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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Modern and contemporary crafts (Art)</h1><div class="u-tcGrayDark">11,117 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Modern and contemporary crafts (Art)</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Modern_and_contemporary_crafts_Art_">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_27164801" data-work_id="27164801" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/27164801/Andrea_Morpurgo_Mark_Rothko_in_Historia_La_grande_storia_della_civilt%C3%A0_europea_il_Novecento_edited_by_Umberto_Eco_Federico_Motta_Milano_2007_pp_237_238_">Andrea Morpurgo, "Mark Rothko" (in Historia. La grande storia della civiltà europea: il Novecento, edited by Umberto Eco, Federico Motta, Milano 2007, pp. 237-238)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Anche in Storia della civiltà europea. Vol. 16 - il Novecento. Arti visive, pp. 104-108. Dal mondo antico allʼinizio del terzo millennio: migliaia di saggi e oltre 10.000 immagini, un imponente corpus testuale e iconografico organizzato... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_27164801" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Anche in Storia della civiltà europea. Vol. 16 - il Novecento. Arti visive, pp. 104-108.<br /><br />Dal mondo antico allʼinizio del terzo millennio: migliaia di saggi e oltre 10.000 immagini, un imponente corpus testuale e iconografico organizzato in periodi cronologici e in aree tematiche: storia, filosofia, arti visive, scienza e tecnologia, musica, letteratura e teatro, comunicazione. Unʼopera curata da Umberto Eco, che propone nuove modalità di esplorazione della storia e del sapere e che offre potenti strumenti capaci di intrecciare e collegare, grazie a percorsi dinamici, i personaggi, le idee e gli eventi che hanno formato la nostra cultura. Lʼidea di partenza di Umberto Eco è quella di realizzare unʼopera a carattere enciclopedico che aiuti ad avere il senso delle distanze storiche, a stabilire rapporti di contemporaneità tra eventi di natura diversa e che consenta di ricostruire fenomeni di lunga durata, dinamiche sociali e culturali, comportamenti della vita quotidiana. Il progetto della Storia della Civiltà Europea, nato nel 1993, antesignano di unʼeditoria multimediale di qualità, raggiunge solo il suo compimento editoriale e la sua maturità tecnologica, organizzando i propri contenuti in ogni formato disponibile per ogni tipo di pubblico.<br /><br />Nel Novecento gli intrecci fra arte, politica, società hanno prodotto ribaltamenti, cancellazioni e rinascite di modelli artistici oscillanti fra la ricerca di un ordine nuovo e la fascinazione per l’irrazionale, fra l’assunzione dell’arte come strumento politico e il rigetto di ogni ideologia, fra la tensione a un’arte individuale e aristocratica o al contrario anonima e collettiva. Nella collisione di fine Ottocento fra tradizione e novità dirompenti cola a picco l’idea di continuità nella storia: il secolo si apre all’insegna della rottura e delle sperimentazioni più ardite in termini di linguaggio e di contenuti. Le avanguardie, tra cui si contano cubismo, espressionismo, futurismo, neoplasticismo e costruttivismo, alleate in un percorso di astrazione, tagliano traguardi che paiono senza ritorno: la cancellazione del soggetto, la forma come forma assoluta, la nuova preminenza del linguaggio, la negazione del racconto, l’esilio dei sentimenti, tutte conquiste che sanciscono il primato culturale dell’Europa. Finché nell’arco di alcuni decenni si verifica un capovolgimento di prospettiva col ritorno al figurativo e con lo spostamento del cuore culturale dall’Europa verso New York e Los Angeles, rimesso più tardi in discussione dall’emergere della nuova polarità dell’Asia. In questo ebook si possono trovare tutte le maggiori espressioni artistiche del Novecento, in cui l’ideale dell’arte subisce un progressivo spostamento verso il futuro, arrivando, nelle sue forme più estreme, a produrre un’arte internazionalista, senza radici e senza memoria, dotata di una lingua aniconica universale, che cancella i confini delle identità nazionali e si proietta nella realtà globalizzata.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/27164801" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="3fc2a4df5c53312e3a460b6b6a4712c0" rel="nofollow" data-download="{"attachment_id":51526552,"asset_id":27164801,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51526552/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="13176519" href="https://independent.academia.edu/AndreaMorpurgo">Andrea Morpurgo</a><script data-card-contents-for-user="13176519" type="text/json">{"id":13176519,"first_name":"Andrea","last_name":"Morpurgo","domain_name":"independent","page_name":"AndreaMorpurgo","display_name":"Andrea Morpurgo","profile_url":"https://independent.academia.edu/AndreaMorpurgo?f_ri=15820","photo":"https://0.academia-photos.com/13176519/3708182/163858783/s65_andrea.morpurgo.jpg"}</script></span></span></li><li class="js-paper-rank-work_27164801 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="27164801"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 27164801, container: ".js-paper-rank-work_27164801", }); 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$(".js-view-count[data-work-id=27164801]").text(description); $(".js-view-count-work_27164801").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_27164801").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="27164801"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a>, <script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13966" href="https://www.academia.edu/Documents/in/History_of_Art">History of Art</a>, <script data-card-contents-for-ri="13966" type="text/json">{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14082" href="https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States">American art/ Art of the United States</a><script data-card-contents-for-ri="14082" type="text/json">{"id":14082,"name":"American art/ Art of the United States","url":"https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=27164801]'), work: {"id":27164801,"title":"Andrea Morpurgo, \"Mark Rothko\" (in Historia. La grande storia della civiltà europea: il Novecento, edited by Umberto Eco, Federico Motta, Milano 2007, pp. 237-238)","created_at":"2016-07-21T14:14:50.355-07:00","url":"https://www.academia.edu/27164801/Andrea_Morpurgo_Mark_Rothko_in_Historia_La_grande_storia_della_civilt%C3%A0_europea_il_Novecento_edited_by_Umberto_Eco_Federico_Motta_Milano_2007_pp_237_238_?f_ri=15820","dom_id":"work_27164801","summary":"Anche in Storia della civiltà europea. Vol. 16 - il Novecento. Arti visive, pp. 104-108.\n\nDal mondo antico allʼinizio del terzo millennio: migliaia di saggi e oltre 10.000 immagini, un imponente corpus testuale e iconografico organizzato in periodi cronologici e in aree tematiche: storia, filosofia, arti visive, scienza e tecnologia, musica, letteratura e teatro, comunicazione. Unʼopera curata da Umberto Eco, che propone nuove modalità di esplorazione della storia e del sapere e che offre potenti strumenti capaci di intrecciare e collegare, grazie a percorsi dinamici, i personaggi, le idee e gli eventi che hanno formato la nostra cultura. Lʼidea di partenza di Umberto Eco è quella di realizzare unʼopera a carattere enciclopedico che aiuti ad avere il senso delle distanze storiche, a stabilire rapporti di contemporaneità tra eventi di natura diversa e che consenta di ricostruire fenomeni di lunga durata, dinamiche sociali e culturali, comportamenti della vita quotidiana. Il progetto della Storia della Civiltà Europea, nato nel 1993, antesignano di unʼeditoria multimediale di qualità, raggiunge solo il suo compimento editoriale e la sua maturità tecnologica, organizzando i propri contenuti in ogni formato disponibile per ogni tipo di pubblico.\n\nNel Novecento gli intrecci fra arte, politica, società hanno prodotto ribaltamenti, cancellazioni e rinascite di modelli artistici oscillanti fra la ricerca di un ordine nuovo e la fascinazione per l’irrazionale, fra l’assunzione dell’arte come strumento politico e il rigetto di ogni ideologia, fra la tensione a un’arte individuale e aristocratica o al contrario anonima e collettiva. Nella collisione di fine Ottocento fra tradizione e novità dirompenti cola a picco l’idea di continuità nella storia: il secolo si apre all’insegna della rottura e delle sperimentazioni più ardite in termini di linguaggio e di contenuti. Le avanguardie, tra cui si contano cubismo, espressionismo, futurismo, neoplasticismo e costruttivismo, alleate in un percorso di astrazione, tagliano traguardi che paiono senza ritorno: la cancellazione del soggetto, la forma come forma assoluta, la nuova preminenza del linguaggio, la negazione del racconto, l’esilio dei sentimenti, tutte conquiste che sanciscono il primato culturale dell’Europa. Finché nell’arco di alcuni decenni si verifica un capovolgimento di prospettiva col ritorno al figurativo e con lo spostamento del cuore culturale dall’Europa verso New York e Los Angeles, rimesso più tardi in discussione dall’emergere della nuova polarità dell’Asia. In questo ebook si possono trovare tutte le maggiori espressioni artistiche del Novecento, in cui l’ideale dell’arte subisce un progressivo spostamento verso il futuro, arrivando, nelle sue forme più estreme, a produrre un’arte internazionalista, senza radici e senza memoria, dotata di una lingua aniconica universale, che cancella i confini delle identità nazionali e si proietta nella realtà globalizzata.","downloadable_attachments":[{"id":51526552,"asset_id":27164801,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":13176519,"first_name":"Andrea","last_name":"Morpurgo","domain_name":"independent","page_name":"AndreaMorpurgo","display_name":"Andrea Morpurgo","profile_url":"https://independent.academia.edu/AndreaMorpurgo?f_ri=15820","photo":"https://0.academia-photos.com/13176519/3708182/163858783/s65_andrea.morpurgo.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=15820","nofollow":false},{"id":14082,"name":"American art/ Art of the United States","url":"https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":27025,"name":"18th-20th century Modern/Comtemporary Art","url":"https://www.academia.edu/Documents/in/18th-20th_century_Modern_Comtemporary_Art?f_ri=15820"},{"id":31591,"name":"Abstract Expressionism","url":"https://www.academia.edu/Documents/in/Abstract_Expressionism?f_ri=15820"},{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=15820"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=15820"},{"id":114354,"name":"American art","url":"https://www.academia.edu/Documents/in/American_art?f_ri=15820"},{"id":135201,"name":"História da arte","url":"https://www.academia.edu/Documents/in/Hist%C3%B3ria_da_arte?f_ri=15820"},{"id":149850,"name":"History of Arts","url":"https://www.academia.edu/Documents/in/History_of_Arts?f_ri=15820"},{"id":238841,"name":"Arte Moderna","url":"https://www.academia.edu/Documents/in/Arte_Moderna?f_ri=15820"},{"id":241799,"name":"Historia y Teoria del Arte y la Arquitectura","url":"https://www.academia.edu/Documents/in/Historia_y_Teoria_del_Arte_y_la_Arquitectura?f_ri=15820"},{"id":310037,"name":"Storia Arte Moderna","url":"https://www.academia.edu/Documents/in/Storia_Arte_Moderna?f_ri=15820"},{"id":313491,"name":"Mark Rothko","url":"https://www.academia.edu/Documents/in/Mark_Rothko?f_ri=15820"},{"id":396529,"name":"Arte moderna e contemporanea","url":"https://www.academia.edu/Documents/in/Arte_moderna_e_contemporanea?f_ri=15820"},{"id":718207,"name":"Rothko","url":"https://www.academia.edu/Documents/in/Rothko?f_ri=15820"},{"id":2738216,"name":"Espressionismo Astratto","url":"https://www.academia.edu/Documents/in/Espressionismo_Astratto?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44064713" data-work_id="44064713" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44064713/Ubuntu_Manifest_Decolonising_Research_and_Curatorial_Practice_In_Ceramics">Ubuntu Manifest: Decolonising Research & Curatorial Practice In Ceramics.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This PhD thesis engenders new approaches to the understanding, appreciation, and experience of modern and contemporary ceramic art. It focusses on two recent outputs. The initial, Scorched Earth: 100 Years of Southern African Potteries... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44064713" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This PhD thesis engenders new approaches to the understanding, appreciation, and experience of modern and contemporary ceramic art. It focusses on two recent outputs. The initial, Scorched Earth: 100 Years of Southern African Potteries (2016), a scholarly publication, and the latter, Post-colonialism? (2016/2017), a socially-engaged international exhibition, held at the Benyamini Contemporary Ceramics Centre in Tel Aviv, Israel. The moral philosophy ubuntu was proposed as a component of self-reflexive methodology for research and curatorial projects. The term cryrator was advanced as constituting an approach to curatorial praxis in conflict zones. These concepts make an original contribution to existing methodologies and research that historicise, de-westernise, and decolonise knowledge.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44064713" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8a7abf601be27c6fafc2a053ae62134b" rel="nofollow" data-download="{"attachment_id":64408060,"asset_id":44064713,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64408060/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="403991" href="https://sunderland.academia.edu/WendyGersPhD">Wendy A Gers (PhD)</a><script data-card-contents-for-user="403991" type="text/json">{"id":403991,"first_name":"Wendy","last_name":"Gers (PhD)","domain_name":"sunderland","page_name":"WendyGersPhD","display_name":"Wendy A Gers (PhD)","profile_url":"https://sunderland.academia.edu/WendyGersPhD?f_ri=15820","photo":"https://0.academia-photos.com/403991/126712/36311901/s65_wendy.gers.jpg"}</script></span></span></li><li class="js-paper-rank-work_44064713 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44064713"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44064713, container: ".js-paper-rank-work_44064713", }); 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$(".js-view-count[data-work-id=44064713]").text(description); $(".js-view-count-work_44064713").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44064713").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44064713"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1198" href="https://www.academia.edu/Documents/in/Peace_and_Conflict_Studies">Peace and Conflict Studies</a>, <script data-card-contents-for-ri="1198" type="text/json">{"id":1198,"name":"Peace and Conflict Studies","url":"https://www.academia.edu/Documents/in/Peace_and_Conflict_Studies?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5272" href="https://www.academia.edu/Documents/in/Identity_Culture_">Identity (Culture)</a><script data-card-contents-for-ri="5272" type="text/json">{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44064713]'), work: {"id":44064713,"title":"Ubuntu Manifest: Decolonising Research \u0026 Curatorial Practice In Ceramics.","created_at":"2020-09-11T01:48:02.612-07:00","url":"https://www.academia.edu/44064713/Ubuntu_Manifest_Decolonising_Research_and_Curatorial_Practice_In_Ceramics?f_ri=15820","dom_id":"work_44064713","summary":"This PhD thesis engenders new approaches to the understanding, appreciation, and experience of modern and contemporary ceramic art. It focusses on two recent outputs. The initial, Scorched Earth: 100 Years of Southern African Potteries (2016), a scholarly publication, and the latter, Post-colonialism? (2016/2017), a socially-engaged international exhibition, held at the Benyamini Contemporary Ceramics Centre in Tel Aviv, Israel. The moral philosophy ubuntu was proposed as a component of self-reflexive methodology for research and curatorial projects. The term cryrator was advanced as constituting an approach to curatorial praxis in conflict zones. 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It was a time of growth, movement, luxury and change.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6715466" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1f4c1f1cdc39e219c77f4465dea44346" rel="nofollow" data-download="{"attachment_id":33436156,"asset_id":6715466,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33436156/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1798363" href="https://independent.academia.edu/CGMFindings">CGM Findings</a><script data-card-contents-for-user="1798363" type="text/json">{"id":1798363,"first_name":"CGM","last_name":"Findings","domain_name":"independent","page_name":"CGMFindings","display_name":"CGM Findings","profile_url":"https://independent.academia.edu/CGMFindings?f_ri=15820","photo":"https://0.academia-photos.com/1798363/916763/1146376/s65_cgm.findings.jpg"}</script></span></span></li><li class="js-paper-rank-work_6715466 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6715466"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6715466, container: ".js-paper-rank-work_6715466", }); 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$(".js-view-count[data-work-id=6715466]").text(description); $(".js-view-count-work_6715466").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6715466").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6715466"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="988" href="https://www.academia.edu/Documents/in/Design">Design</a>, <script data-card-contents-for-ri="988" type="text/json">{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a>, <script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a><script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6715466]'), work: {"id":6715466,"title":"Modernist Jewelry Design in the 1940s and 1950s","created_at":"2014-04-10T03:27:06.162-07:00","url":"https://www.academia.edu/6715466/Modernist_Jewelry_Design_in_the_1940s_and_1950s?f_ri=15820","dom_id":"work_6715466","summary":"Life in the 1940s to the 1950s was unique. 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data-work_id="25956606" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25956606/JUNK_rubbish_to_gold">JUNK rubbish-to-gold</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25956606" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1400a5c2d2076e92b0dccad8d035ce0f" rel="nofollow" data-download="{"attachment_id":46309176,"asset_id":25956606,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46309176/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="950762" href="https://ucl.academia.edu/LauraBradshawHeap">Laura Bradshaw-Heap</a><script data-card-contents-for-user="950762" type="text/json">{"id":950762,"first_name":"Laura","last_name":"Bradshaw-Heap","domain_name":"ucl","page_name":"LauraBradshawHeap","display_name":"Laura Bradshaw-Heap","profile_url":"https://ucl.academia.edu/LauraBradshawHeap?f_ri=15820","photo":"https://0.academia-photos.com/950762/352065/4478781/s65_laura.bradshaw-heap.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-25956606">+2</span><div class="hidden js-additional-users-25956606"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/RDarbourne">Rachel Darbourne</a></span></div><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://bcu.academia.edu/jivanastfalck">Jivan Astfalck</a></span></div></div></span><script>(function(){ var popoverSettings = { el: 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u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25956606"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">16</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5282" href="https://www.academia.edu/Documents/in/Design_Research">Design Research</a>, <script data-card-contents-for-ri="5282" type="text/json">{"id":5282,"name":"Design Research","url":"https://www.academia.edu/Documents/in/Design_Research?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16905" href="https://www.academia.edu/Documents/in/Craft_Knowledge">Craft Knowledge</a><script data-card-contents-for-ri="16905" type="text/json">{"id":16905,"name":"Craft Knowledge","url":"https://www.academia.edu/Documents/in/Craft_Knowledge?