson Valley”
Lilly Marsh, Independent Artist and Scholar
“Learning from Petrotextiles: Moving Beyond Critique to Action”
Kirsty Robertson, Western University
SESSION 4 OF 4
“CRITICAL CRAFT: WHAT CRAFT ARCHIVES?”
Chair: Namita Gupta Wiggers, Warren Wilson College and Critical Craft Forum
“Half Hidden”
Anne Haaning, Norwegian Artistic Research Programme
COLLECTIVE DISCUSSION AND MAPPING - LED BY NAMITA GUPTA WIGGERS
2017 8th Critical Craft Forum: Gender and Jewelry
Co-Chairs: Namita Gupta Wiggers, Critical Craft Forum and Benjamin Lignel, Artist, Curator, Writer
Meredith P. Nelson, Bard Graduate Center
Emily K. Rebmann
Julia Heineccius, The Evergreen State College
Tigger-James Ferguson
renée c. hoogland, Wayne State University
DISCUSSANT: Jenni Sorkin, UC Santa Barbara
2016 7th Critical Craft Forum: The Black Craftsmen Situation: A Critical Convesation about Race and Craft
Co-chairs: Bibiana Obler, George Washington University, Washington, DC Mary Savig, Archives of American Art, Washington,
Sonya Clark, Virginia Commonwealth University, Richmond, VA
Wesley Clark, Hyattsville, MD
Joyce J. Scott, Baltimore, MD
Namita Gupta Wiggers, Portland, OR
The transcript from this panel will be available as a chapter in Anthea Black and Nicole Burisch, edits., The New Politics of the Handmade: Craft,Art and Design, London: Bloomsbury Visual Arts, 2020,
2015 6th Critical Craft Forum: Curating and Craft: What Happens Now?
Co-chairs: Namita Gupta Wiggers, Critical Craft Forum | Independent Curator; Elisabeth Agro, Philadelphia Museum of Art
Glenn Adamson, Director, Museum of Arts & Design
Anthony Elms, Association Curator, ICA, Philadephia
Wendy Gers, University of Johannesburg, South Africa and Ecole Superieure d'Art et de Design de Valenciennes
2014 5th Critical Craft Forum: Craft and Social Practice
Co-chairs: Namita G. Wiggers, Museum of Contemporary Craft, Pacific Northwest College of Art and Elisabeth Agro, Philadelphia Museum of Art
Michael Strand, North Dakota State University
Sarah Archer, Philadelphia Art Alliance
Jen Delos Reyes, Portland State University
PAST PROGRAMS
10th Critical Craft Forum: Craft Scholarship in the Next Ten Years
Where: College Art Association, NYC
Date: February 14, 2019
Time: 2:00 - 3:30 PM
Location: New York Hilton Midtown - 2nd Floor - Nassau East
Session Abstract
This session is a call for papers on craft from currently enrolled graduate students and recent graduates (2 years sine degree completion). Presentation will be 8 minutes in length, with a discussion led by the co-chairs to follow. Papers should present original research, and may address, for example, craft history, theory, exhibitions, indigeneity, diaspora, colonialism. gender, economics, film, or pedagogy. In 2018, the CAA Conference daily schedule included an unprecedented number of papers and sessions connected to craft. In recognition of the 10th Critical Craft Forum session at CAA, this panel showcases the next generation of craft scholarship. Discussion will focus on what questions and topics students are considering, how to support ongoing scholarship on craft, and how to mentor into the future.
Chairs:
Namita Gupta Wiggers, Warren Wilson College and Critical Craft Forum
Jenni Sorkin, University of California, Santa Barbara
PAPERS AND PRESENTERS:
Expanded Crafts: Text and Textile-Based Practices in South American Conceptualism
Jackie Witkowski, Vancouver, BC, Canada
Women’s Work: Transforming Contemporary Woodworking
Phoebe Kuo, Franklin, MI
Late 20th-Century Jewelry Rags: Design/Content/Meaning
Renee Roll
Where Did the “Users” Go? Understanding the Israeli “Craft as Design” Discourse in the Field of Israeli Ceramics
Orly Nezer, Hof Ashkelon, Israel
Information Technology and Craft in Rural America: How Information Technology Infrastructure, Innovation, and Behavior Influence the Aesthetic Progress of Contemporary American Quilting
Renée Lynn Reizman
Shared Memory: Cloth, Coping, and Art in the Armenian Diaspora
Emma Welty, Purchase College, State University of New York
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9th Critical Craft Forum9th Critical Craft Forum: full day of sessions at 2018 College Art association conference
Where: College Art Association, Los Angeles
Co-organized by Shannon Stratton, Namita Gupta Wiggers, and Marilyn Zapf, this year marks an expansion of sessions to a full day on the Saturday at the CAA Annual Conference at CAA's invitation. Additional sessions connected to craft are scheduled for other days during the conference. Scroll to the end for the full Saturday listings!
