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Journal articles on the topic 'Visual Arts and Crafts Studies'

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Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Piters-Hofmann, Ludmila. "Regulating Russian Arts and Crafts." Experiment 25, no. 1 (September 30, 2019): 310–27. http://dx.doi.org/10.1163/2211730x-12341345.

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Abstract On March 10, 1913, the “Second All-Russian Kustar Exhibition” opened in St. Petersburg under the patronage of the Empress Alexandra Fedorovna. The largest display of folk art and kustar goods in Imperial Russia, it was a huge success with the public and significantly shaped the layman’s view of Russian folk art. Although this exhibition has garnered considerable attention within the scholarly discourse, it has mainly been discussed from the critics’ point of view. This article provides complementary insights by reconstructing the organizational efforts that contributed to the public success of the exhibition and by analyzing the reaction of the organizing committee to criticism in the contemporary press.

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2

Tressol, Nathanaëlle. "The Reception of Russian Arts and Crafts in French Art Journals." Experiment 25, no. 1 (September 30, 2019): 346–62. http://dx.doi.org/10.1163/2211730x-12341347.

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Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.

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Oser, Jesco. "“Rodnik”: A Source of Inspiration." Experiment 18, no. 1 (2012): 61–88. http://dx.doi.org/10.1163/221173012x643053.

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Abstract The article discusses the history of Princess Mariia Tenishevaʼs workshops at Talashkino which, in the early 1900s, played a significant role in Russia’s Arts and Crafts movement. Recently discovered photographs of the interior of “Rodnik,” the store in Moscow that marketed Talashkino wares from 1903 to 1906, were the occasion to shed more light on Tenisheva’s attempt to revive popular craft traditions by creating artist-designed and hand manufactured goods for daily use.

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4

Behrens-Abouseif, Doris. "European Arts and Crafts at the Mamluk Court." Muqarnas Online 21, no. 1 (March 22, 2004): 45–54. http://dx.doi.org/10.1163/22118993_02101006.

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5

Harris, Trudier, and William Ferris. "Afro-American Folk Art and Crafts." Western Folklore 44, no. 1 (January 1985): 52. http://dx.doi.org/10.2307/1499953.

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6

Vyazova, Ekaterina. "English Influences, Russian Experiments." Experiment 25, no. 1 (September 30, 2019): 207–25. http://dx.doi.org/10.1163/2211730x-12341339.

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Abstract This article analyzes the Neo-Russian style in children’s book illustrations in Russia and compares it to analogous artistic developments in England, revealing a similar evolutionary path to that of other national variants of Art Nouveau. The initial aesthetic impulse for this evolution came from the promotion of crafts and medieval handicrafts by “enlightened amateurs.” The history of children’s books, with its patently playful nature, aestheticization of primitives, and free play with quotations from the history of art, is an important episode in the history of Russian and English Art Nouveau. Starting with a consideration of the new attitude towards the “theme of childhood” as such, and a new focus on the child’s perception of the world, this article reveals why the children’s book, long treated as a marginal genre, became a fertile and universal field for artistic experimentation at the turn of the twentieth century. It then focuses on Elena Polenova’s concept of children’s book illustrations, which reflected both her enthusiasm for the British Arts and Crafts movement, and, in particular, the work of Walter Crane, and her profound knowledge of Russian crafts and folklore. The last part of the article deals with the artistic experiments of Ivan Bilibin and the similarities of his book designs to those of Walter Crane.

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7

Stansky. "Arts and Crafts Objects, by Imogen Hart." Victorian Studies 54, no. 1 (2011): 157. http://dx.doi.org/10.2979/victorianstudies.54.1.157.

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8

Antaki, Berea, and Katalin Medvedev. "Bolivian textile crafts and the subversion of institutionalized sustainability." Clothing Cultures 7, no. 1 (March 1, 2021): 91–100. http://dx.doi.org/10.1386/cc_00031_1.