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25956606]'), work: {"id":25956606,"title":"JUNK 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Un patrimonio da salvaguardare</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Ho il piacere di invitare la Signoria Vostra alla presentazione del volume: che avrà luogo venerdì 18 luglio 2014 alle ore 21.00, presso la Corte municipale del Comune di Pavia di Udine, in Piazza Julia 1 a Lauzacco.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7685163" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ece666c4eea4336a0c3a2c490b703be6" rel="nofollow" data-download="{"attachment_id":34216463,"asset_id":7685163,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/34216463/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="374022" href="https://independent.academia.edu/GabrieleCaiazza">Gabriele Caiazza</a><script data-card-contents-for-user="374022" type="text/json">{"id":374022,"first_name":"Gabriele","last_name":"Caiazza","domain_name":"independent","page_name":"GabrieleCaiazza","display_name":"Gabriele Caiazza","profile_url":"https://independent.academia.edu/GabrieleCaiazza?f_ri=15820","photo":"https://0.academia-photos.com/374022/101096/35197967/s65_gabriele.caiazza.jpg"}</script></span></span></li><li class="js-paper-rank-work_7685163 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7685163"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7685163, container: ".js-paper-rank-work_7685163", }); 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Valorizzazione","url":"https://www.academia.edu/Documents/in/Patrimonio_Culturale_Valorizzazione?f_ri=15820"},{"id":1005017,"name":"Handcrafts","url":"https://www.academia.edu/Documents/in/Handcrafts?f_ri=15820"},{"id":1015603,"name":"Civilisation and Culture","url":"https://www.academia.edu/Documents/in/Civilisation_and_Culture?f_ri=15820"},{"id":1023361,"name":"Storia Della Città e Del Territorio","url":"https://www.academia.edu/Documents/in/Storia_Della_Citt%C3%A0_e_Del_Territorio?f_ri=15820"},{"id":1193261,"name":"Attività Produttive","url":"https://www.academia.edu/Documents/in/Attivita_Produttive?f_ri=15820"},{"id":1295565,"name":"Mondo Contadino","url":"https://www.academia.edu/Documents/in/Mondo_Contadino?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1974404" data-work_id="1974404" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1974404/The_Craft_Manifesto">The Craft Manifesto</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Two years ago I began teaching a critical theory seminar at the State University of New York in New Paltz that focused on re-envisioning the role of craft in contemporary society. The Art Department at SUNY New Paltz has a long-standing... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1974404" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Two years ago I began teaching a critical theory seminar at the State University of New York in New Paltz that focused on re-envisioning the role of craft in contemporary society. The Art Department at SUNY New Paltz has a long-standing tradition of excellence, especially in the craft disciplines, and so it should have come as no surprise to encounter graduate students who actively interrogated the texts that we had selected. They were quick to point out that although many of the texts we read contained interesting ideas, they were often mired in an oppositional logic that attempted to either defend the discipline of craft against perceived enemies, or to usurp the seemingly more privileged role of fine art. While these debates served as an important backdrop for our inquiry, we had in mind a more evocative question: What unique potentials existed within the fuzzy boundaries of the craft disciplines? As critical craft practitioners we desired to see the topography of our disciplines expand while, at the same time, becoming more self-reflexive and relevant. There is much craft scholarship focusing on historical origins, the author's intentionality or the signification of an object; our questions lead in a different direction. What are the affective potentials of the objects and their embedded relations? How can craft be used? What can craft do? For us these questions have deep aesthetic, political and material repercussions that should be taken up by makers.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1974404" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4589c03139152b330a7e2e482fdf93fa" rel="nofollow" data-download="{"attachment_id":30727176,"asset_id":1974404,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30727176/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="933378" href="https://newpaltz.academia.edu/MatthewFriday">Matthew Friday</a><script data-card-contents-for-user="933378" type="text/json">{"id":933378,"first_name":"Matthew","last_name":"Friday","domain_name":"newpaltz","page_name":"MatthewFriday","display_name":"Matthew Friday","profile_url":"https://newpaltz.academia.edu/MatthewFriday?f_ri=15820","photo":"https://0.academia-photos.com/933378/725363/900700/s65_matthew.friday.jpg"}</script></span></span></li><li class="js-paper-rank-work_1974404 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1974404"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1974404, container: ".js-paper-rank-work_1974404", }); 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$(".js-view-count[data-work-id=1974404]").text(description); $(".js-view-count-work_1974404").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_1974404").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="1974404"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">26</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="988" href="https://www.academia.edu/Documents/in/Design">Design</a>, <script data-card-contents-for-ri="988" type="text/json">{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3148" href="https://www.academia.edu/Documents/in/Actor_Network_Theory">Actor Network Theory</a>, <script data-card-contents-for-ri="3148" type="text/json">{"id":3148,"name":"Actor Network Theory","url":"https://www.academia.edu/Documents/in/Actor_Network_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3371" href="https://www.academia.edu/Documents/in/Public_Art">Public Art</a><script data-card-contents-for-ri="3371" type="text/json">{"id":3371,"name":"Public Art","url":"https://www.academia.edu/Documents/in/Public_Art?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=1974404]'), work: {"id":1974404,"title":"The Craft Manifesto","created_at":"2012-09-27T03:51:52.565-07:00","url":"https://www.academia.edu/1974404/The_Craft_Manifesto?f_ri=15820","dom_id":"work_1974404","summary":"Two years ago I began teaching a critical theory seminar at the State University of New York in New Paltz that focused on re-envisioning the role of craft in contemporary society. The Art Department at SUNY New Paltz has a long-standing tradition of excellence, especially in the craft disciplines, and so it should have come as no surprise to encounter graduate students who actively interrogated the texts that we had selected. They were quick to point out that although many of the texts we read contained interesting ideas, they were often mired in an oppositional logic that attempted to either defend the discipline of craft against perceived enemies, or to usurp the seemingly more privileged role of fine art. While these debates served as an important backdrop for our inquiry, we had in mind a more evocative question: What unique potentials existed within the fuzzy boundaries of the craft disciplines? As critical craft practitioners we desired to see the topography of our disciplines expand while, at the same time, becoming more self-reflexive and relevant. There is much craft scholarship focusing on historical origins, the author's intentionality or the signification of an object; our questions lead in a different direction. What are the affective potentials of the objects and their embedded relations? How can craft be used? What can craft do? 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Art","url":"https://www.academia.edu/Documents/in/Public_Art?f_ri=15820","nofollow":false},{"id":5281,"name":"Design Theory","url":"https://www.academia.edu/Documents/in/Design_Theory?f_ri=15820"},{"id":5282,"name":"Design Research","url":"https://www.academia.edu/Documents/in/Design_Research?f_ri=15820"},{"id":5960,"name":"Continental Philosophy","url":"https://www.academia.edu/Documents/in/Continental_Philosophy?f_ri=15820"},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=15820"},{"id":8437,"name":"Martin Heidegger","url":"https://www.academia.edu/Documents/in/Martin_Heidegger?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":16905,"name":"Craft Knowledge","url":"https://www.academia.edu/Documents/in/Craft_Knowledge?f_ri=15820"},{"id":20094,"name":"Object Oriented Ontology","url":"https://www.academia.edu/Documents/in/Object_Oriented_Ontology?f_ri=15820"},{"id":26138,"name":"Utopianism","url":"https://www.academia.edu/Documents/in/Utopianism?f_ri=15820"},{"id":29906,"name":"Craft Theory","url":"https://www.academia.edu/Documents/in/Craft_Theory?f_ri=15820"},{"id":53503,"name":"Phenomenology, Hermeneutics, contemporary continental philosophy, axiology (theories and applied research on values), philosophical and cultural anthropology, diversity managment, gender studies, intercultural communication, and translations studies","url":"https://www.academia.edu/Documents/in/Phenomenology_Hermeneutics_contemporary_continental_philosophy_axiology_theories_and_applied_res?f_ri=15820"},{"id":58128,"name":"Ceramics","url":"https://www.academia.edu/Documents/in/Ceramics?f_ri=15820"},{"id":73768,"name":"Relational aesthetics","url":"https://www.academia.edu/Documents/in/Relational_aesthetics?f_ri=15820"},{"id":93240,"name":"Community Art","url":"https://www.academia.edu/Documents/in/Community_Art?f_ri=15820"},{"id":169131,"name":"Relationship between craft, design and society","url":"https://www.academia.edu/Documents/in/Relationship_between_craft_design_and_society?f_ri=15820"},{"id":169133,"name":"Responsible consumerism","url":"https://www.academia.edu/Documents/in/Responsible_consumerism?f_ri=15820"},{"id":169134,"name":"Work and happiness","url":"https://www.academia.edu/Documents/in/Work_and_happiness?f_ri=15820"},{"id":193723,"name":"Craftivism","url":"https://www.academia.edu/Documents/in/Craftivism?f_ri=15820"},{"id":221772,"name":"Conceptual function","url":"https://www.academia.edu/Documents/in/Conceptual_function?f_ri=15820"},{"id":728109,"name":"Social Engagement","url":"https://www.academia.edu/Documents/in/Social_Engagement?f_ri=15820"},{"id":1032111,"name":"Socially Responsible Design, Socially Engaged Craft","url":"https://www.academia.edu/Documents/in/Socially_Responsible_Design_Socially_Engaged_Craft?f_ri=15820"},{"id":1032112,"name":"Resourcefulness and Self sufficient Lifestyles","url":"https://www.academia.edu/Documents/in/Resourcefulness_and_Self_sufficient_Lifestyles?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43338188" data-work_id="43338188" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43338188/FULL_TEXT_The_Sacred_is_Mundane_Notes_on_Some_Categories_Haystack_Monograph_34">FULL TEXT: The Sacred is Mundane: Notes on Some Categories / Haystack Monograph #34</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Written for the Haystack Mountain School of Craft monograph series, this strategic meander sorts through various examples that affirm and defy the categories we use to organize art, craft, and design. Underlying concerns include the scope... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43338188" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Written for the Haystack Mountain School of Craft monograph series, this strategic meander sorts through various examples that affirm and defy the categories we use to organize art, craft, and design. Underlying concerns include the scope of referential histories, and the ability to shift our thinking in subtle ways.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43338188" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e332307c9a0f147cda8017812107886f" rel="nofollow" data-download="{"attachment_id":63623577,"asset_id":43338188,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63623577/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="294924" href="https://independent.academia.edu/SheilaPepe">Sheila Pepe</a><script data-card-contents-for-user="294924" type="text/json">{"id":294924,"first_name":"Sheila","last_name":"Pepe","domain_name":"independent","page_name":"SheilaPepe","display_name":"Sheila Pepe","profile_url":"https://independent.academia.edu/SheilaPepe?f_ri=15820","photo":"https://0.academia-photos.com/294924/61108/24363243/s65_sheila.pepe.png"}</script></span></span></li><li class="js-paper-rank-work_43338188 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43338188"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43338188, container: ".js-paper-rank-work_43338188", }); 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$(".js-view-count[data-work-id=43338188]").text(description); $(".js-view-count-work_43338188").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43338188").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43338188"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3225" href="https://www.academia.edu/Documents/in/Visual_Culture">Visual Culture</a>, <script data-card-contents-for-ri="3225" type="text/json">{"id":3225,"name":"Visual Culture","url":"https://www.academia.edu/Documents/in/Visual_Culture?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3952" href="https://www.academia.edu/Documents/in/Industrial_Design">Industrial Design</a>, <script data-card-contents-for-ri="3952" type="text/json">{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="13379" href="https://www.academia.edu/Documents/in/Sculpture">Sculpture</a><script data-card-contents-for-ri="13379" type="text/json">{"id":13379,"name":"Sculpture","url":"https://www.academia.edu/Documents/in/Sculpture?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43338188]'), work: {"id":43338188,"title":"FULL TEXT: The Sacred is Mundane: Notes on Some Categories / Haystack Monograph #34","created_at":"2020-06-14T06:39:46.021-07:00","url":"https://www.academia.edu/43338188/FULL_TEXT_The_Sacred_is_Mundane_Notes_on_Some_Categories_Haystack_Monograph_34?f_ri=15820","dom_id":"work_43338188","summary":"Written for the Haystack Mountain School of Craft monograph series, this strategic meander sorts through various examples that affirm and defy the categories we use to organize art, craft, and design. 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Arts","url":"https://www.academia.edu/Documents/in/Education_of_Fine_Arts?f_ri=15820"},{"id":193723,"name":"Craftivism","url":"https://www.academia.edu/Documents/in/Craftivism?f_ri=15820"},{"id":1008920,"name":"Relationship Between Art Theory and Practice","url":"https://www.academia.edu/Documents/in/Relationship_Between_Art_Theory_and_Practice?f_ri=15820"},{"id":1555081,"name":"Schools of Arts and Crafts","url":"https://www.academia.edu/Documents/in/Schools_of_Arts_and_Crafts?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_36156225" data-work_id="36156225" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/36156225/Bijeli_grad_Tel_Aviva_The_White_City_of_Tel_Aviv_Ha_kol_Glasilo_%C5%BEidovske_zajednice_u_Hrvatskoj_1332_5892_105_2008_47_50_review_of_the_exhibition_">Bijeli grad Tel Aviva (The White City of Tel-Aviv), Ha-kol, Glasilo židovske zajednice u Hrvatskoj (1332-5892) 105 (2008), 47-50 (review of the exhibition)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_36156225" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Članak govori o Bijelom gradu, četvrti Tel Aviva s brojnim reprezentativnim primjerima građevina podignutih u stilu internacionalne moderne arhitekture u razdoblju između dva svjetska rata, a u povodu izložbe održane u Architekturzentrumu u Beču u prvoj polovini 2008.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36156225" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7b5311e2c08b66f3a08cd119555b85ce" rel="nofollow" data-download="{"attachment_id":56048487,"asset_id":36156225,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="36156225"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">41</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1372" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a>, <script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4650" href="https://www.academia.edu/Documents/in/History_Architecture_">History (Architecture)</a>, <script data-card-contents-for-ri="4650" type="text/json">{"id":4650,"name":"History (Architecture)","url":"https://www.academia.edu/Documents/in/History_Architecture_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a><script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36156225]'), work: {"id":36156225,"title":"Bijeli grad Tel Aviva (The White City of Tel-Aviv), Ha-kol, Glasilo židovske zajednice u Hrvatskoj (1332-5892) 105 (2008), 47-50 (review of the 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class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35433632/POST_COLONIALISM_A_Reflection_by_Anthony_E_Stellaccio">POST-COLONIALISM? A Reflection, by Anthony E. Stellaccio.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The term "post-colonialism" can confuse with its depth and complexity just as easily as it can confound with the nearly fraudulent vagueness of its definition. Characteristic of much post-modern intellectual discourse, one can argue that... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35433632" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The term "post-colonialism" can confuse with its depth and complexity just as easily as it can confound with the nearly fraudulent vagueness of its definition. Characteristic of much post-modern intellectual discourse, one can argue that post-colonialism finds its meaning somewhere between elitism and chicanery, on a middle ground favoring subjectivity over specificity and polyvocality over a singular, authoritarian narrative. But let us attempt to accelerate, to speed past the idea of post-colonialism as an abstract theoretical inquiry altogether and brace for a collision with how we see it, or fail to see it, lived by people around the world.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35433632" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="36c73e327d538890454b02050dcab7dc" rel="nofollow" data-download="{"attachment_id":55294825,"asset_id":35433632,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55294825/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="403991" href="https://sunderland.academia.edu/WendyGersPhD">Wendy A Gers (PhD)</a><script data-card-contents-for-user="403991" type="text/json">{"id":403991,"first_name":"Wendy","last_name":"Gers (PhD)","domain_name":"sunderland","page_name":"WendyGersPhD","display_name":"Wendy A Gers (PhD)","profile_url":"https://sunderland.academia.edu/WendyGersPhD?f_ri=15820","photo":"https://0.academia-photos.com/403991/126712/36311901/s65_wendy.gers.jpg"}</script></span></span></li><li class="js-paper-rank-work_35433632 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35433632"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35433632, container: ".js-paper-rank-work_35433632", }); });</script></li><li class="js-percentile-work_35433632 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35433632; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_35433632"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_35433632 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="35433632"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 35433632; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=35433632]").text(description); $(".js-view-count-work_35433632").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35433632").