Here is a FULL list of panels at CAA with a direct connection to craft and craft-related content:
WED 2.21
“ARIADNE’S THREAD: UNDERSTANDING EURASIA THROUGH TEXTILES”
Time: 02/21/2018: 8:30AM–10:00AM Location: Room 408B
Chair: Mariachiara Gasparini, Independent Scholar
“Svayaṃprabhā’s Skirt – Tracing a Royal Pattern from Kuča” Astrid Klein, Universität Leipzig
“Roundel Patterns of the Silk Road: Still Rolling?” Elena Varshavskaya, Rhode Island School of Design
“The Curious Cultural Cocktail of the Transylvanian Carpet” Jeffrey Taylor, Western State Colorado University
“CHANGING INTERACTIONS: JAPANESE ARTISTS AND THE WEST COAST, PART I”
Time: 02/21/2018: 8:30AM–10:00AM Location: Room 503
Chair: Aya Louisa McDonald, University of Nevada, Las Vegas
“The Great Sojourn: Takehisa Yumeji and California” Nozomi Naoi, Yale–NUS College
“California Dreaming 1933: Foujita’s California Sojourn” Aya Louisa McDonald, University of Nevada, Las Vegas
“West Coast and Mingei: Visits by Leach, Hamada and Yanagi in the early 1950s” Chiaki Ajioka, Independant Scholar
Discussant: Yoshiaki Shimizu, Princeton University
“MATERIALS AND TECHNIQUES IN THE CULTURAL SPHERE”
Time: 02/21/2018: 8:30AM–10:00AM Location: Room 409B
“Models of Collaboration: Brass Casting in Fifteenth-Century Nuremberg” Sofia Gans, Columbia University
“Architecting Water in Seventeenth-Century Istanbul: Art and Knowledge in Circulation” Deniz Karakaş, Middlebury College
“Germanizing Intarsia c. 1900” Peter Fox, Princeton University
“ART, AGENCY, AND THE MAKING OF IDENTITIES AT A GLOBAL LEVEL, 1600–2000, PART I”
Time: 02/21/2018: 2:00PM–3:30PM Location: Room 405
Chairs: Noémie Etienne, Bern University and Yaelle Biro, The Metropolitan Museum of Art
“The Picturesque in Peking – European Decoration at the Qing Court” Helen Glaister, SOAS, University of London/Victoria and Albert Museum, London
“A Transnational Loop: Pakistan’s Repossession of the Oriental Carpet Imaginary and its Production” Dorothy Armstrong, Victoria and Albert Museum/Royal College of Art, London
“The Rivers Folded: Souvenir Accordion Panoramas in the Late Nineteenth-century Global Tourism” Tingting Xu, University of Chicago
“Lozi Style: King Lewanika and the Marketing of Barotseland” Karen E. Milbourne, Smithsonian National Museum of African Art
“AVANT-GARDES AND VARIETIES OF FASCISM, PART I”
Time: 02/21/2018: 2:00PM–3:30PM Location: Room 501A
Chairs: Trevor Stark, University of Calgary and Rachel Silveri, Columbia University
“Fashioning Fascism: The Avant-Garde, the Alt-Right, and the Work of Others” T’ai Smith, University of British Columbia
“A Modern Pax Romana: Christian Universalism, Fascism and the Neo-Humanist Aesthetic of Waldemar George” Emilie Anne-Yvonne Luse, Duke University
“Books of Stone” Megan R. Luke, University of Southern California
Discussant: Andrés Mario Zervigón, Rutgers, the State University of New Jersey
“THE RIGHT TO UNMAKE”
Time: 02/21/2018: 2:00PM–3:30PM Location: Room 406A
Chairs: Anne Collins Goodyear, Bowdoin College Museum of Art and Jon Ippolito, University of Maine
“Mined Intervention” Rebekah Blesing, Michigan State University
“This is not a Game” Sylke Rene Meyer, California State University, Los Angeles
“Taking Apart the Past to Look Ahead: Art Forms from Old Materials and New Technologies” Randy Regier, Spencer Museum of Art, University of Kansas
“Hacking the Script: Creative Misuse as Gaming Performance” John Bell, Dartmouth College
Discussant: Craig Dietrich, Occidental College
“THE TOOL: CULTURAL EXPRESSIONS, HISTORIES, RHETORIC, AND AGENCY”
Time: 02/21/2018: 2:00PM–3:30PM Location: Room 406B
Chairs: Francesco Freddolini, Luther College, University of Regina and Carmen L. Robertson, University of Regina
“Pecking Coins in the North Sea: Cutting and Production of Knowledge” Ethan W. Lasser, Harvard Art Museums
“The World in One Grip: The Shōsōin Ivory Rulers and the Impulse of Measurement in Early Japan” Chun Wa Chan, University of Michigan
“Tools in “Art Brut” (1945-1976): For the Reinvention of Artistic Practices” Pauline Goutain, Carleton University
“Tools of Performance: Extending the Artisan’s Field of Agency in Santa Clara del Cobre” Michele A. Feder-Nadoff, El Colegio de Michoacán
“ART, AGENCY, AND THE MAKING OF IDENTITIES AT A GLOBAL LEVEL, 1600-2000, PART II”
Time: 02/21/2018: 4:00PM–5:30PM Location: Room 409A
Chairs: Noémie Etienne, Bern University and Yaelle Biro, Metropolitan Museum of Art
” ‘What is Colonial Art, and Can it be Modern?’: Moroccan Modernisms at the Art Deco Exposition in Paris, 1925″ Ashley V. Miller, UC Berkeley
“A Wider Loom: Textiles and Colonial Politics of Authenticity in the Soudan Français” Victoria L. Rovine, University of North Carolina
“Frida Kahlo’s Invention of Jewish Identity” Gail Levin, The City University of New York
“From Duco to Comex: The Politics of Synthetic Paint in the Americas” Niko Vicario, Amherst College
“EDUCATING HYBRID PRACTITIONERS”
Time: 02/21/2018: 4:00PM–5:30PM Location: Room 406A
Chair: Anne Mondro, Stamps School of Art & Design, University of Michigan
“Activating the Archive: Archival Research as Creative Inquiry” Lisa McCarty, Duke University
“M-Shaped Is the New T-Shaped” Martha Carothers, University of Delaware
“Navigating Networks: Educating Next Generation Scholar/Practitioners” Holly Willis, School of Cinematic Arts, University of Southern California
“Stamps Curriculum Designer: Navigating an Open Curriculum” Elona Van Gent, Stamps, School of Art and Design, University of Michigan
“THE POETICS AND POLITICS OF “ANONYMOUS” CONTEMPORARY CRAFT”
Time: 02/21/2018: 4:00PM–5:30PM Location: Room 408B
Chair: Ezra Shales, Massachusetts College of Art and Design
“Disappearing Facts: The Role of the Individual in Understanding Native Jewelry as Craft” Henrietta Lidchi, Nationaal Museum van Wereldculturen, The Netherlands
“From Anonymous Workshop to Family Business: The Production of Yangliuqing Prints” Xinran Guo, Northwestern University
“Carving Out Time: Commercial Carvers and Late Capitalism in Accra” Ruti Talmor, Pitzer University
“TRAVEL, DIPLOMACY, AND NETWORKS OF GLOBAL EXCHANGE IN THE EARLY MODERN PERIOD, PART II”
Time: 02/21/2018: 4:00PM–5:30PM Location: Room 503
Chair: Justina Spencer, Carleton University
“Matters of Resemblance and Remembrance, between Istanbul and Venice” Elizabeth Rodini, Johns Hopkins University
“Ottoman Diplomatic Ceremonies as seen through the Eyes of the Flemish Artist Pieter Coecke van Aelst (1533)” Talitha Maria G. Schepers, The Courtauld Institute of Art
“Texture, Touch, and Color in the Ottoman Costume Book: On the Interpretation of Transcultural Art” Elisabeth Fraser, University of South Florida
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THURS FEB 22
“CRAFT AND RESISTANCE”
Time: 02/22/2018: 8:30AM–10:00AM Location: Room 408B
Chair: Elizabeth Kozlowski, Independent Curator, Scholar, and Writer
“Craftivism: From Historic Movement to Contemporary Method” Mary Callahan Baumstark, Lewistown Art Center
“Awe/Agency and Project Canary: The Real Life Repercussions of Politics” Nicole Gugliotti, South Puget Sound Community College
“WOVEN SPACES: BUILDING WITH TEXTILE IN ISLAMIC ARCHITECTURE”
Time: 02/22/2018: 8:30AM–10:00AM Location: Room 503
Chair: Patricia Blessing, Pomona College
“The Structure of Meaning and the ‘Textile Image’ in Umayyad Monumental Space” Theodore Van Loan, University of Pennsylvania
“The Ruler’s Clothes Turned into Stone: Textile Patterns on Muslim Funeral Architecture in the Example of the First Crimean Khans’ Mausoleum” Nicole Kançal-Ferrari, Istanbul Şehir University
“Into the Fold: Nineteenth-Century Ottoman Fabric (and) Architecture” Ashley Dimmig, University of Michigan
SOCIAL TEXTILES: MEND AMERICA WORKSHOP
Time: 02/22/2018: 10:30AM–12:00PM Location: Room 411
Social Textiles explores textiles as a medium for exploring social space, identity and communication using analog or digital communication to create and instigate material culture.