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This article describes the tensions between institutionalized and grassroots forms of sustainability and their subsequent effects on textile artisans in La Paz, Bolivia. Principles of the indigenous cosmology Suma Qamaña are applied to the twenty-first-century challenge of environmental degradation and governmental corruption in the description of craft practices at two artisan collectives in La Paz. Suma Qamaña is an expression of the harmonious and respectful coexistence of humans with nature, which entails communal values and reciprocal resource management principles. The study highlights grassroots, practical solutions that encourage economic and environmental sustainability for textile cooperatives in Bolivia. Through extensive participant observation and in-depth interviews, this study seeks to understand how the lives of artisans are affected by the Bolivian government’s appropriation of the Suma Qamaña cosmology. The current political party, the Movimiento al Socialismo, has gained popular support in Bolivia partly by institutionalizing the inherent rights of nature in the national constitution. Despite this, the government continues to pursue extractive natural resource policies. To counter this, Bolivian textile artisans practise their own version of bottom-up sustainability, which does not rely on government institutions to enforce change. The artisans’ situated practices, traditional knowledge base and the inherently sustainable characteristics of craft production ‐ flexible, small-scale, localized and resilient ‐ reflect potential trends and alternatives for apparel production.

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9

Waldron, Michael. "‘The wish to paint’: Bowen and the Visual Arts." Irish University Review 51, no. 1 (May 2021): 85–99. http://dx.doi.org/10.3366/iur.2021.0497.

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Throughout her life, Elizabeth Bowen maintained a rich network of artist friends and acquaintances. She often attended exhibitions and was an astute, sometimes caustic critic in letters as well as reviews. Her short tenure as an art student is an often mentioned but rarely, if ever, explored biographical fact, yet it was a key moment in her creative development. It is perhaps unsurprising then that she began to write while ‘still under the influence of … the wish to paint.’ This essay considers Bowen's significant relationship with the visual arts, from her art training and networks to her critical engagement and deeply visual prose. In childhood, Bowen was taught to paint by Elizabeth Yeats and forged a lasting friendship with Mainie Jellett, one of Ireland's great modernists. In 1918, Bowen enrolled at the LCC Central School of Arts and Crafts but, convinced she lacked the requisite artistic talent, she withdrew from her studies after only two terms. This sense of failure plunged her into an artistic crisis from which writing offered a creative way forward. Tellingly, Bowen later reflected that her earliest stories ‘had the character of a last hope’. In describing the best of her writing as ‘verbal painting’, Bowen offers us a lens through which to conceptualise the dynamic dialogue between her more experimental prose and visual modernism. Drawing together aspects of her artistic formation, milieu, and taste, this essay ultimately seeks to provide a series of layered contexts to enrich our understanding of Bowen's fictions, including The Last September (1929) and To the North (1932).

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10

Teunissen, José. "Deconstructing Belgian and Dutch Fashion Dreams: From Global Trends to Local Crafts." Fashion Theory 15, no. 2 (June 2011): 157–76. http://dx.doi.org/10.2752/175174111x12954359478645.

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11

Weikop, Christian. "Arts and Crafts, Nietzsche und die frühe Brücke. Studien zur Graphik Ernst Ludwig Kirchners Louisa Theobald." Journal of Modern Craft 6, no. 2 (July 2013): 243–45. http://dx.doi.org/10.2752/174967813x13703633981136.

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12

Breward, Christopher. "Exhibition Review: satellites of fashion: hats, bags, shoes. The Crafts Council Gallery, London." Fashion Theory 3, no. 2 (May 1999): 269–72. http://dx.doi.org/10.2752/136270499779155023.

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13

Rusnock, K. Andrea. "All the Folk Art News Fit to Print." Experiment 25, no. 1 (September 30, 2019): 244–57. http://dx.doi.org/10.1163/2211730x-12341341.

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Abstract Neo-nationalism was concerned with a new aesthetic, not just in the fine arts but also in the crafts, particularly needlework. One way that this aesthetic was disseminated for needle art was through publications—magazines, pattern books, how-to-manuals, guides for schools, and the like. Publications on needlework were produced throughout the nineteenth century, and their output increased toward the end of the 1800s, with many portraying peasant imagery and patterns associated with this new style of Neo-nationalism. This article explores how needlework publications propagated Neo-nationalist art to a broad audience and the key role they played in shaping the cultural milieu of the Russian late Imperial period.