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35433632"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">13</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2860" href="https://www.academia.edu/Documents/in/Postcolonial_Studies">Postcolonial Studies</a>, <script data-card-contents-for-ri="2860" type="text/json">{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15244" href="https://www.academia.edu/Documents/in/Ceramics_Art_History_">Ceramics (Art History)</a>, <script data-card-contents-for-ri="15244" type="text/json">{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a><script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35433632]'), work: {"id":35433632,"title":"POST-COLONIALISM? A Reflection, by Anthony E. Stellaccio.","created_at":"2017-12-14T19:36:27.202-08:00","url":"https://www.academia.edu/35433632/POST_COLONIALISM_A_Reflection_by_Anthony_E_Stellaccio?f_ri=15820","dom_id":"work_35433632","summary":"The term \"post-colonialism\" can confuse with its depth and complexity just as easily as it can confound with the nearly fraudulent vagueness of its definition. Characteristic of much post-modern intellectual discourse, one can argue that post-colonialism finds its meaning somewhere between elitism and chicanery, on a middle ground favoring subjectivity over specificity and polyvocality over a singular, authoritarian narrative. But let us attempt to accelerate, to speed past the idea of post-colonialism as an abstract theoretical inquiry altogether and brace for a collision with how we see it, or fail to see it, lived by people around the world.","downloadable_attachments":[{"id":55294825,"asset_id":35433632,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":403991,"first_name":"Wendy","last_name":"Gers (PhD)","domain_name":"sunderland","page_name":"WendyGersPhD","display_name":"Wendy A Gers (PhD)","profile_url":"https://sunderland.academia.edu/WendyGersPhD?f_ri=15820","photo":"https://0.academia-photos.com/403991/126712/36311901/s65_wendy.gers.jpg"}],"research_interests":[{"id":2860,"name":"Postcolonial Studies","url":"https://www.academia.edu/Documents/in/Postcolonial_Studies?f_ri=15820","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false},{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":34642,"name":"Israel","url":"https://www.academia.edu/Documents/in/Israel?f_ri=15820"},{"id":36393,"name":"Settler Colonial Studies","url":"https://www.academia.edu/Documents/in/Settler_Colonial_Studies?f_ri=15820"},{"id":125168,"name":"Palestinian-Israeli conflict","url":"https://www.academia.edu/Documents/in/Palestinian-Israeli_conflict?f_ri=15820"},{"id":175618,"name":"Tel Aviv","url":"https://www.academia.edu/Documents/in/Tel_Aviv?f_ri=15820"},{"id":222585,"name":"Israeli-Palestinian conflict","url":"https://www.academia.edu/Documents/in/Israeli-Palestinian_conflict?f_ri=15820"},{"id":461779,"name":"Contemporary design","url":"https://www.academia.edu/Documents/in/Contemporary_design?f_ri=15820"},{"id":632564,"name":"Socially Engaged Art","url":"https://www.academia.edu/Documents/in/Socially_Engaged_Art-1?f_ri=15820"},{"id":651985,"name":"Israelian Art","url":"https://www.academia.edu/Documents/in/Israelian_Art?f_ri=15820"},{"id":725485,"name":"Critical and Politically-engaged Arts Practice","url":"https://www.academia.edu/Documents/in/Critical_and_Politically-engaged_Arts_Practice?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_52040956" data-work_id="52040956" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/52040956/_Soil_So_Good_in_Craft_Whitechapel_Documents_in_Contemporary_Art_first_written_on_the_occasion_of_Neil_Brownswords_work_in_the_Korean_International_Ceramic_Biennale_2015">"Soil So Good" in "Craft" (Whitechapel Documents in Contemporary Art) first written on the occasion of Neil Brownsword's work in the Korean International Ceramic Biennale 2015</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Soil So Good: Neil Brownsword’s Reinventions": For the sake of alliteration as well as the productive confusion between an eighteenth-century metaphor and a contemporary euphemism, the neologism ‘brownfield’ is as good a contradiction as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52040956" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Soil So Good: Neil Brownsword’s Reinventions": For the sake of alliteration as well as the productive confusion between an eighteenth-century metaphor and a contemporary euphemism, the neologism<br />‘brownfield’ is as good a contradiction as any to<br />contextualize the work of Neil Brownsword: he envisions<br />clay to be ripe for cultural creation, whether it’s a<br />derelict zone contaminated by factory use or a shovelfull<br />dug freshly from a local bed. The wasted rubble of<br />factories in Stoke-on-Trent and the accessible veins of<br />silken red marl holes constitute both his childhood and<br />adult turf - he has not moved away and is not a visitor<br />bombing in and out. His backyard is a brownfield and<br />both dear as well as foreboding - and an unusual<br />mixture of unrepeatable glorious history and unreliable<br />futures.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/52040956" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7aaef978c38c468dbc8b19459394161f" rel="nofollow" data-download="{"attachment_id":69488172,"asset_id":52040956,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/69488172/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="63647320" href="https://massart.academia.edu/EzraShales">Ezra Shales</a><script data-card-contents-for-user="63647320" type="text/json">{"id":63647320,"first_name":"Ezra","last_name":"Shales","domain_name":"massart","page_name":"EzraShales","display_name":"Ezra Shales","profile_url":"https://massart.academia.edu/EzraShales?f_ri=15820","photo":"https://0.academia-photos.com/63647320/16523121/52271923/s65_ezra.shales.jpg"}</script></span></span></li><li class="js-paper-rank-work_52040956 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="52040956"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 52040956, container: ".js-paper-rank-work_52040956", }); });</script></li><li class="js-percentile-work_52040956 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 52040956; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_52040956"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_52040956 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="52040956"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 52040956; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=52040956]").text(description); $(".js-view-count-work_52040956").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_52040956").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="52040956"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15244" href="https://www.academia.edu/Documents/in/Ceramics_Art_History_">Ceramics (Art History)</a>, <script data-card-contents-for-ri="15244" type="text/json">{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16903" href="https://www.academia.edu/Documents/in/Traditional_Crafts">Traditional Crafts</a>, <script data-card-contents-for-ri="16903" type="text/json">{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16905" href="https://www.academia.edu/Documents/in/Craft_Knowledge">Craft Knowledge</a><script data-card-contents-for-ri="16905" type="text/json">{"id":16905,"name":"Craft Knowledge","url":"https://www.academia.edu/Documents/in/Craft_Knowledge?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=52040956]'), work: {"id":52040956,"title":"\"Soil So Good\" in \"Craft\" (Whitechapel Documents in Contemporary Art) first written on the occasion of Neil Brownsword's work in the Korean International Ceramic Biennale 2015","created_at":"2021-09-12T15:45:15.579-07:00","url":"https://www.academia.edu/52040956/_Soil_So_Good_in_Craft_Whitechapel_Documents_in_Contemporary_Art_first_written_on_the_occasion_of_Neil_Brownswords_work_in_the_Korean_International_Ceramic_Biennale_2015?f_ri=15820","dom_id":"work_52040956","summary":"\"Soil So Good: Neil Brownsword’s Reinventions\": For the sake of alliteration as well as the productive confusion between an eighteenth-century metaphor and a contemporary euphemism, the neologism\n‘brownfield’ is as good a contradiction as any to\ncontextualize the work of Neil Brownsword: he envisions\nclay to be ripe for cultural creation, whether it’s a\nderelict zone contaminated by factory use or a shovelfull\ndug freshly from a local bed. The wasted rubble of\nfactories in Stoke-on-Trent and the accessible veins of\nsilken red marl holes constitute both his childhood and\nadult turf - he has not moved away and is not a visitor\nbombing in and out. His backyard is a brownfield and\nboth dear as well as foreboding - and an unusual\nmixture of unrepeatable glorious history and unreliable\nfutures.","downloadable_attachments":[{"id":69488172,"asset_id":52040956,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":63647320,"first_name":"Ezra","last_name":"Shales","domain_name":"massart","page_name":"EzraShales","display_name":"Ezra Shales","profile_url":"https://massart.academia.edu/EzraShales?f_ri=15820","photo":"https://0.academia-photos.com/63647320/16523121/52271923/s65_ezra.shales.jpg"}],"research_interests":[{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820","nofollow":false},{"id":16905,"name":"Craft Knowledge","url":"https://www.academia.edu/Documents/in/Craft_Knowledge?f_ri=15820","nofollow":false},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=15820"},{"id":28903,"name":"Craft production (Archaeology)","url":"https://www.academia.edu/Documents/in/Craft_production_Archaeology_?f_ri=15820"},{"id":58128,"name":"Ceramics","url":"https://www.academia.edu/Documents/in/Ceramics?f_ri=15820"},{"id":256667,"name":"Arts and Humanities","url":"https://www.academia.edu/Documents/in/Arts_and_Humanities?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38426750" data-work_id="38426750" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38426750/To_Capture_the_Music_of_Light_Intro_Essay_to_the_Reprinting_of_Color_Problems_a_Practical_Manual_for_the_Lay_Student_of_Color_By_Emily_Noyes_Vanderpoel_1902">To Capture the Music of Light, Intro Essay to the Reprinting of Color Problems, a Practical Manual for the Lay Student of Color, By Emily Noyes Vanderpoel, 1902</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay, included in the first reprinting of Color Problems, a Practical Manual for the Lay Student of Color, By Emily Noyes Vanderpoel, 1902, introduces Vanderpoel's pedagogy of color theory and the color abstraction works and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38426750" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay, included in the first reprinting of Color Problems, a Practical Manual for the Lay Student of Color, By Emily Noyes Vanderpoel, 1902, introduces Vanderpoel's pedagogy of color theory and the color abstraction works and techniques of Vanderpoel. The author proposes that Vanderpoel is an overlooked abstract artist.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38426750" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7c67589de8133bd0c4e4f5681745e765" rel="nofollow" data-download="{"attachment_id":58486220,"asset_id":38426750,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58486220/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6954791" href="https://uh.academia.edu/AlanBruton">Alan Bruton</a><script data-card-contents-for-user="6954791" type="text/json">{"id":6954791,"first_name":"Alan","last_name":"Bruton","domain_name":"uh","page_name":"AlanBruton","display_name":"Alan Bruton","profile_url":"https://uh.academia.edu/AlanBruton?f_ri=15820","photo":"https://0.academia-photos.com/6954791/23127817/22237517/s65_alan.bruton.jpg"}</script></span></span></li><li class="js-paper-rank-work_38426750 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38426750"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38426750, container: ".js-paper-rank-work_38426750", }); 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$(".js-view-count[data-work-id=38426750]").text(description); $(".js-view-count-work_38426750").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38426750").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38426750"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="12202" href="https://www.academia.edu/Documents/in/Women_Artists_-_Modernist">Women Artists - Modernist</a>, <script data-card-contents-for-ri="12202" type="text/json">{"id":12202,"name":"Women Artists - Modernist","url":"https://www.academia.edu/Documents/in/Women_Artists_-_Modernist?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20759" href="https://www.academia.edu/Documents/in/Abstraction">Abstraction</a>, <script data-card-contents-for-ri="20759" type="text/json">{"id":20759,"name":"Abstraction","url":"https://www.academia.edu/Documents/in/Abstraction?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="38357" href="https://www.academia.edu/Documents/in/Theory_of_ornament">Theory of ornament</a><script data-card-contents-for-ri="38357" type="text/json">{"id":38357,"name":"Theory of ornament","url":"https://www.academia.edu/Documents/in/Theory_of_ornament?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38426750]'), work: {"id":38426750,"title":"To Capture the Music of Light, Intro Essay to the Reprinting of Color Problems, a Practical Manual for the Lay Student of Color, By Emily Noyes Vanderpoel, 1902","created_at":"2019-02-23T15:21:40.637-08:00","url":"https://www.academia.edu/38426750/To_Capture_the_Music_of_Light_Intro_Essay_to_the_Reprinting_of_Color_Problems_a_Practical_Manual_for_the_Lay_Student_of_Color_By_Emily_Noyes_Vanderpoel_1902?f_ri=15820","dom_id":"work_38426750","summary":"This essay, included in the first reprinting of Color Problems, a Practical Manual for the Lay Student of Color, By Emily Noyes Vanderpoel, 1902, introduces Vanderpoel's pedagogy of color theory and the color abstraction works and techniques of Vanderpoel. 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","downloadable_attachments":[{"id":58486220,"asset_id":38426750,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6954791,"first_name":"Alan","last_name":"Bruton","domain_name":"uh","page_name":"AlanBruton","display_name":"Alan Bruton","profile_url":"https://uh.academia.edu/AlanBruton?f_ri=15820","photo":"https://0.academia-photos.com/6954791/23127817/22237517/s65_alan.bruton.jpg"}],"research_interests":[{"id":12202,"name":"Women Artists - Modernist","url":"https://www.academia.edu/Documents/in/Women_Artists_-_Modernist?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":20759,"name":"Abstraction","url":"https://www.academia.edu/Documents/in/Abstraction?f_ri=15820","nofollow":false},{"id":38357,"name":"Theory of ornament","url":"https://www.academia.edu/Documents/in/Theory_of_ornament?f_ri=15820","nofollow":false},{"id":42391,"name":"History of Ornament","url":"https://www.academia.edu/Documents/in/History_of_Ornament?f_ri=15820"},{"id":64956,"name":"Art Practise , Art Curation, and Theory of Color, Art History, Art Theory","url":"https://www.academia.edu/Documents/in/Art_Practise_Art_Curation_and_Theory_of_Color_Art_History_Art_Theory?f_ri=15820"},{"id":76714,"name":"Color","url":"https://www.academia.edu/Documents/in/Color?f_ri=15820"},{"id":111768,"name":"Color Theory","url":"https://www.academia.edu/Documents/in/Color_Theory?f_ri=15820"},{"id":148101,"name":"Ornament","url":"https://www.academia.edu/Documents/in/Ornament?f_ri=15820"},{"id":759709,"name":"World's Columbian Exposition","url":"https://www.academia.edu/Documents/in/Worlds_Columbian_Exposition?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_32750067 coauthored" data-work_id="32750067" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/32750067/_Judaica_Now_Goblets_and_Kiddush_Cups_of_the_Bezalel_School_Exhibition_Catalogue_">"Judaica Now!": Goblets and Kiddush Cups of the Bezalel School (Exhibition Catalogue)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Hallel. Carmel. Bezalel The Exhibitions: Halel. Carmel Winery 'Judaica Now!': Goblets and Kiddush Cups of the Bezalel School These two exhibitions: "Halel. Carmel Winery" and "'Judaica Now!': Goblets and Kiddush Cups of the Bezalel... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_32750067" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Hallel. Carmel. Bezalel<br /><br />The Exhibitions:<br />Halel. Carmel Winery<br />'Judaica Now!':<br />Goblets and Kiddush Cups<br />of the Bezalel School<br /><br />These two exhibitions: "Halel. Carmel Winery" and<br />"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel<br />School" focus on two pioneering phenomenon. Both of them,<br />each one in its own specific field, established a material<br />and cultural infrastructure for the renewal of the Jewish<br />settlement in Eretz Israel. The two integrated exhibitions<br />presented here show the primary aspects where these two<br />enterprises overlap. The principal point here is the fact that<br />their produce, wine in Rishon Le‑Zion and art in Bezalel,<br />symbolized the regenerated Jewish settlement. Moreover,<br />most of their products were purchased by Jews in the<br />Diaspora as an emotional gesture of love for Eretz Israel<br />together with a contribution for the realization of the idea<br />for its settlement.<br />The "Halel. Carmel Winery" exhibition tells the story of<br />the winery from its historical perspective. The winery<br />symbolized the realization of the dream of settling<br />Eretz Israel. Thus, it became a source of pride and a center<br />of attraction for the leaders of the people and the world<br />who pinned their hopes on it and visited the winery. The<br />historical exhibition aims to show how innovative the<br />Rishon Le-Zion winery was during its early years as it was<br />recognized as the prominent modern agricultural-industrial<br />plant in the Middle Eastern region. The winery played a key<br />role in the economic life of Rishon Le-Zion and the Jewish<br />settlements in the surrounding area. The exhibition displays<br />its development, achievements, challenges, transitions,<br />connections with the Diaspora and how it influenced<br />Rishon Le-Zion and the Yishuv in Eretz Israel. The exhibition<br />focuses mainly on the first few decades of the winery's<br />existence which were also the most momentous years in<br />its history, during which a modern industrial model was<br />developed leading to a breakthrough in the country.<br />The Bezalel exhibition 'Judaica Now'!: Goblets and<br />Kiddush Cups of the Bezalel School"is displayed from the<br />contemporary artistic standpoint. In this exhibition also<br />some 48 exhibits of contemporary wine and Kiddush cups,<br />handmade by artists and designers belonging to the Bezalel<br />School, are displayed. The philosophy and artistic language<br />of the School's members, men and women, were apparent as<br />expressed in the holy vessels and articles. The participants in<br />this group show had all attended Bezalel either as students<br />or teachers, some served as department heads. A large<br />group among these artists later became the elite of leading<br />Judaica artists, whose creations now enrich the collections of<br />important museums in Israel and throughout the world.<br /><br />Curators:<br />"Hallel. Carmel Winery": Yona Shapira<br />"'Judaica Now!': Wine goblets and Kiddush cups of the<br />Bezalel School": Dr. Shirat‑Miriam Shamir, Ido Noy<br /><br /><br />הלַלֵּ. כרמל. בצלאל<br />התערוכות:<br />הַללֵּ. יקב כרמל<br />'יודאיקה עכשיו!':<br />כוסות וגביעי יין לקידוש<br />של אסכולת בצלאל<br /><br />שתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון<br />ובית הספר לאמנויות "בצלאל". שניהם, כל אחד בתחומו, הניחו<br />תשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.<br />שתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני<br />המפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,<br />היוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה<br />רגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של<br />יישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת<br />מבט אמנותית עכשווית.<br />היקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן<br />שואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה<br />"הלל. יקב כרמל" מבקשת להציג את החדשנות של יקב ראשון־לציון<br />בשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב<br />המזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות<br />הסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,<br />קשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.<br />עיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים<br />המשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני<br />ופורץ דרך בארץ.<br />התערוכה, "׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת<br />בצלאל" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים<br />ומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם<br />ושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי<br />בתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:<br />בין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק<br />נכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם<br />מעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.