“ISLAMIC ART CIRCA 1900” (ASSOCIATION FOR MODERN AND CONTEMPORARY ART OF THE ARAB WORLD, IRAN, AND TURKEY AMCA)
Time: 02/22/2018: 2:00PM–3:30PM Location: Room 503
Chair: Alex Dika Seggerman, Yale University
“Islamic Art and the Turn to Tapestry: Women Artists in Tunis” Jessica Gerschultz, University of Kansas
“The Muybridge Albums in Istanbul: Photography as Diplomacy in the Late Ottoman Empire” Emily Neumeier, The Ohio State University
“From Calligraphy to Handicraft: Art Education Reform in the Late Ottoman Empire” Martina Becker, University of Michigan
“Alabaster and Emulsion: Photographs of Muhammad Ali Architecture” Alex Dika Seggerman, Yale University
“MY HANDS ARE (UN)TIED: CRAFT IN AN ANXIETY AGE”
Time: 02/22/2018: 2:00PM–3:30PM Location: Room 408B
Chairs: Andrea Myers, Kent State University; Kelly Malec-Kosak, Columbus College of Art and Design
“Process and Labor: I Love and Hate You All in One Breath” Julie Abijanac, Columbus College of Art & Design
“Physical Education and Resistance Training : Craft as Social Justice Education” Eric Skollon, California College of the Arts/University of California, Berkeley
“Material Girl vs. Environmental Collapse” Pallavi Sen, Independent Artist
“Archive Fever: Soft Stories Bear Witness” Aaron McIntosh, Virginia Commonwealth University
“COLLECTING, CUTTING, AND COLLAGING”
Time: 02/22/2018: 4:00PM–5:30PM Location: Room 406B
Chairs: Kathryn Desplanque, The University of North Carolina at Chapel Hill and Cynthia Roman, Lewis Walpole Library, Yale University
“Printcrafts and Industrious Play in Early America” Christina Michelon, University of Minnesota Twin Cities
“Drawing Manuals, Albums, Medleys” Patricia Mainardi, The Graduate Center, The City University of New York
“Granger, Grangerizing and Grageritis”: Extra-illustration in Ninteenth and Twentieth-century Britain and America” Lucy Peltz, National Portrait Gallery, London
“Romare Bearden’s Collage and Diaspora Aesthetics” Tobias Wofford, Santa Clara University
“MATERIALITY AND METAPHOR: THE USES OF GOLD IN ASIAN ART”
Time: 02/22/2018: 4:00PM–5:30PM Location: Room 501B
Chairs: Michelle C. Wang, Georgetown University; Donna K. Strahan, Freer Gallery of Art and Sackler M. Gallery, Smithsonian Institution
“Gilded Ink and the Afterlives of Sixteenth Century Japanese Paintings” Frank Feltens, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution
“Gilded Korean Ceramics: A Cross-Cultural Contextualization” Audrey Kyung-jin Min, Los Angeles County Museum of Art
“Turning Stone into Gold: Mortuary Stones of Sogdian Immigrant Merchants in China” Jin Xu, Vassar College
“Palaces of Gold: Merit, Beauty, and Perfection in the Cremation Structures of Northern Thailand” Rebecca S. Hall Santa Monica College
Discussant: Michelle C. Wang, Georgetown University
“TOUCH AND TOOLING: A SOCIAL AND HISTORICAL PERSPECTIVE ON CRAFT AND ENGAGEMENT IN CONTEMPORARY CERAMICS”
Time: 02/22/2018: 4:00PM–5:30PM Location: Room 408B
Chairs: Casey Whittier, Kansas City Art Institute; Jeni Hansen Gard, Independent Artist
“Touch and Tooling: Representations of Self in Ceramic Art History and Socially Engaged Practice” Casey Whittier, Kansas City Art Institute
“Touch and Tooling: Consumption, Nourishment and the Social History of the Vessel” Jeni Hansen Gard, Independent Artist
“Touch and Tooling: Ceramics as a Tool for Social Engagement” Shannon Waldman, School of the Art Institute of Chicago
“Touch and Tooling: Ceramics and the Architecture of Social Progression” Henry Crissman, Independent Artist
SOCIAL TEXTILES: HUMOR AND MAGIC
Time: 02/22/2018: 4:00PM–5:30PM Location: Room 411
Join Media Lounge for Social Textiles: PART 2, an extension of Mending America. Social Fabric provides a platform for artists experimenting with humor and magic in textiles as a way of re-defining identity with fabric. This session is a work zone, production line and action, mobilizing artists to reconstruct the political. This session brings together artists and action in an attempt to re-engage the political, re-configuring how personal performance and collective artistic practice can radicalize change to cultivate a small revolution.