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14

Gesin, Michael. "Professional Pursuits: Women and the American Arts and Crafts Movement by Catherine W. Zipf." Journal of American Culture 31, no. 3 (September 2008): 335–36. http://dx.doi.org/10.1111/j.1542-734x.2008.00681_19.x.

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15

Siebenga, Rianne. "Crafts and industry in early films of British India: Contrasting album and process films." Early Popular Visual Culture 12, no. 3 (June 3, 2014): 342–56. http://dx.doi.org/10.1080/17460654.2014.920716.

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16

Carrillo Martínez, José Ignacio. "The Manufacture of Leather as an Applied Art in the Modernisme: the Factory-Workshop of Miguel Fargas y Vilaseca." Res Mobilis 10, no. 13-2 (June 14, 2021): 204–22. http://dx.doi.org/10.17811/rm.10.13-2.2021.204-222.

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This study intends to examine leather craft, an applied art that has not well studied in the context of Catalan Modernisme as well as raise awareness about its use for production and design of Modernista furniture and interior decoration. This handicraft, that had been in decline in the Catalan sphere since the 18th century, reappeared in Barcelona in the last quarter of the 19th century, due to the Modernista movement and the renaissance of medieval crafts. Thus, new workshops were created and their processes were modernized according to industrial progress. We will highlight the Miguel Fargas and Vilaseca Factory, which will manage to industrialize this handricraft, becoming one of the few internationally known manufacturers. We will try to illustrate the history of this office by analyzing this case study, since it reveals an interesting part of the panorama of decorative arts in Modernista Barcelona.

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17

Root-Bernstein, Robert, Megan Van Dyke, Amber Peruski, and Michele Root-Bernstein. "Correlation between tools for thinking; arts, crafts, and design avocations; and scientific achievement among STEMM professionals." Proceedings of the National Academy of Sciences 116, no. 6 (February 4, 2019): 1910–17. http://dx.doi.org/10.1073/pnas.1807189116.

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Previous studies of science, technology, engineering, mathematics, and medical (STEMM) professionals have identified a common “mental toolkit” composed of 13 “tools for thinking” that STEMM professionals use in their problem raising and problem solving. The present research surveyed a convenience sample of 225 STEMM professionals to investigate whether these “thinking tools” are correlated with STEMM achievement measured variously as patents filed or licensed, companies founded, number of papers and books published, and copyrights assigned. Some mental skills such as modeling and playing are significantly correlated with patent filings and licenses, and others are correlated with different measures of STEMM achievement. Previous research has also demonstrated that some of these thinking tools, most notably visual thinking skills, can be taught through various arts, crafts, and design (ACD) practices, resulting in significant improvements in STEMM learning outcomes. The present research therefore investigates in the survey pool whether ACD are associated with the same measures of STEMM achievement as thinking tool use. Correlations exist between use of some thinking tools and particular ACD avocations: Modeling and playing are correlated with persistent crafts avocations such as metalworking, woodworking, and mechanics, which are, in turn, significantly correlated with patent production. Most survey participants were explicitly aware of the connections between their ACD avocations; their STEMM work; and the tools, skills, and knowledge derived from the former. We conclude that integrating ACD with STEMM content by means of tools for thinking may be an effective way to achieve improved STEMM learning outcomes.

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18

Tymoszuk, Urszula, Neta Spiro, Rosie Perkins, Adele Mason-Bertrand, Kate Gee, and Aaron Williamon. "Arts engagement trends in the United Kingdom and their mental and social wellbeing implications: HEartS Survey." PLOS ONE 16, no. 3 (March 12, 2021): e0246078. http://dx.doi.org/10.1371/journal.pone.0246078.