<br /><br />אוצרים:<br />הלל, יקב כרמל: יונה שפירא<br />'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש<br />של אסכולת בצלאל: ד"ר שירת־מרים שמיר ועידו נוי</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32750067" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1fff8bcc89664907127ee0dccb147bcb" rel="nofollow" data-download="{"attachment_id":52907415,"asset_id":32750067,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/52907415/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50784280" href="https://independent.academia.edu/shiratmiriam">Shirat-Miriam Shamir</a><script data-card-contents-for-user="50784280" type="text/json">{"id":50784280,"first_name":"Shirat-Miriam","last_name":"Shamir","domain_name":"independent","page_name":"shiratmiriam","display_name":"Shirat-Miriam Shamir","profile_url":"https://independent.academia.edu/shiratmiriam?f_ri=15820","photo":"https://0.academia-photos.com/50784280/13423641/35343592/s65_shirat-miriam.shamir.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-32750067">+1</span><div class="hidden js-additional-users-32750067"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://shenkar.academia.edu/IdoNoy">Ido Noy</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-32750067'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-32750067').html(); 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Carmel. Bezalel\n\nThe Exhibitions:\nHalel. Carmel Winery\n'Judaica Now!':\nGoblets and Kiddush Cups\nof the Bezalel School\n\nThese two exhibitions: \"Halel. Carmel Winery\" and\n\"'Judaica Now!': Goblets and Kiddush Cups of the Bezalel\nSchool\" focus on two pioneering phenomenon. Both of them,\neach one in its own specific field, established a material\nand cultural infrastructure for the renewal of the Jewish\nsettlement in Eretz Israel. The two integrated exhibitions\npresented here show the primary aspects where these two\nenterprises overlap. The principal point here is the fact that\ntheir produce, wine in Rishon Le‑Zion and art in Bezalel,\nsymbolized the regenerated Jewish settlement. Moreover,\nmost of their products were purchased by Jews in the\nDiaspora as an emotional gesture of love for Eretz Israel\ntogether with a contribution for the realization of the idea\nfor its settlement.\nThe \"Halel. Carmel Winery\" exhibition tells the story of\nthe winery from its historical perspective. The winery\nsymbolized the realization of the dream of settling\nEretz Israel. Thus, it became a source of pride and a center\nof attraction for the leaders of the people and the world\nwho pinned their hopes on it and visited the winery. The\nhistorical exhibition aims to show how innovative the\nRishon Le-Zion winery was during its early years as it was\nrecognized as the prominent modern agricultural-industrial\nplant in the Middle Eastern region. The winery played a key\nrole in the economic life of Rishon Le-Zion and the Jewish\nsettlements in the surrounding area. The exhibition displays\nits development, achievements, challenges, transitions,\nconnections with the Diaspora and how it influenced\nRishon Le-Zion and the Yishuv in Eretz Israel. The exhibition\nfocuses mainly on the first few decades of the winery's\nexistence which were also the most momentous years in\nits history, during which a modern industrial model was\ndeveloped leading to a breakthrough in the country.\nThe Bezalel exhibition 'Judaica Now'!: Goblets and\nKiddush Cups of the Bezalel School\"is displayed from the\ncontemporary artistic standpoint. In this exhibition also\nsome 48 exhibits of contemporary wine and Kiddush cups,\nhandmade by artists and designers belonging to the Bezalel\nSchool, are displayed. The philosophy and artistic language\nof the School's members, men and women, were apparent as\nexpressed in the holy vessels and articles. The participants in\nthis group show had all attended Bezalel either as students\nor teachers, some served as department heads. A large\ngroup among these artists later became the elite of leading\nJudaica artists, whose creations now enrich the collections of\nimportant museums in Israel and throughout the world.\n\nCurators:\n\"Hallel. Carmel Winery\": Yona Shapira\n\"'Judaica Now!': Wine goblets and Kiddush cups of the\nBezalel School\": Dr. Shirat‑Miriam Shamir, Ido Noy\n\n\nהלַלֵּ. כרמל. בצלאל\nהתערוכות:\nהַללֵּ. יקב כרמל\n'יודאיקה עכשיו!':\nכוסות וגביעי יין לקידוש\nשל אסכולת בצלאל\n\nשתי התערוכות עוסקות בשני מפעלים חלוציים: יקב ראשון־לציון\nובית הספר לאמנויות \"בצלאל\". שניהם, כל אחד בתחומו, הניחו\nתשתית חומרית ותרבותית ליישוב היהודי המתחדש בארץ ישראל.\nשתי התערוכות המוצגות במשולב, מציגות את נקודות ההשקה בין שני\nהמפעלים. העיקרית שבהן היא העובדה שתוצריהם, היין ואמנות בצלאל,\nהיוו סמל ליישוב היהודי המתחדש ונרכשו על ידי יהודי הגולה כמחווה\nרגשית של אהבת ארץ ישראל וכתרומה למען הגשמת הרעיון של\nיישובה. היקב מוצג מן הזווית ההיסטורית ואילו בצלאל מוצג מנקודת\nמבט אמנותית עכשווית.\nהיקב היה סמל להגשמת חזון יישוב ארץ ישראל, מקור לגאווה ואבן\nשואבת למנהיגי עם ועולם שנשאו עיניהם אליו וביקרו בו. התערוכה\n\"הלל. יקב כרמל\" מבקשת להציג את החדשנות של יקב ראשון־לציון\nבשנותיו הראשונות כמפעל תעשיה חקלאית מודרני הבולט במרחב\nהמזרח התיכון ועומד במרכז חיי הכלכלה של ראשון־לציון ומושבות\nהסביבה. בתערוכה מוצגים התפתחותו, הישגיו, אתגריו, גלגוליו,\nקשריו עם הגולה והשפעתו על ראשון־לציון ועל הישוב בארץ־ישראל.\nעיקר התערוכה עוסק בעשורים הראשונים לקיום היקב שהיו השנים\nהמשמעותיות בתולדותיו שבמהלכן עוצב בו מודל תעשייתי חדשני\nופורץ דרך בארץ.\nהתערוכה, \"׳יודאיקה עכשיו!׳: כוסות וגביעי יין לקידוש של אסכולת\nבצלאל\" מציגה 48 גביעי יין וקידוש עכשוויים מעשה ידיהם של אמנים\nומעצבים השייכים לאסכולת בצלאל. מהתערוכה ניבטת תפיסת העולם\nושפתם האמנותית של חברי וחברות האסכולה כפי שאלו מקבלות ביטוי\nבתשמישי קדושה. משתתפי התערוכה הקבוצתית, עברו כולם בבצלאל:\nבין שלמדו או שלימדו בו או בין שהובילו אותו כראשי המחלקות. חלק\nנכבד מאמנים אלה נעשו לאמני היודאיקה המובילים, שיצירותיהם\nמעטרות את אוספי המוזיאונים החשובים בישראל ובעולם.\n\nאוצרים:\nהלל, יקב כרמל: יונה שפירא\n'יודאיקה עכשיו!': כוסות וגביעי יין לקידוש\nשל אסכולת בצלאל: ד\"ר שירת־מרים שמיר ועידו נוי\n","downloadable_attachments":[{"id":52907415,"asset_id":32750067,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50784280,"first_name":"Shirat-Miriam","last_name":"Shamir","domain_name":"independent","page_name":"shiratmiriam","display_name":"Shirat-Miriam Shamir","profile_url":"https://independent.academia.edu/shiratmiriam?f_ri=15820","photo":"https://0.academia-photos.com/50784280/13423641/35343592/s65_shirat-miriam.shamir.jpg"},{"id":5381631,"first_name":"Ido","last_name":"Noy","domain_name":"shenkar","page_name":"IdoNoy","display_name":"Ido Noy","profile_url":"https://shenkar.academia.edu/IdoNoy?f_ri=15820","photo":"https://0.academia-photos.com/5381631/2362386/16068519/s65_ido.noy.jpg"}],"research_interests":[{"id":26,"name":"Business","url":"https://www.academia.edu/Documents/in/Business?f_ri=15820","nofollow":false},{"id":915,"name":"Art 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National Identity","url":"https://www.academia.edu/Documents/in/Israeli_Art_and_Culture_Ethnicity_and_National_Identity?f_ri=15820"},{"id":2035035,"name":"Bezalel history","url":"https://www.academia.edu/Documents/in/Bezalel_history?f_ri=15820"},{"id":2687201,"name":"Eretz Israel","url":"https://www.academia.edu/Documents/in/Eretz_Israel?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29476669" data-work_id="29476669" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29476669/Kawakami_Sumio_Meiji_sh%C5%8Dnen_kaiko_%E6%98%8E%E6%B2%BB%E5%B0%91%E5%B9%B4%E6%87%90%E5%8F%A4_Reminiscences_of_a_Meiji_youth_1944_">Kawakami Sumio, Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Visual and cultural analysis of Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944), an illustrated book that nostalgically recalls Japan's late nineteenth and early twentieth century period of modernization. The book is in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29476669" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Visual and cultural analysis of Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944), an illustrated book that nostalgically recalls Japan's late nineteenth and early twentieth century period of modernization. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: <a href="http://pulverer.si.edu/node/440/title/1" rel="nofollow">http://pulverer.si.edu/node/440/title/1</a>.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29476669" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e2e49c1754b962d7704cf1312c3a368c" rel="nofollow" data-download="{"attachment_id":50400196,"asset_id":29476669,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50400196/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47646" href="https://umcp.academia.edu/AliciaVolk">Alicia Volk</a><script data-card-contents-for-user="47646" type="text/json">{"id":47646,"first_name":"Alicia","last_name":"Volk","domain_name":"umcp","page_name":"AliciaVolk","display_name":"Alicia Volk","profile_url":"https://umcp.academia.edu/AliciaVolk?f_ri=15820","photo":"https://0.academia-photos.com/47646/14810/40569156/s65_alicia.volk.jpg"}</script></span></span></li><li class="js-paper-rank-work_29476669 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29476669"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29476669, container: ".js-paper-rank-work_29476669", }); 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href="https://www.academia.edu/26904665/Taniec_i_przedmiotowo%C5%9B%C4%87">Taniec i przedmiotowość</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Artykuł traktuje o relacji między amerykańskim minimal artem a praktyką taneczną. Tekst powstał w kontekście wystaw z 2015 roku: "Let's Dance" w galerii Art Stations w Poznaniu oraz "Objects and Bodies at Rest and in Motion" w Moderna... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_26904665" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Artykuł traktuje o relacji między amerykańskim minimal artem a praktyką taneczną. Tekst powstał w kontekście wystaw z 2015 roku: "Let's Dance" w galerii Art Stations w Poznaniu oraz "Objects and Bodies at Rest and in Motion" w Moderna Museet w Malmö.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/26904665" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="fab1fcf60e028662955809d788377427" rel="nofollow" data-download="{"attachment_id":47168638,"asset_id":26904665,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/47168638/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10950639" href="https://independent.academia.edu/WojciechDelikta">Wojciech Delikta</a><script data-card-contents-for-user="10950639" type="text/json">{"id":10950639,"first_name":"Wojciech","last_name":"Delikta","domain_name":"independent","page_name":"WojciechDelikta","display_name":"Wojciech Delikta","profile_url":"https://independent.academia.edu/WojciechDelikta?f_ri=15820","photo":"https://0.academia-photos.com/10950639/3258777/10788302/s65_wojciech.delikta.jpg"}</script></span></span></li><li class="js-paper-rank-work_26904665 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="26904665"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 26904665, container: ".js-paper-rank-work_26904665", }); 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Tekst powstał w kontekście wystaw z 2015 roku: \"Let's Dance\" w galerii Art Stations w Poznaniu oraz \"Objects and Bodies at Rest and in Motion\" w Moderna Museet w Malmö.","downloadable_attachments":[{"id":47168638,"asset_id":26904665,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":10950639,"first_name":"Wojciech","last_name":"Delikta","domain_name":"independent","page_name":"WojciechDelikta","display_name":"Wojciech Delikta","profile_url":"https://independent.academia.edu/WojciechDelikta?f_ri=15820","photo":"https://0.academia-photos.com/10950639/3258777/10788302/s65_wojciech.delikta.jpg"}],"research_interests":[{"id":1556,"name":"Dance Studies","url":"https://www.academia.edu/Documents/in/Dance_Studies?f_ri=15820","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false},{"id":13160,"name":"Minimalism","url":"https://www.academia.edu/Documents/in/Minimalism?f_ri=15820","nofollow":false},{"id":14082,"name":"American art/ Art of the United States","url":"https://www.academia.edu/Documents/in/American_art_Art_of_the_United_States?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":19712,"name":"Dance and Aesthetics","url":"https://www.academia.edu/Documents/in/Dance_and_Aesthetics?f_ri=15820"},{"id":25642,"name":"Modern and Contemporary Dance","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Dance?f_ri=15820"},{"id":36586,"name":"Minimalism (Art)","url":"https://www.academia.edu/Documents/in/Minimalism_Art_?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42030582" data-work_id="42030582" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42030582/War_Rugs">War Rugs</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Afghan carpets with motifs of war, guns, tanks and planes, have become popular. Apart from Kabul, they are widely supplied by carpet sellers from Kashmir and Peshawar. How do we interpret this popularity? What does it mean to the society... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42030582" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Afghan carpets with motifs of war, guns, tanks and planes, have become popular. Apart from Kabul, they are widely supplied by carpet sellers from Kashmir and Peshawar.  How do we interpret this popularity? What does it mean to the society that knots the instruments of their destruction into their art and what does it say about our consumption of these motifs?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42030582" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4cf33766eb6a309d5f1a7e12f403baf8" rel="nofollow" data-download="{"attachment_id":62156659,"asset_id":42030582,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62156659/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="83655" href="https://jnu.academia.edu/NamanAhuja">Naman P Ahuja</a><script data-card-contents-for-user="83655" type="text/json">{"id":83655,"first_name":"Naman","last_name":"Ahuja","domain_name":"jnu","page_name":"NamanAhuja","display_name":"Naman P Ahuja","profile_url":"https://jnu.academia.edu/NamanAhuja?f_ri=15820","photo":"https://0.academia-photos.com/83655/23303/21538/s65_naman.ahuja.jpg"}</script></span></span></li><li class="js-paper-rank-work_42030582 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42030582"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42030582, container: ".js-paper-rank-work_42030582", }); 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$(".js-view-count[data-work-id=42030582]").text(description); $(".js-view-count-work_42030582").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42030582").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42030582"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">12</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="2320" href="https://www.academia.edu/Documents/in/Textiles">Textiles</a>, <script data-card-contents-for-ri="2320" type="text/json">{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2473" href="https://www.academia.edu/Documents/in/Material_Culture_Studies">Material Culture Studies</a>, <script data-card-contents-for-ri="2473" type="text/json">{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3516" href="https://www.academia.edu/Documents/in/Contemporary_History">Contemporary History</a>, <script data-card-contents-for-ri="3516" type="text/json">{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5272" href="https://www.academia.edu/Documents/in/Identity_Culture_">Identity (Culture)</a><script data-card-contents-for-ri="5272" type="text/json">{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42030582]'), work: {"id":42030582,"title":"War Rugs","created_at":"2020-02-20T19:36:53.570-08:00","url":"https://www.academia.edu/42030582/War_Rugs?f_ri=15820","dom_id":"work_42030582","summary":"Afghan carpets with motifs of war, guns, tanks and planes, have become popular. Apart from Kabul, they are widely supplied by carpet sellers from Kashmir and Peshawar. How do we interpret this popularity? What does it mean to the society that knots the instruments of their destruction into their art and what does it say about our consumption of these motifs?","downloadable_attachments":[{"id":62156659,"asset_id":42030582,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":83655,"first_name":"Naman","last_name":"Ahuja","domain_name":"jnu","page_name":"NamanAhuja","display_name":"Naman P Ahuja","profile_url":"https://jnu.academia.edu/NamanAhuja?f_ri=15820","photo":"https://0.academia-photos.com/83655/23303/21538/s65_naman.ahuja.jpg"}],"research_interests":[{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=15820","nofollow":false},{"id":2473,"name":"Material Culture Studies","url":"https://www.academia.edu/Documents/in/Material_Culture_Studies?f_ri=15820","nofollow":false},{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=15820","nofollow":false},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=15820","nofollow":false},{"id":5357,"name":"Afghanistan","url":"https://www.academia.edu/Documents/in/Afghanistan?f_ri=15820"},{"id":7860,"name":"Cultural Tourism","url":"https://www.academia.edu/Documents/in/Cultural_Tourism?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820"},{"id":192263,"name":"Oriental Rugs","url":"https://www.academia.edu/Documents/in/Oriental_Rugs?f_ri=15820"},{"id":252092,"name":"Gandhara","url":"https://www.academia.edu/Documents/in/Gandhara?f_ri=15820"},{"id":528832,"name":"Islamic textiles and carpets","url":"https://www.academia.edu/Documents/in/Islamic_textiles_and_carpets?f_ri=15820"},{"id":593112,"name":"Texts and Textiles / Material Culture / Oriental Carpets / Textile Theory","url":"https://www.academia.edu/Documents/in/Texts_and_Textiles_Material_Culture_Oriental_Carpets_Textile_Theory?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20516327" data-work_id="20516327" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20516327/Gyeonggi_International_Ceramic_Biennale_2015">Gyeonggi International Ceramic Biennale 2015</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The article is about the development of the Gyeonggi International Ceramics Biennale until now. How it has changed and how it hopes to change in the future. Additionally as presenting the competition winners for 2015. "Originally... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20516327" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The article is about the development of the Gyeonggi International Ceramics Biennale until now. How it has changed and how it hopes to change in the future. Additionally as presenting the competition winners for 2015.<br /><br />"Originally published in February 2016 issue of Ceramics Monthly, pages (insert page #s). <a href="http://www.ceramicsmonthly.org" rel="nofollow">http://www.ceramicsmonthly.org</a> . Copyright, The American Ceramic Society. Reprinted with permission."</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20516327" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f7b13f4f89287e01eac5705e693377f3" rel="nofollow" data-download="{"attachment_id":41413660,"asset_id":20516327,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41413660/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8896098" href="https://hanyang.academia.edu/HyeyoungCho">Hyeyoung Cho</a><script data-card-contents-for-user="8896098" type="text/json">{"id":8896098,"first_name":"Hyeyoung","last_name":"Cho","domain_name":"hanyang","page_name":"HyeyoungCho","display_name":"Hyeyoung Cho","profile_url":"https://hanyang.academia.edu/HyeyoungCho?f_ri=15820","photo":"https://0.academia-photos.com/8896098/2917110/12187127/s65_hyeyoung.cho.jpg"}</script></span></span></li><li class="js-paper-rank-work_20516327 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20516327"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20516327, container: ".js-paper-rank-work_20516327", }); 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$(".js-view-count[data-work-id=20516327]").text(description); $(".js-view-count-work_20516327").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20516327").