Co-Chairs: Carissa Carman, Indiana University Bloomington; Edgar Endress, George Mason University
“TEACHING AND WRITING THE ART HISTORIES OF LATIN AMERICAN LOS ANGELES” (ART HISTORIANS OF SOUTHERN CALIFORNIA AHSC)
Time: 02/22/2018: 6:00PM–7:30PM Location: Room 403B
“Decolonizing Art History: Institutional Challenges and the Histories of Latinx and Latin American Art” Charlene Villaseñor Black, UCLA, Keynote Speaker
“Xerografia: Copyart in Brazil, 1970-1990- Local Art Histories and Common Points Across the Art Histories of Vastly Different Countries.” Erin Aldana, Guest Curator and Research Scholar, University of San Diego
“Félix González-Torres as a (Post)Latino Artist” Elizabeth Cerejido, University of Florida, Gainesville, FL
“Chicana/o Remix: Rethinking Art Histories and Endgames” Karen Mary Davalos, University of Minnesota, Twin Cities
“Voids of the Aggregate: Materializing Ethnic Mexicans in Mission Revival and Spanish Colonial Revival Architecture in Southern California” Carolyn J. Schutten, University of California Riverside
THE CRAFT SCHOOL EXPERIENCE”
Time: 02/22/2018: 6:00PM–7:30PM Location: Room 408B
Chair: Diana Jocelyn Greenwold, Portland Museum of Art
“Examining the Changing Role of the Craft School in Contemporary Craft Education” Perry Allen Price, Houston Center for Contemporary Craft
“The Craft School Consortium: Goals and Challenges” Leslie Noell, Penland School of Crafts
“My Craft School Experience” Cathy Adelman, Independent Artist
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FRI 2.23
“CASTS: PLASTER AND PEDAGOGY”
Time: 02/23/2018: 8:30AM–10:00AM Location: Room 409A
Chair: Martha Dunkelman, Canisius College
“Historic Plaster Casts and American Sculpture” Martha Dunkelman, Canisius College
“Fig Leaves and Propriety” Jacqueline Marie Musacchio, Wellesley College
“Casting Callback: Plaster Casts in the Era after Plaster Casts” Roger J. Crum, University of Dayton
“DESIGN AND NEOLIBERALISM: THE ECONOMICS AND POLITICS OF “TOTAL DESIGN” ACROSS THE DISCIPLINES” (DESIGN STUDIES FORUM DSF)
Time: 02/23/2018: 8:30AM–10:00AM Location: Room 402A
Chairs: Arden Stern, ArtCenter College of Design; Sami Siegelbaum, University of California, Los Angeles
“The Neoliberal Body: Data, Dress, and Bare Life” Susan Elizabeth Ryan, Louisiana State University
“The Rational Dress Society Presents: Counter-Fashion as Critical Practice” Abigail Glaum-Lathbury, The School of the Art Institute of Chicago; Maura Brewer, University of Southern California
“A Panopticon for Everyone’s Wrist: Designing Fun Surveillance Experiences for Personal Tracking Devices” Katherine Hepworth, University of Nevada, Reno
“The California (Design) Ideology: Information Wants To Be Free (To Make Money)” Peter Lunenfeld, University of California, Los Angeles
“GLOBAL CONVERSATIONS – BORDER CROSSINGS: THE MIGRATION OF ART, PEOPLE, AND IDEAS” (CAA-GETTY INTERNATIONAL PROGRAM AND INTERNATIONAL COMMITTEE)
Time: 02/23/2018: 8:30AM–10:00AM Location: Room 403B
Chairs: Nomusa Makhubu, University of Cape Town; Sandra Uskokovic, University of Dubrovnik
“Haruo Ohara’s Photography: Japanese Blossom in Brazilian Culture” César Bartholomeu, Universidade Federal do Rio de Janeiro
“Conversations Across Borders: Fostering Art linkages in the Age of Information Technology” Peju Layiwola, University of Lagos
“Art and Migration politics” Ildikó Fehér, Hungarian Academy of Fine Arts
“The Mediation of the Object: Iconographies of Travel Across the Indian Ocean” Parul Pandya Dhar, University of Delhi
Discussant: Saloni Mathur, University of California, Los Angeles
“MATERIAL PROCESSES OF MEDIEVAL ART AND ARCHITECTURE”
Time: 02/23/2018: 8:30AM–10:00AM Location: Room 505
Chair: Kristine Tanton, Université de Montréal; Meredith Cohen, University of California, Los Angeles
“Media Lost and Found: Medieval Understandings of the History of Technique” Erik Inglis, Oberlin College
“The Transformative Power of Lead White in Cimabue’s Assis Murals” Holly Flora, Tulane University
“Half-made, All Gone: Lessons about Processing Ivory from the Archives” Katherine Baker, Arkansas State University
“WARP, WEFT, WORLD: POSTWAR TEXTILES AND TRANSCULTURAL FORM”
Time: 02/23/2018: 8:30AM–10:00AM Location: Room 408B
Chair: Kay Wells, University of Wisconsin–Milwaukee
“The Evolving Tapestry: Sheila Hicks and Weaving Off the Loom” Grant Klarich Johnson, University of Southern California
“The Aesthetic and Philosophical Influences of Papa Ibra Tall’s Tapestries on the US Black Arts Movement ” Camille Ann Brewer, George Washington University Museum and The Textile Museum
“A Strip of Red Velvet” Bibiana Obler, George Washington University
Discussant: Elissa Auther, Bard Graduate Center
“AMERICA IS (STILL) HARD TO SEE: NEW DIRECTIONS IN AMERICAN ART HISTORY”
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 408A
Chair: Elizabeth Lee, Dickinson College
“Seeing the Unseen: Suppression within the Visual Culture of American Slavery” Rachel Stephens, The University of Alabama
“Textualizing Intangible Cultural Heritage: Querying the Methods of Art History” Kathryn Bunn-Marcuse, University of Washington
“Two American Painters and Native/American Art History” Kristine K. Ronan, Independent Scholar
Discussant: Erika Doss, University of Notre Dame
“DECOLONIZING ART HISTORIES: THE INTERSECTIONS OF DIASPORA AND WORLD STUDIES”
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 406B
Chairs: Victoria Nolte, Carleton University; Andrew Gayed, York University
“Move Over, Mona Lisa: Just How Global Is Art History?” Peggy Levitt, Wellesley College
“Decolonizing Indigenous Art History: American Indian Nationalisms, Digital Mapping, and Re-‘worlding’ Art” Janet Berry Hess, Sonoma State University
“The World of Abstract Art: A Study of Japanese Brazilian Postwar Art” Mariola V. Alvarez, Temple University