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Evidence on the role of the arts in promoting health and wellbeing has grown over the last two decades. In the United Kingdom, studies using secondary data sources have documented temporal variations in levels of arts engagement in the population, its determinants and its mental wellbeing implications. However, arts engagement is often characterized by prioritizing “high-brow” art forms. In this article, we introduce the HEartS Survey, a tool that aims to increase the balance between inclusivity and brevity of existing arts engagement measures and to focus specifically on the connection between arts engagement and social wellbeing. We explore trends in participatory and receptive engagement with literary, visual, performing, crafts and decorative arts among 5,338 adults in the UK in 2018–2019 using summative engagement scores and cluster analysis. Regression models, adjusted for demographic, socioeconomic, health, and social covariates, examine correlations between arts engagement and psychological and social wellbeing measures. Over 97% of respondents reported engagement in one or more arts activities at least once during 2018–2019, with reading and listening to music being the most popular activities. Arts engagement grouped into three distinct clusters: 19.8% constituted “low engagers” whose main source of engagement was occasional reading; 44.4% constituted “receptive consumers” who read and listened to music frequently and engaged with popular receptive arts activities such as cinema, live music, theater, exhibitions, and museums; and 35.8% constituted “omnivores” who frequently engaged in almost all arts activities. In agreement with existing studies, more arts engagement was associated with higher levels of wellbeing, social connectedness, and lower odds of intense social loneliness. In contrast, we found a positive association between more arts engagement, depression, and intense emotional loneliness for the most highly engaged omnivores. We conclude that arts engagement in the population forms specific profiles with distinct characteristics and consider implications for mental and social wellbeing.

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19

MacGregor-Villarreal, Mary, and John O. West. "Mexican-American Folklore: Legends, Songs, Festivals, Proverbs, Crafts, Tales of Saints, of Revolutionaries, and More." Western Folklore 50, no. 4 (October 1991): 438. http://dx.doi.org/10.2307/1499680.

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20

Phelan, Helen. "The Craft of Ritual Studies." TDR/The Drama Review 62, no. 3 (September 2018): 177–78. http://dx.doi.org/10.1162/dram_r_00780.

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21

Tonini, Lucia. "Russia in Rome." Experiment 25, no. 1 (September 30, 2019): 258–75. http://dx.doi.org/10.1163/2211730x-12341342.

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Abstract The presence of thirty-three Russian head-dresses, as well as other historical objects, in the collection of the American diplomat, George Wurts, and his wife, Henrietta Tower, is an uncommon example of collecting Russian folk objects abroad, and testifies to a universality of taste in international collecting during the late nineteenth century. The head-dress collection is part of a larger collection of around 4,000 pieces dating from antiquity to the early twentieth century, which was assembled at the Palazzo Antici Mattei and the Villa Sciarra in Rome between the end of the nineteenth and the beginning of the twentieth century. Wurts and Tower had a particular interest in arts and crafts, which was enabled by Wurts’s career as a diplomat and secretary at the American mission in St. Petersburg for a period of ten years (1882-93). This article describes the key characteristics of the Wurts-Tower collection of folk objects, the circumstances of its formation, and its relation to the tendencies of taste during that time. It also testifies to the transformation of the kokoshnik in the eyes of collectors and viewers from a popular costume to a fashion accessory that was linked to a past world.

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22

Long, Christopher. "Review: Silent Revolutions in Ornament: Studies in Applied Arts and Crafts from 1880–1930 by Lada Hubatová-Vacková; Adolf Loos: The Art of Architecture by Joseph Masheck." Journal of the Society of Architectural Historians 73, no. 2 (June 1, 2014): 285–87. http://dx.doi.org/10.1525/jsah.2014.73.2.285.

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23

Stansky, Peter. "From William Morris: Building Conservation and the Arts and Crafts Cult of Authenticity, 1877-1939 (review)." Victorian Studies 48, no. 2 (2006): 354–56. http://dx.doi.org/10.1353/vic.2006.0102.

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24

Helmreich. "Walter Crane: The Arts and Crafts, Painting, and Politics, 1875–1890, by Morna O'Neill." Victorian Studies 55, no. 4 (2013): 699. http://dx.doi.org/10.2979/victorianstudies.55.4.699.