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20516327"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="53409" href="https://www.academia.edu/Documents/in/Arts_and_Crafts">Arts and Crafts</a>, <script data-card-contents-for-ri="53409" type="text/json">{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="137722" href="https://www.academia.edu/Documents/in/Contemporary_Ceramics">Contemporary Ceramics</a><script data-card-contents-for-ri="137722" type="text/json">{"id":137722,"name":"Contemporary Ceramics","url":"https://www.academia.edu/Documents/in/Contemporary_Ceramics?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20516327]'), work: {"id":20516327,"title":"Gyeonggi International Ceramic Biennale 2015","created_at":"2016-01-22T03:44:04.731-08:00","url":"https://www.academia.edu/20516327/Gyeonggi_International_Ceramic_Biennale_2015?f_ri=15820","dom_id":"work_20516327","summary":"The article is about the development of the Gyeonggi International Ceramics Biennale until now. How it has changed and how it hopes to change in the future. Additionally as presenting the competition winners for 2015.\n\n\"Originally published in February 2016 issue of Ceramics Monthly, pages (insert page #s). http://www.ceramicsmonthly.org . Copyright, The American Ceramic Society. Reprinted with permission.\"","downloadable_attachments":[{"id":41413660,"asset_id":20516327,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8896098,"first_name":"Hyeyoung","last_name":"Cho","domain_name":"hanyang","page_name":"HyeyoungCho","display_name":"Hyeyoung Cho","profile_url":"https://hanyang.academia.edu/HyeyoungCho?f_ri=15820","photo":"https://0.academia-photos.com/8896098/2917110/12187127/s65_hyeyoung.cho.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=15820","nofollow":false},{"id":137722,"name":"Contemporary Ceramics","url":"https://www.academia.edu/Documents/in/Contemporary_Ceramics?f_ri=15820","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_24440840" data-work_id="24440840" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/24440840/Qatar_Now_Manar_al_Muftah_Talisman">Qatar Now: Manar al-Muftah | Talisman</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Gallery at Virginia Commonwealth University in Qatar is very pleased to present the work of Manar al-Muftah as part of the annual series Qatar Now. Curated by Donald Early, Halim Choueiry and Jochen Sokoly The Qatar Now series... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_24440840" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Gallery at Virginia Commonwealth University in Qatar is very pleased to present the work of Manar al-Muftah as part of the annual series Qatar Now. Curated by Donald Early, Halim Choueiry and Jochen Sokoly<br /><br />The Qatar Now series features the work of emerging and established Qatari artists and designers. A graphic designer by profession, Manar al-Muftah is also a graduate of VCUQatar.<br /><br />It is the first time that The Gallery is featuring the work of an alumna in a solo exhibition at The Gallery.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24440840" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2a97bcb0f29e4d1a77a191fab10a71e1" rel="nofollow" data-download="{"attachment_id":44770681,"asset_id":24440840,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/44770681/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2463319" href="https://vcu.academia.edu/JochenSokoly">Jochen Sokoly</a><script data-card-contents-for-user="2463319" type="text/json">{"id":2463319,"first_name":"Jochen","last_name":"Sokoly","domain_name":"vcu","page_name":"JochenSokoly","display_name":"Jochen Sokoly","profile_url":"https://vcu.academia.edu/JochenSokoly?f_ri=15820","photo":"https://0.academia-photos.com/2463319/770908/958223/s65_jochen.sokoly.jpg"}</script></span></span></li><li class="js-paper-rank-work_24440840 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24440840"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24440840, container: ".js-paper-rank-work_24440840", }); 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$(".js-view-count[data-work-id=24440840]").text(description); $(".js-view-count-work_24440840").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24440840").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24440840"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">32</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="988" href="https://www.academia.edu/Documents/in/Design">Design</a>, <script data-card-contents-for-ri="988" type="text/json">{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1236" href="https://www.academia.edu/Documents/in/Art">Art</a><script data-card-contents-for-ri="1236" type="text/json">{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24440840]'), work: {"id":24440840,"title":"Qatar Now: Manar al-Muftah | Talisman","created_at":"2016-04-15T12:38:13.556-07:00","url":"https://www.academia.edu/24440840/Qatar_Now_Manar_al_Muftah_Talisman?f_ri=15820","dom_id":"work_24440840","summary":"The Gallery at Virginia Commonwealth University in Qatar is very pleased to present the work of Manar al-Muftah as part of the annual series Qatar Now. Curated by Donald Early, Halim Choueiry and Jochen Sokoly\n\nThe Qatar Now series features the work of emerging and established Qatari artists and designers. A graphic designer by profession, Manar al-Muftah is also a graduate of VCUQatar.\n\nIt is the first time that The Gallery is featuring the work of an alumna in a solo exhibition at The Gallery.","downloadable_attachments":[{"id":44770681,"asset_id":24440840,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2463319,"first_name":"Jochen","last_name":"Sokoly","domain_name":"vcu","page_name":"JochenSokoly","display_name":"Jochen Sokoly","profile_url":"https://vcu.academia.edu/JochenSokoly?f_ri=15820","photo":"https://0.academia-photos.com/2463319/770908/958223/s65_jochen.sokoly.jpg"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=15820","nofollow":false},{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false},{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=15820","nofollow":false},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15820","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15820"},{"id":2722,"name":"Arabic Language and Linguistics","url":"https://www.academia.edu/Documents/in/Arabic_Language_and_Linguistics?f_ri=15820"},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820"},{"id":3516,"name":"Contemporary History","url":"https://www.academia.edu/Documents/in/Contemporary_History?f_ri=15820"},{"id":4052,"name":"Arts Education","url":"https://www.academia.edu/Documents/in/Arts_Education?f_ri=15820"},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820"},{"id":4979,"name":"Islamic Contemporary Studies","url":"https://www.academia.edu/Documents/in/Islamic_Contemporary_Studies?f_ri=15820"},{"id":5079,"name":"Graphic Design","url":"https://www.academia.edu/Documents/in/Graphic_Design?f_ri=15820"},{"id":8918,"name":"Contemporary Arts","url":"https://www.academia.edu/Documents/in/Contemporary_Arts?f_ri=15820"},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=15820"},{"id":15800,"name":"Islamic History","url":"https://www.academia.edu/Documents/in/Islamic_History?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":16266,"name":"Calligraphy in Islamic Architecture","url":"https://www.academia.edu/Documents/in/Calligraphy_in_Islamic_Architecture?f_ri=15820"},{"id":16767,"name":"Modernism","url":"https://www.academia.edu/Documents/in/Modernism?f_ri=15820"},{"id":22386,"name":"Medieval Art","url":"https://www.academia.edu/Documents/in/Medieval_Art?f_ri=15820"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=15820"},{"id":31153,"name":"Chinese Calligraphy","url":"https://www.academia.edu/Documents/in/Chinese_Calligraphy?f_ri=15820"},{"id":31154,"name":"Calligraphy","url":"https://www.academia.edu/Documents/in/Calligraphy?f_ri=15820"},{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=15820"},{"id":43349,"name":"Fine Arts","url":"https://www.academia.edu/Documents/in/Fine_Arts?f_ri=15820"},{"id":66609,"name":"Arte Contemporanea","url":"https://www.academia.edu/Documents/in/Arte_Contemporanea?f_ri=15820"},{"id":74013,"name":"Artes","url":"https://www.academia.edu/Documents/in/Artes?f_ri=15820"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=15820"},{"id":107488,"name":"Chinese Art - Calligraphy \u0026 Ink Painting","url":"https://www.academia.edu/Documents/in/Chinese_Art_-_Calligraphy_and_Ink_Painting?f_ri=15820"},{"id":108450,"name":"Arte contemporáneo","url":"https://www.academia.edu/Documents/in/Arte_contempor%C3%A1neo?f_ri=15820"},{"id":142673,"name":"Islamic Calligraphy","url":"https://www.academia.edu/Documents/in/Islamic_Calligraphy?f_ri=15820"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=15820"},{"id":1223711,"name":"Contemporary Muslim society","url":"https://www.academia.edu/Documents/in/Contemporary_Muslim_society?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37705093" data-work_id="37705093" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37705093/No_Secret_Beyond_the_Door_the_Rampa_store_and_its_doorframe_a_collaboration_between_Querubim_Lapa_and_Concei%C3%A7%C3%A3o_Silva_1956">No Secret Beyond the Door: the Rampa store and its doorframe, a collaboration between Querubim Lapa and Conceição Silva, 1956</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">SUMMARY: In his film " Secret Beyond the Door " (1947), German director Fritz Lang introduced the symbolic concept of " felicitous room " developed by a character who is an architect exploring a thesis according to which the way a place... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37705093" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">SUMMARY: In his film " Secret Beyond the Door " (1947), German director Fritz Lang introduced the symbolic concept of " felicitous room " developed by a character who is an architect exploring a thesis according to which the way a place is designed determines what happens in it. Appropriating the concept of " felicitous room " , this paper intends to problematize the earlier collective work of artist Querubim Lapa and architect Francisco da Conceição Silva, especially addressing the case of Rampa, a store in the centre of Lisbon, and the " felicitous " story of its doorframe, designed in 1956.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37705093" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="05158ae7981800f24ff2dcddbded17e5" rel="nofollow" data-download="{"attachment_id":57696488,"asset_id":37705093,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57696488/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2179079" href="https://fcsh-unl.academia.edu/RitaFerr%C3%A3o">Rita Gomes Ferrão</a><script data-card-contents-for-user="2179079" type="text/json">{"id":2179079,"first_name":"Rita","last_name":"Gomes Ferrão","domain_name":"fcsh-unl","page_name":"RitaFerrão","display_name":"Rita Gomes Ferrão","profile_url":"https://fcsh-unl.academia.edu/RitaFerr%C3%A3o?f_ri=15820","photo":"https://0.academia-photos.com/2179079/700800/16262721/s65_rita.gomes_ferr_o.jpg"}</script></span></span></li><li class="js-paper-rank-work_37705093 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37705093"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37705093, container: ".js-paper-rank-work_37705093", }); });</script></li><li class="js-percentile-work_37705093 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37705093; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37705093"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37705093 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37705093"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37705093; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37705093]").text(description); $(".js-view-count-work_37705093").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37705093").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37705093"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a>, <script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8574" href="https://www.academia.edu/Documents/in/Modernist_Furniture_Design">Modernist Furniture Design</a>, <script data-card-contents-for-ri="8574" type="text/json">{"id":8574,"name":"Modernist Furniture Design","url":"https://www.academia.edu/Documents/in/Modernist_Furniture_Design?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="10758" href="https://www.academia.edu/Documents/in/Modernity">Modernity</a>, <script data-card-contents-for-ri="10758" type="text/json">{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14546" href="https://www.academia.edu/Documents/in/Modernism_Art_History_">Modernism (Art History)</a><script data-card-contents-for-ri="14546" type="text/json">{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37705093]'), work: {"id":37705093,"title":"No Secret Beyond the Door: the Rampa store and its doorframe, a collaboration between Querubim Lapa and Conceição Silva, 1956","created_at":"2018-11-05T05:50:08.221-08:00","url":"https://www.academia.edu/37705093/No_Secret_Beyond_the_Door_the_Rampa_store_and_its_doorframe_a_collaboration_between_Querubim_Lapa_and_Concei%C3%A7%C3%A3o_Silva_1956?f_ri=15820","dom_id":"work_37705093","summary":"SUMMARY: In his film \" Secret Beyond the Door \" (1947), German director Fritz Lang introduced the symbolic concept of \" felicitous room \" developed by a character who is an architect exploring a thesis according to which the way a place is designed determines what happens in it. Appropriating the concept of \" felicitous room \" , this paper intends to problematize the earlier collective work of artist Querubim Lapa and architect Francisco da Conceição Silva, especially addressing the case of Rampa, a store in the centre of Lisbon, and the \" felicitous \" story of its doorframe, designed in 1956.","downloadable_attachments":[{"id":57696488,"asset_id":37705093,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2179079,"first_name":"Rita","last_name":"Gomes Ferrão","domain_name":"fcsh-unl","page_name":"RitaFerrão","display_name":"Rita Gomes Ferrão","profile_url":"https://fcsh-unl.academia.edu/RitaFerr%C3%A3o?f_ri=15820","photo":"https://0.academia-photos.com/2179079/700800/16262721/s65_rita.gomes_ferr_o.jpg"}],"research_interests":[{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false},{"id":8574,"name":"Modernist Furniture Design","url":"https://www.academia.edu/Documents/in/Modernist_Furniture_Design?f_ri=15820","nofollow":false},{"id":10758,"name":"Modernity","url":"https://www.academia.edu/Documents/in/Modernity?f_ri=15820","nofollow":false},{"id":14546,"name":"Modernism (Art History)","url":"https://www.academia.edu/Documents/in/Modernism_Art_History_?f_ri=15820","nofollow":false},{"id":14647,"name":"Modern Architecture","url":"https://www.academia.edu/Documents/in/Modern_Architecture?f_ri=15820"},{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":48193,"name":"History and Theory of Modern Architecture","url":"https://www.academia.edu/Documents/in/History_and_Theory_of_Modern_Architecture?f_ri=15820"},{"id":50981,"name":"Interior Design History","url":"https://www.academia.edu/Documents/in/Interior_Design_History?f_ri=15820"},{"id":58128,"name":"Ceramics","url":"https://www.academia.edu/Documents/in/Ceramics?f_ri=15820"},{"id":245710,"name":"Retail Store Interior Design","url":"https://www.academia.edu/Documents/in/Retail_Store_Interior_Design?f_ri=15820"},{"id":257197,"name":"Architectural Ceramics And Tiles Of 19th \u0026 20th C","url":"https://www.academia.edu/Documents/in/Architectural_Ceramics_And_Tiles_Of_19th_and_20th_C?f_ri=15820"},{"id":665684,"name":"Arquitectura Moderna","url":"https://www.academia.edu/Documents/in/Arquitectura_Moderna?f_ri=15820"},{"id":790932,"name":"Studio Pottery","url":"https://www.academia.edu/Documents/in/Studio_Pottery?f_ri=15820"},{"id":1251576,"name":"Modern Design","url":"https://www.academia.edu/Documents/in/Modern_Design?f_ri=15820"},{"id":1333254,"name":"Azulejos Portugueses","url":"https://www.academia.edu/Documents/in/Azulejos_Portugueses?f_ri=15820"},{"id":1845468,"name":"Ceramica moderna","url":"https://www.academia.edu/Documents/in/Ceramica_moderna?f_ri=15820"},{"id":2641764,"name":"Portuguese modern ceramics","url":"https://www.academia.edu/Documents/in/Portuguese_modern_ceramics?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_45060406" data-work_id="45060406" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/45060406/Visual_Music_and_Kinetic_Ornaments_Lotte_Reiniger_and_the_Animation_Avant_Garde_in_Weimar_Berlin">Visual Music and Kinetic Ornaments Lotte Reiniger and the Animation Avant-Garde in Weimar Berlin</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_45060406" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/45060406" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="02e061c8de5400ac0ec47183f3ecd74b" rel="nofollow" data-download="{"attachment_id":65615359,"asset_id":45060406,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/65615359/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12580789" href="https://brynmawr.academia.edu/KatherineRochester">Katherine Rochester</a><script data-card-contents-for-user="12580789" type="text/json">{"id":12580789,"first_name":"Katherine","last_name":"Rochester","domain_name":"brynmawr","page_name":"KatherineRochester","display_name":"Katherine Rochester","profile_url":"https://brynmawr.academia.edu/KatherineRochester?f_ri=15820","photo":"https://0.academia-photos.com/12580789/3588636/39249172/s65_katherine.rochester.jpg"}</script></span></span></li><li class="js-paper-rank-work_45060406 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="45060406"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 45060406, container: ".js-paper-rank-work_45060406", }); });</script></li><li class="js-percentile-work_45060406 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 45060406; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_45060406"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_45060406 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="45060406"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 45060406; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=45060406]").text(description); $(".js-view-count-work_45060406").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_45060406").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="45060406"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1192" href="https://www.academia.edu/Documents/in/Feminist_Theory">Feminist Theory</a>, <script data-card-contents-for-ri="1192" type="text/json">{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2610" href="https://www.academia.edu/Documents/in/Animation_Theory">Animation Theory</a>, <script data-card-contents-for-ri="2610" type="text/json">{"id":2610,"name":"Animation Theory","url":"https://www.academia.edu/Documents/in/Animation_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3071" href="https://www.academia.edu/Documents/in/Visual_Music">Visual Music</a><script data-card-contents-for-ri="3071" type="text/json">{"id":3071,"name":"Visual Music","url":"https://www.academia.edu/Documents/in/Visual_Music?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=45060406]'), work: {"id":45060406,"title":"Visual Music and Kinetic Ornaments Lotte Reiniger and the Animation Avant-Garde in Weimar Berlin","created_at":"2021-02-05T08:35:58.663-08:00","url":"https://www.academia.edu/45060406/Visual_Music_and_Kinetic_Ornaments_Lotte_Reiniger_and_the_Animation_Avant_Garde_in_Weimar_Berlin?f_ri=15820","dom_id":"work_45060406","summary":"This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.","downloadable_attachments":[{"id":65615359,"asset_id":45060406,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12580789,"first_name":"Katherine","last_name":"Rochester","domain_name":"brynmawr","page_name":"KatherineRochester","display_name":"Katherine Rochester","profile_url":"https://brynmawr.academia.edu/KatherineRochester?f_ri=15820","photo":"https://0.academia-photos.com/12580789/3588636/39249172/s65_katherine.rochester.jpg"}],"research_interests":[{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15820","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=15820","nofollow":false},{"id":2610,"name":"Animation Theory","url":"https://www.academia.edu/Documents/in/Animation_Theory?f_ri=15820","nofollow":false},{"id":3071,"name":"Visual Music","url":"https://www.academia.edu/Documents/in/Visual_Music?f_ri=15820","nofollow":false},{"id":15564,"name":"Experimental Animation","url":"https://www.academia.edu/Documents/in/Experimental_Animation?