“Practicing Asia as Method: On the Case of Three Shadows Photography Art Centre” Jiangtao (Harry) Gu, University of Rochester
“DIGITAL CRAFT: A HISTORICAL PERSPECTIVE”
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 408B
Chair: Kayleigh Perkov, University of California, Irvine
“Communication Implications for Craft in the Digital Age” Emily Zaiden, Craft in America
“Against Imperialism: Anti-Technology in the Pattern and Decoration Movement” Matthew Limb, University of California, Santa Barbara
“The Computer Pays Back Its Debt to Weaving: An Alternative History of Computer Aided Design” Kayleigh Perkov, University of California, Irvine
“Prime Objects: New Methodologies in Digital Clay” Jenni Sorkin, University of California, Santa Barbara
“FLORENCE, BERLIN, AND BEYOND: SOCIAL NETWORK AND THE LATE NINETEENTH-CENTURY ART MARKET, PART II”
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 404A
Chair: Thomas Gaehtgens, The Getty Research Institute
“Alessandro Piceller, Agent of Stefano Bardini in Central Italy” Lucio Riccetti, Independent Researcher
“The Barberini Tapestries and the Dealers’ Network ” Denise M. Budd, Bergen Community College
“Stefano Bardini and Wilhelm von Bode: A Case of a Colluded Canon” Lynn Catterson, Columbia University
“IMAGINING THE INTERNATIONAL: REPOSITIONING PERIPHERAL NARRATIVES IN GLOBAL DESIGN HISTORIES” (DESIGN HISTORY SOCIETY)
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 402A
Chair: Hui-Ying Kerr, Design History Society; Rebecca Bell, Design History Society
“The Village in the City Center: Alternative Design Surveys in 1970s Urban Japan” Carrie L. Cushman, Columbia University
“The Institute for Khmer Traditional Textiles: A Japanese Perspective on Cambodian Silk Crafts” Magali An Berthon, Royal College of Art
“Balancing Local Tradition and Global Influences: Design Education for Traditional Artisans in Kutch, India” Ruth Clifford, Nottingham Trent University
“Ming Chairs: Subversion or Testimony to Western Design?” Di Liu, Asia Art Archive
“RECIPES FOR REVOLUTION FROM FEMINIST ARTISTS OF COLOR” (WOMEN’S CAUCUS FOR ART WCA)
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 501B
Chairs: Jacqueline Francis, California College of the Arts; Tina Takemoto, California College of the Arts
“Teacher Don’t Teach Me Nonsense: On Being Present in the Present” Suné Woods, Independent Artist
“Low N’ Slow: The Evolution into Xicanx” Gilda Posada, Cornell University
“Breaking Glass, Oozing Off the Page: Women of Color Revolutionizing Their Field” Gina Osterloh, The Ohio State University
“REPAIR AND MAINTENANCE IN ART, ARCHITECTURE, AND DESIGN, PART I”
Time: 02/23/2018: 10:30AM–12:00PM Location: Room 406A
Chair: Sabir Khan, Georgia Institute of Technology
“Creatively Defying Brokenness: Repaired Textiles and Design Futures” Kate Irvin, RISD Museum Rhode Island School of Design
“Maintenance and Metamorphosis: Rendering Transcendence from the Commonplace” Allen Pierce, Independent Scholar
“Building Soft Wear” Winifred E. Newman, University of Arkansas
“Hong Kong Hawker Stalls – Normalization, Control, and Maintenance Aesthetics in Participatory Design” Daniel Keith Elkin, Hong Kong Polytechnic University
“RACE, ETHNICITY, AND CULTURAL APPROPRIATION IN THE HISTORY OF DESIGN”
Time: 02/23/2018: 2:00PM–3:30PM Location: Room 402A
Chairs: Karen Carter, Kendall College of Art and Design of Ferris State University; Victoria Rose Pass, Maryland Institute College of Art
“Mayan by Design: Adaptation and Copy in Ruth Reeves’s Guatemalan Exhibition of Textiles and Costumes” Noga Bernstein, Stony Brook University
“Cultural Appropriation, Design, and Feminine Self in Twentieth Century China” Sandy Ng, The Hong Kong Polytechnic University
“Contested Designs: Paolo Soleri’s Amphitheater for the IAIA, Cross-cultural Architectural Work, and the 2016 SITElines Biennale” Rebecca Lemire, Concordia University
“SOUNDSCAPE/TEXTSCAPE”
Time: 02/23/2018: 2:00PM–3:30PM Location: Room 410
“‘Original in Every Way it Mattered’: Richard Maxfield’s New York City Art Music, 1957–62” Gerald Hartnett, Stony Brook University, The State University of New York
“‘There Will Be a Taker of the Shapes’: Retracing Tony Martin’s Score for ‘City Scale,’ 1963” Erin Stout, Stony Brook University, The State University of New York
“Between Systems and Grounds: A Generative, Sonic Textile Construction and Installation System” Olivia Valentine, Iowa State University
“CRAFTED INSITES”
Time: 02/23/2018: 4:00PM–5:30PM Location: Room 408B
“You Are (T)Here, Material as Historian” Kerianne Quick, San Diego State University
“WILD THINGS, The World is My Workshop” Motoko Furuhashi, New Mexico State University
“Culling the Sand, A Search for Inspiration” Demitra Thomloudis, Lamar Dodd School of Art, University of Georgia
“DECOLONIZING DESIGN: CONSIDERING A NON-WESTERN APPROACH TO DESIGN PEDAGOGY”
Time: 02/23/2018: 4:00PM–5:30PM Location: Room 402A
Chair: Pouya Jahanshahi, Oklahoma State University
Dori Tunstall, OCAD University
Kali Nikitas, Otis College of Art and Design
Ian Lynham, Vermont College of Fine Arts, Temple University Japan
Steven McCarthy, University of Minnesota
Elizabeth Chin, ArtCenter College of Design
“TAKING IT TO THE STREETS: THE VISUAL AND MATERIAL CULTURE OF WOMEN’S MARCHES” (COMMITTEE ON WOMEN IN THE ARTS)
Time: 02/23/2018: 4:00PM–5:30PM Location: Room 501B
Chair: Heather Belnap Jensen, Brigham Young University
“The Women’s March: Its Community-Based Performative Act and the Protest Signs as Art Objects” Ann B. Kim, Indiana University East
“Not All Women Have Pussies: Towards a Transfeminist History of Protest Art” Tara Burk, Rutgers University
“Icons of Defiance: Protest Imagery from the Indian Women’s Movement through the Lens of Sheba Chhachhi” Sophia Powers, Washington University
“A Stitch in Time Saves Nine” Nicole Archer, San Francisco Art Institute
Discussant: Erin Johnson, Bowdoin College
MOLDS AS CULTURAL AND MATERIAL MEDIATORS