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25

Pentcheva, Bissera. "Painting or relief: The ideal icon in iconophile writing in Byzantium." Zograf, no. 31 (2006): 7–14. http://dx.doi.org/10.2298/zog0731007p.

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This text is focused on the transformation of the definition of the icon in Byzantine image theory from an identification of graphe with painting in the writings of John of Damascus (ca. 675-754) to the equation of graphe with typos understood as the imprint of an intaglio on matter in the theory of Theodore Studies (759-826). The virtues of painting, therefore, are that its masters see their works admired and feel themselves to be almost like the Creator. Is it not true that painting is the mistress of all the arts or their principal ornament? If I am not mistaken, the architect took from the painter architrave's, capitals, bases, columns and pediments, and all other fine features of buildings. The stonemason, the sculptor, and all the workshops and crafts of artificers are guided by the rule and art of the painter. Indeed hardly any art, except the very meanest, can be found that does not somehow pertain to painting. So I would venture to assert that whatever beauty there is in things, it has been derived from painting.

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26

Silverman, Raymond. "Crafts and technologies: some traditional craftsmen and –women in the western grasslands of cameroon. part 4: handicrafts, music and the fabric of social life Knöpfli, Hans." Material Religion 2, no. 2 (July 2006): 247–48. http://dx.doi.org/10.2752/174322006778053771.

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27

Roloff, Bianka Nieckel da Costa, and Cida Golin. "A cobertura jornalística das megaexposições de artes visuais no Brasil (2010-2016): o mapa quantitativo de um acontecimento saliente // The news coverage of the visual arts blockbuster exhibitions in Brazil (2010-2016)." Contemporânea Revista de Comunicação e Cultura 16, no. 3 (February 6, 2019): 602. http://dx.doi.org/10.9771/contemporanea.v16i3.23369.

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Este artigo busca sistematizar e analisar quais indícios o jornalismo acionou ao cobrir o acontecimento de seis megaexposições de artes visuais que circularam no Brasil entre 2010 e 2016, a partir da cobertura de jornais de referência em suas plataformas impressa e digital. Tendo como base os estudos do acontecimento, entendemos que o jornalismo configura-se como um lugar especializado de construção de sentidos sobre arte e de mediação entre esta e os públicos, mediando também o próprio ciclo de existência dos produtos culturais. Recorte parcial de pesquisa, problematizamos os dados quantitativos aferidos no exame das coberturas por meio de Análise de Conteúdo. Destaca-se a espetacularização do evento na celebração de aspectos biográficos do(s) artista(s), nos atributos passíveis de serem traduzidos na forma de números e na capacidade de atração de público, entre diversos outros indícios. The news coverage of the visual arts blockbuster exhibitions in Brazil (2010-2016): the quantitative map of a spectacular event This article pursues to systematize and analyze which evidences journalism has triggered to cover six visual arts blockbuster exhibitions that happened in Brazil between 2010 and 2016, from the coverage of important newspapers in their printed and digital platforms. Based on the event studies, we understand that journalism is a specialized environment for building senses about art, as well as a mediator between the craft and its publics, also mediating the cycle of existence of cultural products themselves. Partial cut-off of a master thesis, we problematize the quantitative data obtained in the examination of the coverages using the Content Analysis methodology. Stands out the spectacularization of the event in the celebration of biographical aspects of the artist(s), in the attributes that can be treated as numbers and in the ability of driving crowds, among several other aspects.

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28

Hamlett. "Rethinking the Interior, c. 1867––1896: Aestheticism and Arts and Crafts, edited by Jason Edwards and Imogen Hart." Victorian Studies 53, no. 4 (2011): 749. http://dx.doi.org/10.2979/victorianstudies.53.4.749.

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29

Kromm, Jane. "Visual Culture and Scopic Custom in Jane Eyre and Villette." Victorian Literature and Culture 26, no. 2 (1998): 369–94. http://dx.doi.org/10.1017/s1060150300002461.