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":19385,"name":"Feminist Media Studies","url":"https://www.academia.edu/Documents/in/Feminist_Media_Studies?f_ri=15820"},{"id":21245,"name":"Haptic Perception","url":"https://www.academia.edu/Documents/in/Haptic_Perception?f_ri=15820"},{"id":22472,"name":"Weimar Republic","url":"https://www.academia.edu/Documents/in/Weimar_Republic?f_ri=15820"},{"id":22745,"name":"Feminist film theory","url":"https://www.academia.edu/Documents/in/Feminist_film_theory?f_ri=15820"},{"id":38357,"name":"Theory of ornament","url":"https://www.academia.edu/Documents/in/Theory_of_ornament?f_ri=15820"},{"id":40433,"name":"Weimar Cinema","url":"https://www.academia.edu/Documents/in/Weimar_Cinema?f_ri=15820"},{"id":42391,"name":"History of Ornament","url":"https://www.academia.edu/Documents/in/History_of_Ornament?f_ri=15820"},{"id":48315,"name":"Wassily Kandinsky","url":"https://www.academia.edu/Documents/in/Wassily_Kandinsky?f_ri=15820"},{"id":58109,"name":"Bauhaus","url":"https://www.academia.edu/Documents/in/Bauhaus?f_ri=15820"},{"id":107411,"name":"Absolute Film","url":"https://www.academia.edu/Documents/in/Absolute_Film?f_ri=15820"},{"id":182954,"name":"Lotte reiniger","url":"https://www.academia.edu/Documents/in/Lotte_reiniger?f_ri=15820"},{"id":437519,"name":"Viking Eggeling","url":"https://www.academia.edu/Documents/in/Viking_Eggeling?f_ri=15820"},{"id":478541,"name":"Bauhaus women","url":"https://www.academia.edu/Documents/in/Bauhaus_women?f_ri=15820"},{"id":1011148,"name":"Walter Ruttmann","url":"https://www.academia.edu/Documents/in/Walter_Ruttmann?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_25661381" data-work_id="25661381" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/25661381/Patched_Up_Bricolage_and_DIY_in_Punk_Culture">Patched Up: Bricolage and DIY in Punk Culture</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">When you visualize the term “punk,” what do you see? Many contemporary viewers have an inclination to associate “punk” with a specific visual image, composed of a selection of iconic dress artifacts, such as the Mohawk hairstyle, leather... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25661381" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">When you visualize the term “punk,” what do you see? Many contemporary viewers have an inclination to associate “punk” with a specific visual image, composed of a selection of iconic dress artifacts, such as the Mohawk hairstyle, leather jacket or metal-studded belt. And yet, many punks actively eschew such narrow definitions, arguing that there is really no “right” way of dressing in the punk style. Ironically, despite the popular media’s constant efforts to caricaturize the subculture and thereby reduce it to mere costumery, punk style is really about embracing individualism and freedom of self-expression.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25661381" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="82480979d429e3903758110e23ec8aef" rel="nofollow" data-download="{"attachment_id":45998058,"asset_id":25661381,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45998058/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="49296977" href="https://independent.academia.edu/TanYiShan">Yi Shan Tan</a><script data-card-contents-for-user="49296977" type="text/json">{"id":49296977,"first_name":"Yi Shan","last_name":"Tan","domain_name":"independent","page_name":"TanYiShan","display_name":"Yi Shan Tan","profile_url":"https://independent.academia.edu/TanYiShan?f_ri=15820","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_25661381 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25661381"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25661381, container: ".js-paper-rank-work_25661381", }); 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$(".js-view-count[data-work-id=25661381]").text(description); $(".js-view-count-work_25661381").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_25661381").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="25661381"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">22</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2089" href="https://www.academia.edu/Documents/in/Social_Identity">Social Identity</a>, <script data-card-contents-for-ri="2089" type="text/json">{"id":2089,"name":"Social Identity","url":"https://www.academia.edu/Documents/in/Social_Identity?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4162" href="https://www.academia.edu/Documents/in/Bricolage">Bricolage</a>, <script data-card-contents-for-ri="4162" type="text/json">{"id":4162,"name":"Bricolage","url":"https://www.academia.edu/Documents/in/Bricolage?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5272" href="https://www.academia.edu/Documents/in/Identity_Culture_">Identity (Culture)</a><script data-card-contents-for-ri="5272" type="text/json">{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=25661381]'), work: {"id":25661381,"title":"Patched Up: Bricolage and DIY in Punk Culture","created_at":"2016-05-27T09:42:39.621-07:00","url":"https://www.academia.edu/25661381/Patched_Up_Bricolage_and_DIY_in_Punk_Culture?f_ri=15820","dom_id":"work_25661381","summary":"When you visualize the term “punk,” what do you see? Many contemporary viewers have an inclination to associate “punk” with a specific visual image, composed of a selection of iconic dress artifacts, such as the Mohawk hairstyle, leather jacket or metal-studded belt. And yet, many punks actively eschew such narrow definitions, arguing that there is really no “right” way of dressing in the punk style. Ironically, despite the popular media’s constant efforts to caricaturize the subculture and thereby reduce it to mere costumery, punk style is really about embracing individualism and freedom of self-expression.","downloadable_attachments":[{"id":45998058,"asset_id":25661381,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":49296977,"first_name":"Yi Shan","last_name":"Tan","domain_name":"independent","page_name":"TanYiShan","display_name":"Yi Shan Tan","profile_url":"https://independent.academia.edu/TanYiShan?f_ri=15820","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=15820","nofollow":false},{"id":2089,"name":"Social Identity","url":"https://www.academia.edu/Documents/in/Social_Identity?f_ri=15820","nofollow":false},{"id":4162,"name":"Bricolage","url":"https://www.academia.edu/Documents/in/Bricolage?f_ri=15820","nofollow":false},{"id":5272,"name":"Identity (Culture)","url":"https://www.academia.edu/Documents/in/Identity_Culture_?f_ri=15820","nofollow":false},{"id":5815,"name":"Identity politics","url":"https://www.academia.edu/Documents/in/Identity_politics?f_ri=15820"},{"id":10444,"name":"Postmodernism","url":"https://www.academia.edu/Documents/in/Postmodernism?f_ri=15820"},{"id":10453,"name":"Feminism","url":"https://www.academia.edu/Documents/in/Feminism?f_ri=15820"},{"id":13376,"name":"Punk Culture","url":"https://www.academia.edu/Documents/in/Punk_Culture?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":29906,"name":"Craft Theory","url":"https://www.academia.edu/Documents/in/Craft_Theory?f_ri=15820"},{"id":36323,"name":"Punk Studies","url":"https://www.academia.edu/Documents/in/Punk_Studies?f_ri=15820"},{"id":39608,"name":"Post-punk","url":"https://www.academia.edu/Documents/in/Post-punk?f_ri=15820"},{"id":39673,"name":"Feminism and Social Justice","url":"https://www.academia.edu/Documents/in/Feminism_and_Social_Justice?f_ri=15820"},{"id":61347,"name":"DIY culture","url":"https://www.academia.edu/Documents/in/DIY_culture?f_ri=15820"},{"id":76319,"name":"Postmodernism and Consumption","url":"https://www.academia.edu/Documents/in/Postmodernism_and_Consumption?f_ri=15820"},{"id":120294,"name":"Do It Yourself (DIY)","url":"https://www.academia.edu/Documents/in/Do_It_Yourself_DIY_?f_ri=15820"},{"id":193723,"name":"Craftivism","url":"https://www.academia.edu/Documents/in/Craftivism?f_ri=15820"},{"id":313989,"name":"Visual Cues","url":"https://www.academia.edu/Documents/in/Visual_Cues?f_ri=15820"},{"id":470341,"name":"Anticapitalism","url":"https://www.academia.edu/Documents/in/Anticapitalism?f_ri=15820"},{"id":1032200,"name":"Punk Based Subcultural Studies","url":"https://www.academia.edu/Documents/in/Punk_Based_Subcultural_Studies?f_ri=15820"},{"id":1759960,"name":"Punk fashion","url":"https://www.academia.edu/Documents/in/Punk_fashion?f_ri=15820"},{"id":1937869,"name":"Contemporary Cultural Bricolage","url":"https://www.academia.edu/Documents/in/Contemporary_Cultural_Bricolage?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_37533873" data-work_id="37533873" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37533873/Reconsidering_Pyes_theory_of_making_through_digital_craft_practice_A_theoretical_framework_towards_continuous_designing">Reconsidering Pye's theory of making through digital craft practice: A theoretical framework towards continuous designing</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The term 'Digital Craft' is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37533873" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The term 'Digital Craft' is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in Computer Numeric Control (CNC) making? This article takes the position that craft practice is rooted in the relationship between materials, tools and techniques as an intricate workflow. We suggest that the workflow can be considered as autopoietic in nature, in that it is both self-referential and self-making, at the same time as continuously designing. Through this, digital fabrication can be seen as a practice that</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37533873" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8239104fa2f1971cc585247c54c79252" rel="nofollow" data-download="{"attachment_id":57507602,"asset_id":37533873,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57507602/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5089916" href="https://cryptextechnologies.academia.edu/PaulLoh">Paul Loh</a><script data-card-contents-for-user="5089916" type="text/json">{"id":5089916,"first_name":"Paul","last_name":"Loh","domain_name":"cryptextechnologies","page_name":"PaulLoh","display_name":"Paul Loh","profile_url":"https://cryptextechnologies.academia.edu/PaulLoh?f_ri=15820","photo":"https://0.academia-photos.com/5089916/10333419/11531250/s65_paul.loh.jpg"}</script></span></span></li><li class="js-paper-rank-work_37533873 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37533873"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37533873, container: ".js-paper-rank-work_37533873", }); });</script></li><li class="js-percentile-work_37533873 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 37533873; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_37533873"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_37533873 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="37533873"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 37533873; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=37533873]").text(description); $(".js-view-count-work_37533873").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_37533873").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="37533873"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3237" href="https://www.academia.edu/Documents/in/Digital_Fabrication">Digital Fabrication</a>, <script data-card-contents-for-ri="3237" type="text/json">{"id":3237,"name":"Digital Fabrication","url":"https://www.academia.edu/Documents/in/Digital_Fabrication?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3952" href="https://www.academia.edu/Documents/in/Industrial_Design">Industrial Design</a>, <script data-card-contents-for-ri="3952" type="text/json">{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="38651" href="https://www.academia.edu/Documents/in/Digital_Fabrication_Architecture_">Digital Fabrication (Architecture)</a><script data-card-contents-for-ri="38651" type="text/json">{"id":38651,"name":"Digital Fabrication (Architecture)","url":"https://www.academia.edu/Documents/in/Digital_Fabrication_Architecture_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=37533873]'), work: {"id":37533873,"title":"Reconsidering Pye's theory of making through digital craft practice: A theoretical framework towards continuous designing","created_at":"2018-10-05T00:16:53.495-07:00","url":"https://www.academia.edu/37533873/Reconsidering_Pyes_theory_of_making_through_digital_craft_practice_A_theoretical_framework_towards_continuous_designing?f_ri=15820","dom_id":"work_37533873","summary":"The term 'Digital Craft' is commonly applied in the context of craft as exercised with the aid of digital technology. If the application of digital tools and techniques merits the term digital craft, then where does the craft lie in Computer Numeric Control (CNC) making? This article takes the position that craft practice is rooted in the relationship between materials, tools and techniques as an intricate workflow. We suggest that the workflow can be considered as autopoietic in nature, in that it is both self-referential and self-making, at the same time as continuously designing. Through this, digital fabrication can be seen as a practice that","downloadable_attachments":[{"id":57507602,"asset_id":37533873,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5089916,"first_name":"Paul","last_name":"Loh","domain_name":"cryptextechnologies","page_name":"PaulLoh","display_name":"Paul Loh","profile_url":"https://cryptextechnologies.academia.edu/PaulLoh?f_ri=15820","photo":"https://0.academia-photos.com/5089916/10333419/11531250/s65_paul.loh.jpg"}],"research_interests":[{"id":3237,"name":"Digital Fabrication","url":"https://www.academia.edu/Documents/in/Digital_Fabrication?f_ri=15820","nofollow":false},{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":38651,"name":"Digital Fabrication (Architecture)","url":"https://www.academia.edu/Documents/in/Digital_Fabrication_Architecture_?f_ri=15820","nofollow":false},{"id":43613,"name":"Craft","url":"https://www.academia.edu/Documents/in/Craft?f_ri=15820"},{"id":127965,"name":"Digital Craft","url":"https://www.academia.edu/Documents/in/Digital_Craft?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_11584258" data-work_id="11584258" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/11584258/Una_Formaci%C3%B3n_para_Formadores_Recuperaci%C3%B3n_de_Isatis_Tinctorea">Una Formación para Formadores: Recuperación de Isatis Tinctorea</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Esta propuesta rinde tributo a Marie-Noëlle Vacher de Triste, Huesca, que con su tesón y buen hacer se ha convertido en formadora de maestros y maestras, de artesanos y artesanas, de artistas y científicos interesados en nuestras raíces... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_11584258" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Esta propuesta rinde tributo a Marie-Noëlle Vacher de Triste, Huesca, que con su tesón y buen hacer se ha convertido en formadora de maestros y maestras, de artesanos y artesanas, de artistas y científicos interesados en nuestras raíces culturales y en nuestro patrimonio artístico y etnológico. Pondremos en valor la recuperación del tinte natural obtenido de la crucífera Isatis tinctorea, conocida tradicionalmente como “hierba pastel”. Gracias a la amable contribución de Vacher, tenemos la expectativa de refundar su cultivo con la finalidad de usarla en diferentes procedimientos artesanales para nuestra labor de formadores y productores de arte. Expondremos nuestra experiencia inicial en la Facultad de Bellas Artes de la Universidad de Barcelona (Prof. Dra. Eulalia Grau y Joan Miquel Porquer) y también apuntaremos el trabajo en la Escola Massana (Prof. Francesca Piñol). Más adelante, listaremos algunos actores en el territorio que también trabajan en este ámbito de conocimiento y referiremos a sus posibilidades de futuro.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/11584258" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="523ce0b795f3020730db5acdb9c1a5de" rel="nofollow" data-download="{"attachment_id":37069361,"asset_id":11584258,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37069361/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4382279" href="https://ub.academia.edu/JoanMiquelPorquer">Joan Miquel Porquer Rigo</a><script data-card-contents-for-user="4382279" type="text/json">{"id":4382279,"first_name":"Joan Miquel","last_name":"Porquer Rigo","domain_name":"ub","page_name":"JoanMiquelPorquer","display_name":"Joan Miquel Porquer Rigo","profile_url":"https://ub.academia.edu/JoanMiquelPorquer?f_ri=15820","photo":"https://0.academia-photos.com/4382279/1772967/29631562/s65_joan_miquel.porquer.jpg"}</script></span></span></li><li class="js-paper-rank-work_11584258 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="11584258"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 11584258, container: ".js-paper-rank-work_11584258", }); });</script></li><li class="js-percentile-work_11584258 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11584258; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_11584258"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_11584258 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="11584258"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11584258; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11584258]").text(description); $(".js-view-count-work_11584258").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_11584258").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="11584258"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1601" href="https://www.academia.edu/Documents/in/Teacher_Education">Teacher Education</a>, <script data-card-contents-for-ri="1601" type="text/json">{"id":1601,"name":"Teacher Education","url":"https://www.academia.edu/Documents/in/Teacher_Education?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16903" href="https://www.academia.edu/Documents/in/Traditional_Crafts">Traditional Crafts</a>, <script data-card-contents-for-ri="16903" type="text/json">{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="34226" href="https://www.academia.edu/Documents/in/Natural_Dyes_and_their_applications">Natural Dyes and their applications</a><script data-card-contents-for-ri="34226" type="text/json">{"id":34226,"name":"Natural Dyes and their applications","url":"https://www.academia.edu/Documents/in/Natural_Dyes_and_their_applications?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=11584258]'), work: {"id":11584258,"title":"Una Formación para Formadores: Recuperación de Isatis Tinctorea","created_at":"2015-03-22T06:56:20.119-07:00","url":"https://www.academia.edu/11584258/Una_Formaci%C3%B3n_para_Formadores_Recuperaci%C3%B3n_de_Isatis_Tinctorea?f_ri=15820","dom_id":"work_11584258","summary":"Esta propuesta rinde tributo a Marie-Noëlle Vacher de Triste, Huesca, que con su tesón y buen hacer se ha convertido en formadora de maestros y maestras, de artesanos y artesanas, de artistas y científicos interesados en nuestras raíces culturales y en nuestro patrimonio artístico y etnológico. Pondremos en valor la recuperación del tinte natural obtenido de la crucífera Isatis tinctorea, conocida tradicionalmente como “hierba pastel”. Gracias a la amable contribución de Vacher, tenemos la expectativa de refundar su cultivo con la finalidad de usarla en diferentes procedimientos artesanales para nuestra labor de formadores y productores de arte. Expondremos nuestra experiencia inicial en la Facultad de Bellas Artes de la Universidad de Barcelona (Prof. Dra. Eulalia Grau y Joan Miquel Porquer) y también apuntaremos el trabajo en la Escola Massana (Prof. Francesca Piñol). Más adelante, listaremos algunos actores en el territorio que también trabajan en este ámbito de conocimiento y referiremos a sus posibilidades de futuro. ","downloadable_attachments":[{"id":37069361,"asset_id":11584258,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4382279,"first_name":"Joan Miquel","last_name":"Porquer Rigo","domain_name":"ub","page_name":"JoanMiquelPorquer","display_name":"Joan Miquel Porquer Rigo","profile_url":"https://ub.academia.edu/JoanMiquelPorquer?f_ri=15820","photo":"https://0.academia-photos.com/4382279/1772967/29631562/s65_joan_miquel.porquer.jpg"}],"research_interests":[{"id":1601,"name":"Teacher Education","url":"https://www.academia.edu/Documents/in/Teacher_Education?