Time: 02/23/2018: 4:00PM–5:30PM Location: Room 409A
Chair: Hannah Wirta Kinney, University of Oxford; Emily Knight, University of Oxford
“Nature’s Molds: Life-Casting Revisited” Allison Stielau, University College London
“”Concrete too is Beautiful:” How William Mitchell’s Casting Process Humanized Post-war Urban Landscapes” Dawn Pereira, Henry Moore Foundation
“Losing Touch: Molding Meaning in Contemporary Sculpture” Richard Hollinshead, University of Northampton
“CRAFT: UNSETTLING HIERARCHIES”
Time: 02/23/2018: 6:00PM–7:30PM Location: Room 408B
“Who says this has nothing to do with clay?” Sequoia Miller, Yale University
“Rule Following: Lowell Darling and Uncivil Obedience” Monica Steinberg, University of Southern California
“Unsettling the Canon: Whiteness and Contemporary Fiber” Lisa Vinebaum, School of the Art Institute of Chicago
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Sat 2.24
“CRITICAL CRAFT: DECOLONIZING CRAFT”
Time: 02/24/2018: 8:30AM–10:00AM Location: Room 408B
Chair: Aram Han Sifuentes
“Queering Craft and Social Practice” PJ Gubatina Policarpioa Policarpio, Contemporary Jewish Museum
“Art Versus Craft? A Personal Experience” Marianne Sadowski, Independent Artist
“A Thing Well Made” Vanessa Dion Fletcher, Independent Artist
“Gentrification and Colonization: What’s Craft Got To Do With It? Carol Zou, Asian Arts Initiative
Discussant: Namita Gupta Wiggers, Warren Wilson College and Critical Craft Forum
“CRITICAL CRAFT: VOICE OF THE OBJECT “
Time: 02/24/2018: 10:30AM–12:00PM Location: Room 408B
Chair: Shannon R Stratton, MAD | Museum of Arts and Design
“Dismantling the Patriarchy One Brick at a Time: Voulkos and the Changing Landscape of Ceramics at UC Berkeley” Nicki Green, Independent Artist
“Craft as Bridge: The Complex Connections of the Craft Practice to the Object-oriented Turn” Erika Lynne Hanson, Arizona State University
“Object Lessons” Judith Leemann, Massachusetts College of Art and Design
“CRITICAL CRAFT: CRAFT’S EVOLVING RELATIONSHIP WITH INDUSTRY”
Time: 02/24/2018: 2:00PM–3:30PM Location: Room 408B
Chair: Marilyn Zapf, The Center for Craft, Creativity & Design
“The Invisible Women of Modern American Hobby Crafting ” Susan Richmond, Georgia State University
“Disruptive Cloth Making Practice in History and the Hudson Valley” M. Lilly Marsh, Independent Artist and Scholar
“Learning from Petrotextiles: Moving Beyond Critique to Action” Kirsty Robertson, Western University
“CRITICAL CRAFT: WHAT CRAFT ARCHIVES?”
Time: 02/24/2018: 4:00PM–5:30PM Location: Room 408B
Chair: Namita Gupta Wiggers, Warren Wilson College and Critical Craft Forum
“Half Hidden” Anne Haaning , Norwegian Artistic Research Programme
CARPA: CRAFT ADVANCED RESEARCH PROJECTS AGENCY
Time: 02/24/2018: 7:00PM–9:00PM Location: Craft and Folk Art Museum, 5814 Wilshire Boulevard, Los Angeles, CA 90036
Reception will take place from 7:00–9:00 PM.
Special session during reception at 7:30 PM as part of the Critical Craft Forum at the Craft & Folk Art Museum.
Chairs: Sara Clugage, Dilettante Army; Otto von Busch, Parsons School of Design, The New School
“Shrink It and Pink It,” Steven Frost, University of Colorado, Boulder
“Done Catching: A Brief Briefing on Progress in the Field + Instruction for New Agents,” Lauren A. Ross
Discussant: Carole Frances Lung, California State University, Los Angeles
RSVP: TBD.
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8th Critical Craft Forum: Gender and Jewelry
Where: College Art Association, NYC
Date: February 16, 2017
Time: 10:30 AM - 12:00 PM
Location: Sutton Parlor South, 2nd Floor
Chairs: Namita Gupta Wiggers, Critical Craft Forum and Benjamin Lignel, Artist, Curator, Writer
Session Abstract:
Despite the connection between jewelry and the body, significant critical analysis of the relationship between gender and adornment – particularly of contemporary art jewelry – is nascent at best. This panel explores connections between this subject and forms of adornment, ornament, and art jewelry. Panelists will each present their research in brief, focused 8 minute talks, to be followed by a respondent and workshop/discussion amongst panelists and attendees.
The goals: to identify and work collaboratively with researchers and artists to explore the relationship between gender and jewelry; to work collectively prior to the panel to build a core group with shared interests via ww.criticalcraftforum; to publicly share individual research investigations; and to use the broader collective group of CAA attendees to further questions, thinking and concerns to expand critical frameworks for further study. Collective project work for this session with panelists and panel attendees will be acknowledged and explored in a forthcoming publication – the first to critically examine gender and art jewelry – currently being researched by Lignel and Wiggers.
Papers, Speaker Info, and Paper Abstracts:
Speaker 1: Meredith P. Nelson, Bard Graduate Center
The gold body chain (catena) is a Roman jewelry form that is represented by a small corpus of pieces, uncovered primarily in excavations of the Vesuvian region, and dating to the 1st century A.D. Representations of catenae in contemporary visual media indicate that the body chain held distinctly erotic connotations, as it appears to have been worn only by women, over their bare torsos. Furthermore, the chains are found primarily in images of Venus and mortal women engaged in explicit sexual acts. Because of these illustrations, it appears the catena functioned in Roman contexts as an assertive, visual sign of female sexuality. The intersection of material remains and visual representation elicit deeper questions about the role of catenae in advertising female sexual autonomy, the status of the women who wore them, and the kinds of social environments in which such demonstrations were considered appropriate.