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Art making and art viewing activities steeped in assumptions about gender recur throughout Jane Eyre and Villette. This paper will argue that Charlotte Bronte developed these fine arts devices as part of a carefully crafted feminist critique of spectatorship and representation. Bronte pursued this end by demonstrating that incidents relating to the production and reception of visual culture were relevant for visual experience more broadly understood by linking these events in the narrative to “scopic custom”; that is, the art experiences of Bronte's characters are presented as occurring in relation to the customary, gendered patterns of looking and being looked at which dominated Victorian society. This strategic interweaving of visual culture with scopic custom allows Bronte to accentuate their interdependence as a socio-cultural dynamic of critical significance, and to illuminate their share in the cultural and social constraints affecting women as producers and objects of representation.

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30

Reagan, Trudy Myrrh. "The Study of Patterns Is Profound." Leonardo 40, no. 3 (June 2007): 263–69. http://dx.doi.org/10.1162/leon.2007.40.3.263.

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The author has studied natural patterns both by drawing them and by finding analogs for them in crafts materials and processes, including batik, shibori, wrinkled paper painting, paper marbling, moiré, painting and engraving on Plexiglas. She discusses the generation of patterns in nature and how scientists' understanding of them has expanded during the period of her own explorations. She recommends this study for enhancing one's connection to the natural world and the cosmos. The author also explains how she has found patterns useful as metaphors for philosophical ideas.

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31

Somers, Matthias, and Sami Sjöberg. "Reading Ray: Avant-Garde and Transnationalism in Interwar Britain." Modernist Cultures 16, no. 2 (May 2021): 216–41. http://dx.doi.org/10.3366/mod.2021.0329.

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The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.

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Mayer, David R., and Kurosawa Fumiko. "Pfauendarstellungen in Kunst und Kunstgewerbe Japans. Pfauensymbolik und ihre Darstellungsformen in der ostasiatischen Kunst. [Representations of the Peacock in Japanese Art and Crafts. Symbolism of the Peacock and Its Expression in Eastasian Art]." Asian Folklore Studies 48, no. 1 (1989): 163. http://dx.doi.org/10.2307/1178544.

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33

Givens, Jean A. "Craft, Commerce and Den Permanente." Design and Culture 7, no. 3 (July 3, 2015): 335–56. http://dx.doi.org/10.1080/17547075.2015.1105587.

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34

Gagnier, Regenia. "William Morris and the Aesthetic Constitution of Politics, and: John Paul Cooper: Designer and Craftsman of the Arts and Crafts Movement (review)." Victorian Studies 43, no. 2 (2001): 350–52. http://dx.doi.org/10.1353/vic.2001.0017.

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35

Cooke Jr., Edward S. "Modern Craft and the American Experience." American Art 21, no. 1 (March 2007): 2–9. http://dx.doi.org/10.1086/518288.

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36

KITLV, Redactie. "Book reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 168, no. 2-3 (2012): 337–75. http://dx.doi.org/10.1163/22134379-90003565.