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820","nofollow":false},{"id":34226,"name":"Natural Dyes and their applications","url":"https://www.academia.edu/Documents/in/Natural_Dyes_and_their_applications?f_ri=15820","nofollow":false},{"id":43349,"name":"Fine Arts","url":"https://www.academia.edu/Documents/in/Fine_Arts?f_ri=15820"},{"id":52361,"name":"Textile Dyeing","url":"https://www.academia.edu/Documents/in/Textile_Dyeing?f_ri=15820"},{"id":193171,"name":"FORMACION DE PROFESORES","url":"https://www.academia.edu/Documents/in/FORMACION_DE_PROFESORES?f_ri=15820"},{"id":278214,"name":"Soft materials","url":"https://www.academia.edu/Documents/in/Soft_materials?f_ri=15820"},{"id":346001,"name":"Bellas Artes","url":"https://www.academia.edu/Documents/in/Bellas_Artes?f_ri=15820"},{"id":1864893,"name":"Isatis Tinctoria","url":"https://www.academia.edu/Documents/in/Isatis_Tinctoria?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44342019" data-work_id="44342019" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44342019/Creative_Tensions_Making_it_unmaking_and_making_do_in_textiles_informed_by_feminism_in_Jennifer_Harris_ed_A_Companion_to_Textile_Culture_Wiley_2020_">Creative Tensions: Making (it), unmaking, and making do in textiles informed by feminism, in Jennifer Harris (ed.), A Companion to Textile Culture (Wiley, 2020).</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This chapter explores some tensions in both textile theories and practices informed by the feminist 1970s. While tracing the lines between radical and reformist approaches to women's textiles, it pinpoints moments of intersection and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44342019" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This chapter explores some tensions in both textile theories and practices informed by the feminist 1970s. While tracing the lines between radical and reformist approaches to women's textiles, it pinpoints moments of intersection and permeability. Oscillating between a play for canonization and a debunking of the art world's selection criteria, feminist textiles both prefigure and feed into the diversity of craft's deployments in contemporary art practice. Omnipresent, pervasive, and resistant to coherent classification, textiles are interwoven into the private and public practices of every culture, both formal and informal, quotidian and ceremonial. The chapter discusses the difficulty of containing feminism and textiles by considering some of their tensions and contradictions in foundational feminist art historical and practice‐led thought. Considering the centrality of the art/craft/anti‐art debates in feminist cultural politics, it is unsurprising that a critical attention to textiles features prominently in foundational moments of feminist art history.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44342019" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a60d504f85624854620cff7aa095a76b" rel="nofollow" data-download="{"attachment_id":64733482,"asset_id":44342019,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64733482/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="309843" href="https://mdx.academia.edu/AlexandraKokoli">Alexandra Kokoli</a><script data-card-contents-for-user="309843" type="text/json">{"id":309843,"first_name":"Alexandra","last_name":"Kokoli","domain_name":"mdx","page_name":"AlexandraKokoli","display_name":"Alexandra Kokoli","profile_url":"https://mdx.academia.edu/AlexandraKokoli?f_ri=15820","photo":"https://0.academia-photos.com/309843/786586/977622/s65_alexandra.kokoli.jpeg"}</script></span></span></li><li class="js-paper-rank-work_44342019 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44342019"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44342019, container: ".js-paper-rank-work_44342019", }); });</script></li><li class="js-percentile-work_44342019 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44342019; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44342019"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44342019 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44342019"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44342019; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44342019]").text(description); $(".js-view-count-work_44342019").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44342019").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44342019"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1192" href="https://www.academia.edu/Documents/in/Feminist_Theory">Feminist Theory</a>, <script data-card-contents-for-ri="1192" type="text/json">{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2320" href="https://www.academia.edu/Documents/in/Textiles">Textiles</a>, <script data-card-contents-for-ri="2320" type="text/json">{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="20961" href="https://www.academia.edu/Documents/in/Feminist_Art">Feminist Art</a><script data-card-contents-for-ri="20961" type="text/json">{"id":20961,"name":"Feminist Art","url":"https://www.academia.edu/Documents/in/Feminist_Art?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44342019]'), work: {"id":44342019,"title":"Creative Tensions: Making (it), unmaking, and making do in textiles informed by feminism, in Jennifer Harris (ed.), A Companion to Textile Culture (Wiley, 2020).","created_at":"2020-10-21T06:02:16.355-07:00","url":"https://www.academia.edu/44342019/Creative_Tensions_Making_it_unmaking_and_making_do_in_textiles_informed_by_feminism_in_Jennifer_Harris_ed_A_Companion_to_Textile_Culture_Wiley_2020_?f_ri=15820","dom_id":"work_44342019","summary":"This chapter explores some tensions in both textile theories and practices informed by the feminist 1970s. While tracing the lines between radical and reformist approaches to women's textiles, it pinpoints moments of intersection and permeability. Oscillating between a play for canonization and a debunking of the art world's selection criteria, feminist textiles both prefigure and feed into the diversity of craft's deployments in contemporary art practice. Omnipresent, pervasive, and resistant to coherent classification, textiles are interwoven into the private and public practices of every culture, both formal and informal, quotidian and ceremonial. The chapter discusses the difficulty of containing feminism and textiles by considering some of their tensions and contradictions in foundational feminist art historical and practice‐led thought. Considering the centrality of the art/craft/anti‐art debates in feminist cultural politics, it is unsurprising that a critical attention to textiles features prominently in foundational moments of feminist art history.","downloadable_attachments":[{"id":64733482,"asset_id":44342019,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":309843,"first_name":"Alexandra","last_name":"Kokoli","domain_name":"mdx","page_name":"AlexandraKokoli","display_name":"Alexandra Kokoli","profile_url":"https://mdx.academia.edu/AlexandraKokoli?f_ri=15820","photo":"https://0.academia-photos.com/309843/786586/977622/s65_alexandra.kokoli.jpeg"}],"research_interests":[{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15820","nofollow":false},{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":20961,"name":"Feminist Art","url":"https://www.academia.edu/Documents/in/Feminist_Art?f_ri=15820","nofollow":false},{"id":26924,"name":"Canon Formation","url":"https://www.academia.edu/Documents/in/Canon_Formation?f_ri=15820"},{"id":27971,"name":"Feminist Art History","url":"https://www.academia.edu/Documents/in/Feminist_Art_History?f_ri=15820"},{"id":72391,"name":"Griselda Pollock","url":"https://www.academia.edu/Documents/in/Griselda_Pollock?f_ri=15820"},{"id":236002,"name":"Quilting","url":"https://www.academia.edu/Documents/in/Quilting?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_49034550" data-work_id="49034550" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/49034550/Le_secteur_de_lartisanat_au_Maroc">Le secteur de l'artisanat au Maroc</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La présente recherche analyse le secteur de l'artisanat au Maroc et plus spécifiquement l’artisanat à fort contenu culturel. Nous proposons d’analyser, dans un premier volet, l’évolution des indicateurs économiques du secteur de... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_49034550" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La présente recherche analyse le secteur de l'artisanat au Maroc et plus spécifiquement l’artisanat à fort contenu culturel. <br />Nous proposons d’analyser, dans un premier volet, l’évolution des indicateurs économiques du secteur de l’artisanat, en termes de création d’emplois, de  chiffre d’affaires et de valeur ajoutée. Ensuite, cette analyse permettra d’étudier les caractéristiques et l’évolution des PME artisanales avant d’examiner la dynamique des mono-artisans et des coopératives artisanales.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/49034550" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1b0c775cbd8c7d05488a3ae09d6ae978" rel="nofollow" data-download="{"attachment_id":67417852,"asset_id":49034550,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/67417852/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="34439014" href="https://um5a.academia.edu/MariemLiouaeddine">Mariem Liouaeddine</a><script data-card-contents-for-user="34439014" type="text/json">{"id":34439014,"first_name":"Mariem","last_name":"Liouaeddine","domain_name":"um5a","page_name":"MariemLiouaeddine","display_name":"Mariem Liouaeddine","profile_url":"https://um5a.academia.edu/MariemLiouaeddine?f_ri=15820","photo":"https://0.academia-photos.com/34439014/11368073/17009293/s65_mariem.liouaeddine.jpg"}</script></span></span></li><li class="js-paper-rank-work_49034550 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="49034550"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 49034550, container: ".js-paper-rank-work_49034550", }); 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$(".js-view-count[data-work-id=49034550]").text(description); $(".js-view-count-work_49034550").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_49034550").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="49034550"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="13684" href="https://www.academia.edu/Documents/in/Morocco">Morocco</a>, <script data-card-contents-for-ri="13684" type="text/json">{"id":13684,"name":"Morocco","url":"https://www.academia.edu/Documents/in/Morocco?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16903" href="https://www.academia.edu/Documents/in/Traditional_Crafts">Traditional Crafts</a><script data-card-contents-for-ri="16903" type="text/json">{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=49034550]'), work: {"id":49034550,"title":"Le secteur de l'artisanat au Maroc","created_at":"2021-05-24T07:21:13.856-07:00","url":"https://www.academia.edu/49034550/Le_secteur_de_lartisanat_au_Maroc?f_ri=15820","dom_id":"work_49034550","summary":"La présente recherche analyse le secteur de l'artisanat au Maroc et plus spécifiquement l’artisanat à fort contenu culturel. \nNous proposons d’analyser, dans un premier volet, l’évolution des indicateurs économiques du secteur de l’artisanat, en termes de création d’emplois, de chiffre d’affaires et de valeur ajoutée. Ensuite, cette analyse permettra d’étudier les caractéristiques et l’évolution des PME artisanales avant d’examiner la dynamique des mono-artisans et des coopératives artisanales. ","downloadable_attachments":[{"id":67417852,"asset_id":49034550,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":34439014,"first_name":"Mariem","last_name":"Liouaeddine","domain_name":"um5a","page_name":"MariemLiouaeddine","display_name":"Mariem Liouaeddine","profile_url":"https://um5a.academia.edu/MariemLiouaeddine?f_ri=15820","photo":"https://0.academia-photos.com/34439014/11368073/17009293/s65_mariem.liouaeddine.jpg"}],"research_interests":[{"id":13684,"name":"Morocco","url":"https://www.academia.edu/Documents/in/Morocco?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12931552 coauthored" data-work_id="12931552" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12931552/The_New_Politics_of_the_Handmade_Craft_Art_and_Design_eds_Anthea_Black_and_Nicole_Burisch">The New Politics of the Handmade: Craft, Art and Design, eds. Anthea Black and Nicole Burisch</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The New Politics of the Handmade: Craft, Art and Design, Editors: Anthea Black and Nicole Burisch Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12931552" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The New Politics of the Handmade: Craft, Art and Design, Editors: Anthea Black and Nicole Burisch <br /> <br />Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. <br /> <br />The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time. <br /> <br />Table of contents <br />List of illustrations <br />Acknowledgements <br />Contributors <br /> <br />Introduction, Anthea Black (California College of the Arts, USA) and Nicole Burisch (National Gallery of Canada) <br /> <br />1. From Craftivism to Craftwashing, Anthea Black (California College of the Arts, USA) and Nicole Burisch (National Gallery of Canada) <br /> <br />2. Ethical Fashion, Craft and the New Spirit of Global Capitalism, Elke Gaugele (Academy of Fine Arts Vienna, Austria) <br /> <br />3. Selven O'Keef Jarmon: Beading Across Geographies, Nicole Burisch (National Gallery of Canada) <br /> <br />4. The Making of Many Hands: Artisanal Production and Neighborhood Redevelopment in Contemporary Socially Engaged Art, Noni Brynjolson (University of Indianapolis, USA) <br /> <br />5. That Looks Like Work: The Total Aesthetics of Handcraft, Shannon R. Stratton (Ox-Bow School of Art and Artists Residency, USA) <br /> <br />6. Craft as Property as Liberalism as Problem, Leopold Kowolik (Sheridan College and York University, Canada) <br /> <br />7. Zahner Metals: Architectural Fabrication and Craft Labour, Peggy Deamer (Yale University and Deamer Studio, USA) <br /> <br />8. Capitalising on Community: The Makerspace Phenomenon, Diana Sherlock (Alberta University of the Arts, Canada) <br /> <br />9. Morehshin Allahyari: On Material Speculation, Alexis Anais Avedisian (NYC Media Lab, USA) and Anna Khachiyan (independent, USA) <br /> <br />10. From Molten Plastic to Polished Mahogany: Bricolage and Scarcity in 1990s Cuban Art, Blanca Serrano Ortiz De Solórzano (Institute for Studies on Latin American Art, USA) <br /> <br />11. Things Needed Made, Nasrin Himada (independent scholar, Canada) <br /> <br />12. Secret Stash: Textiles, Hoarding, Collecting, Accumulation and Craft, Kirsty Robertson (Western University, Canada) <br /> <br />13. Shinique Smith: Lines that Bind, Julia Bryan-Wilson (University of California, USA) <br /> <br />14. Margarita Cabrera: Landscapes of Nepantla, Laura August (independent scholar, Guatemala/USA) <br /> <br />15. The Sovereign Stitch: Re-reading Embroidery as a Critical Feminist-Decolonial Text, Ellyn Walker (Queen's University, Canada) <br /> <br />16. Ursula Johnson: Weaving Histories and Netukulimk in L'nuwelti'k (We Are Indian) and Other Works, Heather Anderson (Carleton University Art Gallery, Canada) <br /> <br />17. 'The Black Craftsman Situation': A Critical Conversation about Race and Craft <br />Sonya Clark (Amherst College, USA), Wesley Clark (artist, USA), Bibiana Obler (George Washington University, USA), Mary Savig (Renwick Gallery, Smithsonian American Art Museum, USA), Joyce J. Scott (artist, USA) and Namita Gupta Wiggers (Warren Wilson College, USA) <br /> <br />Index <br /> <br />Writings by Black and Burisch are included in The Craft Reader (Bloomsbury) and Extra/ordinary: Craft and Contemporary Art (Duke University Press), the forthcoming catalogue Making Otherwise (Carleton University Art Gallery) and together they have lectured on craft, curating, and politics in Canada, the USA, and the UK. <br /> <br />Reviews <br />“This exciting new anthology is an engaged and comprehensive overview of the political and ethical debates of contemporary craft and its pervasive social commitments.” –  Jenni Sorkin, Associate Professor, History of Art & Architecture, University of California, Santa Barbara, USA, <br /> <br />“The New Politics of the Handmade jumpstarts a sorely needed discussion about the unexamined claims that surround craft as a progressive political movement, a form of anti-capitalist consumption, and a sustainable practice. In this volume Anthea Black and Nicole Burisch have orchestrated an insightful conversation with a diverse group of scholars, artists, and curators about the role and power of craft in the contemporary art world that charts a more nuanced way forward.” –  Elissa Auther, Deputy Director of Curatorial Affairs and the William and Mildred Lasdon Chief Curator, Museum of Arts and Design, USA.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12931552" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="87748445ad16bb5691aa450e23546118" rel="nofollow" data-download="{"attachment_id":64457888,"asset_id":12931552,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64457888/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1510003" href="https://cca.academia.edu/AntheaBlack">Anthea Black</a><script data-card-contents-for-user="1510003" type="text/json">{"id":1510003,"first_name":"Anthea","last_name":"Black","domain_name":"cca","page_name":"AntheaBlack","display_name":"Anthea Black","profile_url":"https://cca.academia.edu/AntheaBlack?f_ri=15820","photo":"https://0.academia-photos.com/1510003/1093521/74695366/s65_anthea.black.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-12931552">+1</span><div class="hidden js-additional-users-12931552"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://concordia.academia.edu/NicoleBurisch">Nicole Burisch</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-12931552'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-12931552').html(); 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Anthea Black and Nicole Burisch","created_at":"2015-06-11T11:47:57.908-07:00","url":"https://www.academia.edu/12931552/The_New_Politics_of_the_Handmade_Craft_Art_and_Design_eds_Anthea_Black_and_Nicole_Burisch?f_ri=15820","dom_id":"work_12931552","summary":"The New Politics of the Handmade: Craft, Art and Design, Editors: Anthea Black and Nicole Burisch \r\n\r\nContemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy.\r\n\r\nThe authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft's connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.\r\n\r\nTable of contents\r\nList of illustrations\r\nAcknowledgements\r\nContributors\r\n\r\nIntroduction, Anthea Black (California College of the Arts, USA) and Nicole Burisch (National Gallery of Canada)\r\n\r\n1. From Craftivism to Craftwashing, Anthea Black (California College of the Arts, USA) and Nicole Burisch (National Gallery of Canada)\r\n\r\n2. Ethical Fashion, Craft and the New Spirit of Global Capitalism, Elke Gaugele (Academy of Fine Arts Vienna, Austria)\r\n\r\n3. Selven O'Keef Jarmon: Beading Across Geographies, Nicole Burisch (National Gallery of Canada)\r\n\r\n4. The Making of Many Hands: Artisanal Production and Neighborhood Redevelopment in Contemporary Socially Engaged Art, Noni Brynjolson (University of Indianapolis, USA)\r\n\r\n5. That Looks Like Work: The Total Aesthetics of Handcraft, Shannon R. Stratton (Ox-Bow School of Art and Artists Residency, USA)\r\n\r\n6. Craft as Property as Liberalism as Problem, Leopold Kowolik (Sheridan College and York University, Canada)\r\n\r\n7. Zahner Metals: Architectural Fabrication and Craft Labour, Peggy Deamer (Yale University and Deamer Studio, USA)\r\n\r\n8. Capitalising on Community: The Makerspace Phenomenon, Diana Sherlock (Alberta University of the Arts, Canada)\r\n\r\n9. Morehshin Allahyari: On Material Speculation, Alexis Anais Avedisian (NYC Media Lab, USA) and Anna Khachiyan (independent, USA)\r\n\r\n10. From Molten Plastic to Polished Mahogany: Bricolage and Scarcity in 1990s Cuban Art, Blanca Serrano Ortiz De Solórzano (Institute for Studies on Latin American Art, USA)\r\n\r\n11. Things Needed Made, Nasrin Himada (independent scholar, Canada)\r\n\r\n12. Secret Stash: Textiles, Hoarding, Collecting, Accumulation and Craft, Kirsty Robertson (Western University, Canada)\r\n\r\n13. Shinique Smith: Lines that Bind, Julia Bryan-Wilson (University of California, USA)\r\n\r\n14. Margarita Cabrera: Landscapes of Nepantla, Laura August (independent scholar, Guatemala/USA)\r\n\r\n15. The Sovereign Stitch: Re-reading Embroidery as a Critical Feminist-Decolonial Text, Ellyn Walker (Queen's University, Canada)\r\n\r\n16. Ursula Johnson: Weaving Histories and Netukulimk in L'nuwelti'k (We Are Indian) and Other Works, Heather Anderson (Carleton University Art Gallery, Canada)\r\n\r\n17. 