Speaker 2: Emily K. Rebmann
Historically, men’s jewelry has been subject to regulations that have not been applied to jewelry worn by women. These rules changed over time as well as in relation to event type and time of day, and can best be summarized as an unfaltering emphasis on “correctness” of style. The guidelines functioned as a “dress code” of sorts that established a “uniform” that could allow men to transcend the boundaries of class – if executed correctly. Though it is not possible to ascertain the precise number of men who followed this advice, the sheer magnitude of advertisements and articles that played off men’s social anxieties and the popularity of "correct" jewelry during the period lead to the following question: how, if at all, has nineteenth- and twentieth-century prescriptive literature impacted the jewelry worn by men in contemporary society?
Speaker 3: Julia Heineccius, The Evergreen State College
Jewelry everywhere and nowhere.
• How is jewelry used in the photographic description of bodies?
• When does jewelry no longer describe the body wearing it?
• What is the effect of opting-out of adornment?
In the images made by Annie Leibovitz of Caitlyn Jenner for Vanity Fair, jewelry is everywhere and nowhere. On the cover, there is no jewelry: just the hair vamped and flesh bodysuited in satin. In one of the interior article shots, the jewelry is negligible, especially when contrasted with the giant Olympic gold metal left on the table. The placement and scale of jewelry in these portraits authenticate gender (and wealth) and allow the lack of jewelry to be as descriptive as the presence of it.
Speaker 4: James Tigger! Ferguson
I have a sassy story to share about a sissy-gendered teen struggling to breathe in the Midwest who inherited the "Dead Grandma Collection" of garish costume jewelry, and how it helped to open a door he had been kicking against for as long as he could remember. It takes me an hour just to write a postcard. This story takes many, many postcards. My art moves very quickly onstage but takes a lifetime of preparation. New York’s leading boylesque performer since 1997, Actor/Dancer/Stripper/Performance Artist James Tigger! Ferguson has been stripping and grinding since 1988.
Speaker 5: renée c. hoogland, Wayne State University
The thrust of my argument will be that becoming non-heterosexual, both epistemologically and ontologically, is, first of all, a radically historical process, but also an undeniably materially embodied/embedded phenomenon within an ever-emergent system of linkages with material objects and practices. That this, at least theoretically, equally holds true for dominant or straight modulations of becoming does nothing to detract from the fact that it is in its material practices, manifestations, and effects that the latter, heterosexuality, appears, and thus obtains as a form of natural or transcendent being, while the former, queer becoming, primarily consists in activity, in what Alfred North Whitehead calls “actual” or “living occasions,” orwhat Deleuze and Guattari describe as intensive “events” within complex matrices of materiality.
Discussant 1: Jenni Sorkin, UC, Santa Barbara
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CALL FOR PROPOSALS - DUE AUGUST 30, 2016
Critical Craft Forum at College Art Association, 2017
“Critical Craft Forum: Gender and Jewelry”
Chairs: Namita Gupta Wiggers, Critical Craft Forum and Benjamin Lignel, Art Jewelry Forum
Date and Time: Thursday, 02/16/17: 10:30 AM–12:00 PM
Room: Sutton Parlor South, 2nd Floor, New York Hilton Midtown
Despite the connection between jewelry and the body, significant critical analysis of the relationship between gender and adornment – particularly of contemporary art jewelry – is nascent at best. Critical Craft Forum is seeking papers that explore connections between this subject and forms of adornment, ornament, and art jewelry.
Submit 250-300 words on one specific question or issue about gender and jewelry in your research or art practice.
Email: namita_wiggers@yahoo.com, editor@artjewelryforum.org
Selected panelists (six) will be invited to participate in online private and public discussions preceding the College Art Association (CAA) conference (February 15-18, 2017, New York, NY) via Art Jewelry Forum and Critical Craft Forum.
At the CAA conference, panelists will each present a brief, focused eight-minute paper, to be followed by a workshop/discussion among panelists and attendees, to be led by Lignel and Wiggers. Session is scheduled for February 16, 2017.
The goals: to identify and work collaboratively with researchers and artists exploring the relationship between gender and jewelry; to work collectively prior to the panel to build a core group with shared interests; to publicly share individual research investigations in the CAA session; and to use the broader collective group of attendees gathered for the session to further questions, thinking and concerns to expand critical frameworks for further study. Collective project work for this session with panelists and panel attendees will be acknowledged and explored in a forthcoming publication – the first to critically examine gender and art jewelry – currently being researched by Lignel and Wiggers.
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Critical Craft Forum at College Art Association, 2016
"THE BLACK CRAFTSMAN SITUATION": A CRITICAL CONVERSATION ABOUT RACE AND CRAFT
CO-CHAIRS: Bibiana Obler, George Washington University, Washington, DC and Mary Savig, Archives of American Art, Washington, DC
Sonya Clark, Virginia Commonwealth University, Richmond, VA
Wesley Clark, Hyattsville, MD
Dr. Joan Gaither, Maryland Institute College of Art, Baltimore, MD
Joyce J. Scott, Baltimore, MD
Diana N'Diaye, Smithsonian Center for Folk and Cultural Heritage, Washington, DC
Namita Gupta Wiggers, Portland, OR
Each presenter will speak for about 5 minutes before entering a discussion about issues of race and craft.
Session will be recorded and released as a Critical Craft Forum podcast.
Update: Due to unforseen circumstances, Dr. Joan Gaither and Diana N'Diaye were unable to participate.
The transcript from this panel will be available as a chapter in Anthea Black and Nicole Burisch, edits., Craft on Demand, New York: Routledge, 2017. (https://antheablack.com/2014/10/01/craft-on-demand/)
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Critical Craft Forum at College Art Association, 2015
For those of you heading to College Art Association in NYC, this year's session focuses on the question:
CURATING AND CRAFT: WHAT HAPPENS NOW?
Friday, February 13, 2015 from 5:30 - 7:00 PM
Hilton New York, 2nd Floor, Sutton Parlor South
From the Walker to the Whitney, Hammer to the ICA, Boston, craft materials, performances, and artworks can be found in any number of museum exhibitions. Concurrently, craft is exhibited -- sometimes in the same manner though more frequently in different ways -- in academic, craft-focused, and independent museums of varying sizes across the country. How do these institutional missions overlap – and why? How are broader questions, such as gender, sexuality, identity, and activism as well heritage, process and materialism revealing themselves in this expanded exposure? What kind of work may fall in-between, perhaps in cracks and fissures between agendas, resulting in a contentious rather than a productive interstice?