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Andrea Acri, Helen Creese, and Arlo Griffiths (eds), From Laṅkā Eastwards: The Rāmāyaṇa in the literature and visual arts of Indonesia (Dick van der Meij) Michael Arthur Aung-Thwin and Kenneth R. Hall (eds), New perspectives on the history and historiography of Southeast Asia: Continuing explorations (David Henley) Steven Farram, A short-lived enthusiasm: The Australian consulate in Portuguese Timor (Hans Hägerdal) R. Michael Feener, Patrick Daly and Anthony Reid (eds), Mapping the Acehnese past (William Bradley Horton) Geoffrey C. Gunn, History without borders: The making of an Asian world region, 1000-1800 (Craig A. Lockard) Andrew Hardy, Mauro Cucarzi and Patrizia Zolese, (eds), Champa and the archaeology of Mỹ Sơn (Vietnam) (William A. Southworth) Jac. Hoogerbrugge, Asmat: Arts, crafts and people; A photographic diary, 1969-1974 (Karen Jacobs) Felicia Katz-Harris, Inside the puppet box: A performance of wayang kulit at the Museum of international folk art (Sadiah Boonstra) Douglas Lewis, The Stranger-Kings of Sikka (Keng We Koh) Jennifer Lindsay and Maya H.T. Liem (eds), Heirs to world culture: Being Indonesian 1950-1965 (Manneke Budiman) Trần Kỳ Phương and Bruce M. Lockhart, The Cham of Vietnam: History, society and art (Arlo Griffiths) Krishna Sen and David T. Hill (eds), Politics and the media in twenty-first century Indonesia: Decade of democracy (E.P. Wieringa) Andrew N. Weintraub (ed.), Islam and popular culture in Indonesia and Malaysia (Andy Fuller) Meredith L. Weiss, Student activism in Malaysia: Crucible, mirror, sideshow (Richard Baxstrom) Widjojo Nitisastro, The Indonesian development experience: A collection of writings and speeches of Widjojo Nitisastro (J. Thomas Lindblad)

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37

Lenssen, Anneka. "The Plasticity of the Syrian Avant-Garde, 1964–1970." ARTMargins 2, no. 2 (June 2013): 43–70. http://dx.doi.org/10.1162/artm_a_00047.

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This article examines Syrian art discourse on either side of the Naksa, the defeat of the Arab forces by Israel in June 1967, particularly transformations in the social value Syrian artists accorded to the irreducibly formal elements of the artistic craft. It analyzes these values by focusing on a reform program in the Faculty of Fine Arts at the University of Damascus, 1964–67, as well arts coverage in al-Bacth newspaper, exhibition texts, and the reception of artworks by Nazir Nabaa, Guido La Regina, Mahmoud Hammad, and Ahmed Nawash. It also explores the connotations of the term “plasticity,” a description of a union between formal malleability and formational human labor, in Syria and its functionality in the post-1967 period in negotiating the antinomies of form/content and abstraction/humanism.

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Edwards, Jason. "Bringing it all back home? Gibbons, William Coombe Sanders and mid-Victorian marine biology." Sculpture Journal: Volume 29, Issue 3 29, no. 3 (December 1, 2020): 361–78. http://dx.doi.org/10.3828/sj.2020.29.3.7.

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In this article, I examine in unprecedented detail little-known Victorian craftsman William Coombe Sanders’ remarkable sheepskin Frame Resembling Carved Wood with Lobster and Crab Motif, now at the V&A, but first exhibited at the International Exhibition in London in 1862. The article asks three questions: What might we learn, from Sanders’ craft, about the likely mid-Victorian reception of Gibbons’s closely related marine works? How might we better understand Sanders’ and Gibbons’s work in the context not just of Victorian craft and design, but natural history and early twenty-first-century critical animal studies and vegan theory? And what might Sanders’ Gibbons-like relief teach us about the status of animals and humans in the longer history of still life as a genre?

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Adamson, Glenn. "Craft and the Romance of the Studio." American Art 21, no. 1 (March 2007): 14–18. http://dx.doi.org/10.1086/518290.

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West, Alana. "Frederick H. Evans: The Craft of Presentation." Photography and Culture 3, no. 1 (March 2010): 73–79. http://dx.doi.org/10.2752/175145110x12615814378315.

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Helland, Janice. "The Craft Reader by Glenn Adamson (ed.)." Design and Culture 3, no. 2 (July 2011): 269–71. http://dx.doi.org/10.2752/175470811x13002771868364.

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Kirwin, Liza. "Primary Sources for the Study of Studio Craft." American Art 21, no. 1 (March 2007): 23–27. http://dx.doi.org/10.1086/518292.

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Kurennaya, Anya. "Amateur Craft: History and Theory, by Stephen Knott." Design and Culture 8, no. 3 (August 16, 2016): 384–86. http://dx.doi.org/10.1080/17547075.2016.1218715.

