Posts Tagged ‘craft’

From the Archives – Craft is Not Dead

Sebastian Martorana, "Impressions," 2008. Marble. Smithsonian American Art Museum, Gift of Patricia A. Young in honor of the 40th Anniversary of the Renwick Gallery and the 30th Anniversary of the James Renwick Alliance.

Today we bring you an article from our archives in celebration of The Brooklyn Rail’s most recent issue, which includes essays by contemporary craft luminaries Namita Wiggers and Glenn Adamson. As Lowery Stokes Sims notes in her excellent editorial essay, “If the notion of ‘diversity’ suggests the fostering of a variety of expressions on an equal footing, then in the visual arts our scrutiny would have to be[.....]

Andrew Nicholls: The Water Works at Turner Galleries

Australian artist Andrew Nicholls dredges the queasy aesthetics of sentiment for its submerged ideological content. In an ongoing thread of his practice, he locates the ideals and practices of British imperialism in the kitsch, seemingly innocuous world of 19th- and 20th-century ceramics, disrupting this historical narrative with traces of the otherness otherwise repressed in the imperial worldview. He subsumes his viewers in an unsteady undertow[.....]

Craft is Not Dead

Sabrina Gschwandtner, “Hula Hoop,” 2010. 16mm film and polyamide thread. Smithsonian American Art Museum, Gift of Chris Rifkin in honor of the 40th anniversary of the Renwick Gallery. Photo by Sabrina Gschwandtner.

What defines the art of craft? What is the difference between art and craft? 40 Under 40: Craft Futures at Smithsonian’s Renwick Gallery blurred the lines for me, while at the same time helping me to appreciate craft in a new light. There is something about the word “craft” that connotes antiquated techniques that don’t necessarily relate to our contemporary world. This exhibition breathes new[.....]

Jacob Hashimoto: Paper Paradise

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American born Jacob Hashimoto’s eye-catching exhibition, ‘The Other Sun’ at London’s Ronchini Gallery in Mayfair certainly brings to mind planetary brilliance in colour and splendour. Hashimoto uses traditional kite-making materials and techniques to create singular, modular units collectively arranged into numinous, monumental installations and smaller, woven, three-dimensional wall pieces. Hanging by threads, the thousands of multicoloured translucent kites are hand-made with rice paper and bamboo, each tiny kite[.....]

Co-opting Form: An Interview with Liz Miller

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Liz Miller‘s installations are stunningly elaborate compositions, combining materials and shapes in ways that often belie our expectations. In her current exhibition, Recalcitrant Mimesis, Miller responds to the work of Abstract Expressionist painter Clyfford Still, whose museum opened late last year in Denver. Recalcitrant Mimesis is up through today at David B. Smith Gallery in Denver. Miller’s work is also currently included in the group[.....]

I found Paradise at ltd los angeles.

As an exhibition of contemporary Puerto Rican artists, one might be tempted to hypothesize that Paraíso, on view this month at ltd los angeles, is meant to express a quintessentially Puerto Rican attitude, or perhaps act as homage to the land itself.  What’s primarily on display, however, is a state of mind: one shared by quite a few 21st-century contemporary artists, regardless of nationality.  In[.....]

Interview with Glenn Adamson

Today’s interview is from our friends at Art Practical, where Bean Gilsdorf gets a chance to chat with Glenn Adamson, deputy head of research and head of Graduate Studies at the Victoria and Albert Museum, where he leads a graduate program in the History of Design. My interest in Glenn Adamson’s work began in 2006 with his essay “Handy-Crafts: A Doctrine,” which is included in[.....]