CHAIRS: Namita Gupta Wiggers, Critical Craft Forum | Independent Curator; Elisabeth Agro, Philadelphia Museum of Art
Glenn Adamson, Director, Museum of Arts & Design
Anthony Elms, Association Curator, ICA, Philadephia
Wendy Gers, University of Johannesburg, South Africa and Ecole Superieure d'Art et de Design de Valenciennes
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Let's take the conversation from online to on site. Together, we can develop local chapters and collaborative programs through Critical Craft Forum. To kick us off:
Meet-up at MCA: Wednesday, February 12, 11 am; optional lunch to follow; Sign up on Facebook
Join Jovencio de la Paz and Namita Gupta Wiggers to walk through and discuss William J O'brien's exhibition currently on view. Writing about the exhibition has proven problematic—together we will talk about the exhibition, the language being used to review it—and see what we can do to make change...More info here http://www.architecturaldigest.com/ad/art/2014/william-j-obrien-abstract-art
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Critical Craft Forum at College Art Association
For those of you heading to College Art Association, here is the double-header session for this year’s Critical Craft Forum panel and discussion. For 2014, we partnered with co-chairs Lisa Vinebaum and Kirsty Robertson’s session “Crafting Community: Textiles, Collaboration, and Social Space.” The Critical Craft Forum session immediately follows from 5:30–7:00 PM in the same room to extend the conversation on “Craft and Social Practice.” For those who are not attending CAA, the CCF session will be recorded and released at a date TBD later this spring.
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Crafting Community: Textiles, Collaboration, and Social Space: Thursday, February 13, 2:30–5:00 PM;
Hilton Chicago, 2nd Floor, Boulevard C, 720 South Michigan Avenue; CAA fees required to attend
Chairs: Lisa Vinebaum, School of the Art Institute of Chicago;
Kirsty M. Robertson, University of Western Ontario
Crafting Threads and Social Space in Late Medieval Paris
Nancy Gardner Feldman, School of the Art Institute ChicagoInsecurity Blankets
Nicole Archer, San Francisco Art InstituteCrocheted Strategies: Women Crafting Their Own Communities
Janis K. Jefferies, Goldsmiths, University of LondonI Am Ai, We Are Ai: Confirming and Connecting the Collective Tradition of Indigo in Japan
Rowland Ricketts, III, Indiana UniversityBaked Goods: Interweaving Cake, Craft, and Cocaine
Julia Skelly, Concordia UniversityA Community of Non-Citizens: Proving Worth of Citizenship through Stitching Samplers
Aram Han, School of the Art Institute of Chicago
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Critical Craft Forum: Craft and Social Practice; Thursday, February 13, 5:30–7:00; Hilton Chicago, 2nd Floor, Boulevard C, 720 South Michigan Avenue; CAA fees required to attend
Chairs: Namita G. Wiggers, Museum of Contemporary Craft, Pacific Northwest College of Art;
Elisabeth Agro, Philadelphia Museum of Art
Michael Strand, North Dakota State University
Sarah Archer, Philadelphia Art Alliance
Jen de los Reyes, Portland State University
Michael Strand is Head of Visual Arts and Associate Professor of Art at North Dakota State University. As a potter, Strand’s work moves seamlessly into public practice through projects that utilize the inherent participatory nature of craft-based media as a trigger for social engagement and change. His work has been published internationally with recent articles in Hemslojd, Public Art Review, Studio Potter, Ceramics Art and Perception/TECHNICAL, Ceramics Monthly, The Chronicle of Higher Education and a forthcoming feature article in American Craft.
Through 25,000 years of participatory history, craft has been a building block of culture and human civilization. From prayer shawls to food storage vessels the "useful" nature of craft will continue to be an instrument of social change. With an increasingly digital and technologically connected world, craft-based media has an exceptional advantage in social practice because of its inherently relational capacity. http://www.michaeljstrand.com/
Sarah Archer is a writer and curator based in Philadelphia. As the Senior Curator at the Philadelphia Art Alliance, she organized numerous exhibitions including a site-specific installation by Beijing-based artists Song Dong and Yin Xiuzhen. Previously, she was the Director of Greenwich House Pottery, and a curatorial assistant at the Museum of Arts and Design. Her articles and reviews have appeared in the Journal of Modern Craft, American Craft, Artnet, Ceramics: Art and Perception, Hand/Eye, Modern Magazine, Studio Potter, and The Huffington Post. Archer recently guest-curated “Bright Future: New Designs in Glass” at the Pratt Manhattan Gallery.
Unlike a museum staging a food-related event in a dedicated gallery space, “Heirloom” will use the existing ecosystem of the Philadelphia Art Alliance to introduce visitors and diners to ideas that are germane to craft practice in an unexpected way. Marketed as a culinary experience, Gregg Moore’s collaboration with chef Pierre Calmeis of La Cheri, the PAA’s onsite restaurant will explore food and domesticity as an example of social practice and craft. http://www.philartalliance.org/craft-culture-panel-discussion-with-chad-curtis-ethan-lasser-and-sarah-archer/ and http://www.philartalliance.org/exhibition/gregg-moore-heirloom/#more-1963
Jen Delos Reyes is an artist originally from Winnipeg, MB, Canada. Her research interests include the history of socially engaged art, artist-run culture, group work, band dynamics, folk music, and artists’ social roles. Jen is the founder and director of Open Engagement, an international conference on socially engaged art. She is currently an Assistant Professor at Portland State University where she teaches in the Art and Social Practice program.
What can craft learn from socially engaged art practice? How can forms of social practice benefit from current craft dialogues? Delos Reyes will discuss the need to teach social practice at a foundations level and the impact that this would have on arts education including a re-evaluation of the role of craft and the function of design. http://jendelosreyes.com/openengagement/about.html and http://openengagement.info/oe2014/
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CCF Breakfast: Friday, February 14, 8 am at Yolk; limited seats; Sign up on Facebook
Join co-founders Elisabeth Agro and Namita Gupta Wiggers for breakfast, discussion, and camaraderie.
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Podcasts Launched! Click above to connect.
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