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Johnson, Lorin, and Donald Bradburn. "Fleeing the Soviet Union, Dancing on the West Coast." Experiment 20, no. 1 (October 27, 2014): 297–316. http://dx.doi.org/10.1163/2211730x-12341266.

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In the 1970s and 1980s, Los Angeles audiences saw Soviet defectors Mikhail Baryshnikov, Alexander Godunov, Natalia Makarova, and Rudolf Nureyev in the prime of their careers at the Hollywood Bowl, The Dorothy Chandler Pavilion and the Greek Theater. Dance photographer Donald Dale Bradburn, a local Southern California dancer describes his behind-the-scenes access to these dancers in this interview. Perfectly positioned as Dance Magazine’s Southern California correspondent, Bradburn offers a candid appraisal of the Southern California appeal for such high-power Russian artists as well as their impact on the arts of Los Angeles. An intimate view of Russian dancers practicing their craft on Los Angeles stages, Bradburn’s interview is illustrated by fourteen of his photographs, published for the first time in this issue of Experiment.

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Logie, Lea. "Developing a Physical Vocabulary for the Contemporary Actor." New Theatre Quarterly 11, no. 43 (August 1995): 230–40. http://dx.doi.org/10.1017/s0266464x00009118.

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One of the distinguishing qualities of live theatre is its built-in ephemerality: yet all too often this involves the loss not only of the fruits of theatrical experience but of ‘experience’ itself, understood as the learning of craft – and this puts experimental companies and practitioners alike in danger of constantly reinventing the wheel. Connecting this to the needs of serious performers to acquire a wide range of expressive movements, and to explore the process of relating these movements to thoughts and feelings, Lea Logie discusses both common elements and contrasting approaches in the work of some of the great European practitioners, whose insights are too valuable to be forgotten or consigned to scholarly archives. Lea Logie is a tutor in Theatre and Drama Studies at Murdoch University, Western Australia, where she specializes in cross-cultural studies of Asian and western theatre.

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Mason, Liz. "Exhibition Review: The Art and Craft of Gianni Versace." Fashion Theory 9, no. 1 (March 2005): 85–88. http://dx.doi.org/10.2752/136270405778051446.

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Ho, Christine I. "In Search of National Decoration." Archives of Asian Art 69, no. 2 (October 1, 2019): 121–54. http://dx.doi.org/10.1215/00666637-7719395.

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Abstract In the late 1930s, design studies in China underwent a paradigmatic shift when the cosmopolitan idioms fashioned within treaty-port cities were rejected in favor of populist ethnonationalism, developed along the border regions of wartime China. This essay examines design compendia by Pang Xunqin and Lei Guiyuan, founding figures in modern design studies, as proposals that advocate for a reevaluation of folk and ethnic-minority traditions. Shaped by a signal moment in wartime modernism, the design proposals are located at the conjunction of two fields of knowledge that were discursively reframed by the heightened cultural nationalism of the Sino-Japanese War: the expansion of modern archaeology, and ethnographic study of minority cultures. In reclaiming folk-minority craft as a generative source of decoration, Pang Xunqin and Lei Guiyuan were also critically engaged with delimiting the design profession as a specialized realm of knowledge production.

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Mayer, Tara. "From craft to couture: Contemporary Indian fashion in historical perspective." South Asian Popular Culture 16, no. 2-3 (September 2, 2018): 183–98. http://dx.doi.org/10.1080/14746689.2019.1565332.

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James-Chakraborty, Kathleen. "Bauhaus Weaving Theory: From Feminine Craft to Mode of Design." Design and Culture 7, no. 3 (July 3, 2015): 470–71. http://dx.doi.org/10.1080/17547075.2015.1105509.

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Gerber, Haim. "Suraiya Faroqhi. Towns and Townsmen of Ottoman Anatolia: Trade, Crafts and Food Production in an Urban Setting, 1520-1650. (Cambridge Studies in Islamic Civilization.) Cambridge-New York: Cambridge University Press, 1984. xiv + 426pp. $59.50." Renaissance Quarterly 41, no. 1 (1988): 132–35. http://dx.doi.org/10.2307/2862255.

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