'The Black Craftsman Situation': A Critical Conversation about Race and Craft\r\nSonya Clark (Amherst College, USA), Wesley Clark (artist, USA), Bibiana Obler (George Washington University, USA), Mary Savig (Renwick Gallery, Smithsonian American Art Museum, USA), Joyce J. Scott (artist, USA) and Namita Gupta Wiggers (Warren Wilson College, USA)\r\n\r\nIndex\r\n\r\nWritings by Black and Burisch are included in The Craft Reader (Bloomsbury) and Extra/ordinary: Craft and Contemporary Art (Duke University Press), the forthcoming catalogue Making Otherwise (Carleton University Art Gallery) and together they have lectured on craft, curating, and politics in Canada, the USA, and the UK.\r\n\r\nReviews\r\n“This exciting new anthology is an engaged and comprehensive overview of the political and ethical debates of contemporary craft and its pervasive social commitments.” – Jenni Sorkin, Associate Professor, History of Art \u0026 Architecture, University of California, Santa Barbara, USA,\r\n\r\n“The New Politics of the Handmade jumpstarts a sorely needed discussion about the unexamined claims that surround craft as a progressive political movement, a form of anti-capitalist consumption, and a sustainable practice. In this volume Anthea Black and Nicole Burisch have orchestrated an insightful conversation with a diverse group of scholars, artists, and curators about the role and power of craft in the contemporary art world that charts a more nuanced way forward.” – Elissa Auther, Deputy Director of Curatorial Affairs and the William and Mildred Lasdon Chief Curator, Museum of Arts and Design, USA.","downloadable_attachments":[{"id":64457888,"asset_id":12931552,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1510003,"first_name":"Anthea","last_name":"Black","domain_name":"cca","page_name":"AntheaBlack","display_name":"Anthea Black","profile_url":"https://cca.academia.edu/AntheaBlack?f_ri=15820","photo":"https://0.academia-photos.com/1510003/1093521/74695366/s65_anthea.black.jpeg"},{"id":19034483,"first_name":"Nicole","last_name":"Burisch","domain_name":"concordia","page_name":"NicoleBurisch","display_name":"Nicole 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href="https://www.academia.edu/12296268/Alberto_Viani_limpercettibile_variazione">Alberto Viani: l'impercettibile variazione </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12296268" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="45bc25742b73bec5598c051d461c1a0b" rel="nofollow" data-download="{"attachment_id":37581590,"asset_id":12296268,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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(Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="124791" href="https://www.academia.edu/Documents/in/Adriano_Olivetti">Adriano Olivetti</a>, <script data-card-contents-for-ri="124791" type="text/json">{"id":124791,"name":"Adriano Olivetti","url":"https://www.academia.edu/Documents/in/Adriano_Olivetti?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1368596" href="https://www.academia.edu/Documents/in/Fondo_Ambiente_Italiano">Fondo Ambiente Italiano</a><script data-card-contents-for-ri="1368596" type="text/json">{"id":1368596,"name":"Fondo Ambiente Italiano","url":"https://www.academia.edu/Documents/in/Fondo_Ambiente_Italiano?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12296268]'), work: {"id":12296268,"title":"Alberto Viani: l'impercettibile variazione ","created_at":"2015-05-08T09:01:41.324-07:00","url":"https://www.academia.edu/12296268/Alberto_Viani_limpercettibile_variazione?f_ri=15820","dom_id":"work_12296268","summary":null,"downloadable_attachments":[{"id":37581590,"asset_id":12296268,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":28679478,"first_name":"Francesco","last_name":"Moschini","domain_name":"poliba","page_name":"FMoschini","display_name":"Francesco Moschini","profile_url":"https://poliba.academia.edu/FMoschini?f_ri=15820","photo":"https://0.academia-photos.com/28679478/8134841/9104869/s65_francesco.moschini.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts 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href="https://www.academia.edu/2495573/Il_design_degli_elementi_costruttivi_in_pietra_Lavorazione_artigianale_o_produzione_industriale">Il design degli elementi costruttivi in pietra. Lavorazione artigianale o produzione industriale?</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Nel campo applicativo dei lapidei per l’architettura e il design i processi di innovazione tecnologica che si sono susseguiti dagli anni ’20 del Novecento a oggi hanno fornito spunti creativi e strumenti produttivi articolati e complessi... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_2495573" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Nel campo applicativo dei lapidei per l’architettura e il design i processi di innovazione tecnologica che si sono susseguiti dagli anni ’20 del Novecento a oggi hanno fornito spunti creativi e strumenti produttivi articolati e complessi ad una fervida cultura progettuale. Se, per il “design litico”, il passaggio dalle arti decorative all’industria all’inizio del XX secolo non significa un superamento totale di una realtà in favore dell’altra, ma un continuo processo di andata e ritorno tra dinamiche ideative ed esecutive sempre compresenti, così anche in apertura del nuovo millennio marmi e pietre assumono configurazioni formali e costruttive che si muovono costantemente tra arte, artigianato e piccola industria; tra produzione manuale, assistita, parzialmente o totalmente automatizzata; tra “artigianato anonimo”, totale controllo autoriale del progetto o creatività di equipe. L’articolo propone un’analisi critica di tale scenario condotta attraverso alcuni casi studio significativi di elementi costruttivi in pietra naturale e ricomposta.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/2495573" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="cef74100de10aa7b8343836e94e6d14a" rel="nofollow" data-download="{"attachment_id":30513524,"asset_id":2495573,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/30513524/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3048579" href="https://unifi.academia.edu/DavideTurrini">Davide Turrini</a><script data-card-contents-for-user="3048579" type="text/json">{"id":3048579,"first_name":"Davide","last_name":"Turrini","domain_name":"unifi","page_name":"DavideTurrini","display_name":"Davide Turrini","profile_url":"https://unifi.academia.edu/DavideTurrini?f_ri=15820","photo":"https://0.academia-photos.com/3048579/18234565/18210368/s65_davide.turrini.jpg"}</script></span></span></li><li class="js-paper-rank-work_2495573 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="2495573"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 2495573, container: ".js-paper-rank-work_2495573", }); 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Lavorazione artigianale o produzione industriale?","created_at":"2013-01-31T19:09:07.777-08:00","url":"https://www.academia.edu/2495573/Il_design_degli_elementi_costruttivi_in_pietra_Lavorazione_artigianale_o_produzione_industriale?f_ri=15820","dom_id":"work_2495573","summary":"Nel campo applicativo dei lapidei per l’architettura e il design i processi di innovazione tecnologica che si sono susseguiti dagli anni ’20 del Novecento a oggi hanno fornito spunti creativi e strumenti produttivi articolati e complessi ad una fervida cultura progettuale. Se, per il “design litico”, il passaggio dalle arti decorative all’industria all’inizio del XX secolo non significa un superamento totale di una realtà in favore dell’altra, ma un continuo processo di andata e ritorno tra dinamiche ideative ed esecutive sempre compresenti, così anche in apertura del nuovo millennio marmi e pietre assumono configurazioni formali e costruttive che si muovono costantemente tra arte, artigianato e piccola industria; tra produzione manuale, assistita, parzialmente o totalmente automatizzata; tra “artigianato anonimo”, totale controllo autoriale del progetto o creatività di equipe. L’articolo propone un’analisi critica di tale scenario condotta attraverso alcuni casi studio significativi di elementi costruttivi in pietra naturale e ricomposta.","downloadable_attachments":[{"id":30513524,"asset_id":2495573,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3048579,"first_name":"Davide","last_name":"Turrini","domain_name":"unifi","page_name":"DavideTurrini","display_name":"Davide Turrini","profile_url":"https://unifi.academia.edu/DavideTurrini?f_ri=15820","photo":"https://0.academia-photos.com/3048579/18234565/18210368/s65_davide.turrini.jpg"}],"research_interests":[{"id":988,"name":"Design","url":"https://www.academia.edu/Documents/in/Design?f_ri=15820","nofollow":false},{"id":3952,"name":"Industrial Design","url":"https://www.academia.edu/Documents/in/Industrial_Design?f_ri=15820","nofollow":false},{"id":5282,"name":"Design Research","url":"https://www.academia.edu/Documents/in/Design_Research?f_ri=15820","nofollow":false},{"id":6514,"name":"Product Design","url":"https://www.academia.edu/Documents/in/Product_Design?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":184692,"name":"Stone Industry","url":"https://www.academia.edu/Documents/in/Stone_Industry?f_ri=15820"},{"id":350570,"name":"Chipped Stone Artefacts","url":"https://www.academia.edu/Documents/in/Chipped_Stone_Artefacts?f_ri=15820"},{"id":421501,"name":"Artificial Stone","url":"https://www.academia.edu/Documents/in/Artificial_Stone?f_ri=15820"},{"id":673172,"name":"Stone architecture and design","url":"https://www.academia.edu/Documents/in/Stone_architecture_and_design?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28606971" data-work_id="28606971" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28606971/Auther_Dump_and_Death_Peter_Voulkos_and_Contemporary_Ceramic_Sculpture">Auther, Dump and Death: Peter Voulkos and Contemporary Ceramic Sculpture</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28606971" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="1a5f9b322178c3e760d2eac6449a0abc" rel="nofollow" data-download="{"attachment_id":48968864,"asset_id":28606971,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48968864/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="27063692" href="https://independent.academia.edu/ElissaAuther">Elissa Auther</a><script data-card-contents-for-user="27063692" type="text/json">{"id":27063692,"first_name":"Elissa","last_name":"Auther","domain_name":"independent","page_name":"ElissaAuther","display_name":"Elissa Auther","profile_url":"https://independent.academia.edu/ElissaAuther?f_ri=15820","photo":"https://0.academia-photos.com/27063692/7627100/8559178/s65_elissa.auther.jpg_oh_4090176a5e38f5e89daeac5779c98b78_oe_55792262___gda___1434977016_b3041a9466a73d60d8ca2559cf73ec6d"}</script></span></span></li><li class="js-paper-rank-work_28606971 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28606971"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28606971, container: ".js-paper-rank-work_28606971", }); 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$(".js-view-count[data-work-id=28606971]").text(description); $(".js-view-count-work_28606971").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28606971").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28606971"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37490" href="https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1">Modern and Contemporary Art</a>, <script data-card-contents-for-ri="37490" type="text/json">{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="64630" href="https://www.academia.edu/Documents/in/Contemporary_Sculpture">Contemporary Sculpture</a>, <script data-card-contents-for-ri="64630" type="text/json">{"id":64630,"name":"Contemporary Sculpture","url":"https://www.academia.edu/Documents/in/Contemporary_Sculpture?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="187148" href="https://www.academia.edu/Documents/in/STUDIO_CRAFTS">STUDIO CRAFTS</a><script data-card-contents-for-ri="187148" type="text/json">{"id":187148,"name":"STUDIO CRAFTS","url":"https://www.academia.edu/Documents/in/STUDIO_CRAFTS?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28606971]'), work: {"id":28606971,"title":"Auther, Dump and Death: Peter Voulkos and Contemporary Ceramic Sculpture","created_at":"2016-09-19T13:38:25.967-07:00","url":"https://www.academia.edu/28606971/Auther_Dump_and_Death_Peter_Voulkos_and_Contemporary_Ceramic_Sculpture?f_ri=15820","dom_id":"work_28606971","summary":null,"downloadable_attachments":[{"id":48968864,"asset_id":28606971,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":27063692,"first_name":"Elissa","last_name":"Auther","domain_name":"independent","page_name":"ElissaAuther","display_name":"Elissa Auther","profile_url":"https://independent.academia.edu/ElissaAuther?f_ri=15820","photo":"https://0.academia-photos.com/27063692/7627100/8559178/s65_elissa.auther.jpg_oh_4090176a5e38f5e89daeac5779c98b78_oe_55792262___gda___1434977016_b3041a9466a73d60d8ca2559cf73ec6d"}],"research_interests":[{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=15820","nofollow":false},{"id":64630,"name":"Contemporary Sculpture","url":"https://www.academia.edu/Documents/in/Contemporary_Sculpture?f_ri=15820","nofollow":false},{"id":187148,"name":"STUDIO CRAFTS","url":"https://www.academia.edu/Documents/in/STUDIO_CRAFTS?f_ri=15820","nofollow":false},{"id":200427,"name":"Ceramic Sculpture","url":"https://www.academia.edu/Documents/in/Ceramic_Sculpture?f_ri=15820"},{"id":2531951,"name":"Lynda Benglis","url":"https://www.academia.edu/Documents/in/Lynda_Benglis?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_63548720" data-work_id="63548720" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/63548720/Robot_Spectacle_Affective_calibrations_of_the_social_life_of_humanoids">Robot Spectacle: Affective calibrations of the social life of humanoids</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This dissertation investigates human-robot encounters and how robot existence here is calibrated to the social lives of humans. Based on a year of fieldwork in two laboratories dedicated to the development of human-robot interaction in... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_63548720" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This dissertation investigates human-robot encounters and how robot existence here is calibrated to the social lives of humans. Based on a year of fieldwork in two laboratories dedicated to the development of human-robot interaction in the Kansai region of Japan, this dissertation follows professor Hiroshi Ishiguro, his associates, and the humanoid beings that populate the two laboratories, Intelligent Robotics Laboratories and Hiroshi Ishiguro Laboratories. From within the walls of these laboratories, I investigate how the roboticists strive to make robots with systemic and affective capacity for relating to humans. <br /> I approach the laboratories as a specific community that calibrates the social through technical means and through staged and choreographed encounters between humanoids and humans. In these calibrations, the roboticists standardize and attune the humans and robots to each other through patterns of communication, linear algorithms, material affordances and limitations, dynamics and speed of movement. Equally, the roboticists apply models of human behaviour, and repertories of cultural expressions. The calibration of the robots’ social existence involves a search for social and communicative standards that both robots and humans can partake in. But such calibrations are not harmonious, and this work goes beyond the machinic and ordered regimes of calculation. Through their work, the roboticists themselves are affected by the on-going intimate tinkering and calibration of their robots. The robots are unruly, ambiguous, spectacular beings that provoke strong reactions of intimacy, care, recognition and affective uncertainty. Such tensions create affective relations that rouse sensations of excitement, alienation or confusion and render the robots open for conflicting interpretation and meanings.  <br /> In the staging of the encounters between humans and robots, the roboticists try to frame these tensions in productive ways through performative expression that juxtaposes conventional understanding of human sociality, with technical capabilities, and the promise of the innovatively new.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/63548720" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d02b8de9ebb71ea579e9925b3b622f76" rel="nofollow" data-download="{"attachment_id":75943052,"asset_id":63548720,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/75943052/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="55767603" href="https://manchester.academia.edu/KristianHoeck">Kristian Hoeck</a><script data-card-contents-for-user="55767603" type="text/json">{"id":55767603,"first_name":"Kristian","last_name":"Hoeck","domain_name":"manchester","page_name":"KristianHoeck","display_name":"Kristian Hoeck","profile_url":"https://manchester.academia.edu/KristianHoeck?f_ri=15820","photo":"https://0.academia-photos.com/55767603/71052726/59489005/s65_kristian.hoeck.jpg"}</script></span></span></li><li class="js-paper-rank-work_63548720 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="63548720"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 63548720, container: ".js-paper-rank-work_63548720", }); 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$(".js-view-count[data-work-id=63548720]").text(description); $(".js-view-count-work_63548720").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_63548720").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="63548720"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">15</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="60" href="https://www.academia.edu/Documents/in/Mechanical_Engineering">Mechanical Engineering</a>, <script data-card-contents-for-ri="60" type="text/json">{"id":60,"name":"Mechanical Engineering","url":"https://www.academia.edu/Documents/in/Mechanical_Engineering?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="77" href="https://www.academia.edu/Documents/in/Robotics">Robotics</a>, <script data-card-contents-for-ri="77" type="text/json">{"id":77,"name":"Robotics","url":"https://www.academia.edu/Documents/in/Robotics?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="465" href="https://www.academia.edu/Documents/in/Artificial_Intelligence">Artificial Intelligence</a>, <script data-card-contents-for-ri="465" type="text/json">{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="767" href="https://www.academia.edu/Documents/in/Anthropology">Anthropology</a><script data-card-contents-for-ri="767" type="text/json">{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=63548720]'), work: {"id":63548720,"title":"Robot Spectacle: Affective calibrations of the social life of humanoids","created_at":"2021-12-08T05:18:15.984-08:00","url":"https://www.academia.edu/63548720/Robot_Spectacle_Affective_calibrations_of_the_social_life_of_humanoids?f_ri=15820","dom_id":"work_63548720","summary":"This dissertation investigates human-robot encounters and how robot existence here is calibrated to the social lives of humans. Based on a year of fieldwork in two laboratories dedicated to the development of human-robot interaction in the Kansai region of Japan, this dissertation follows professor Hiroshi Ishiguro, his associates, and the humanoid beings that populate the two laboratories, Intelligent Robotics Laboratories and Hiroshi Ishiguro Laboratories. From within the walls of these laboratories, I investigate how the roboticists strive to make robots with systemic and affective capacity for relating to humans. \n\tI approach the laboratories as a specific community that calibrates the social through technical means and through staged and choreographed encounters between humanoids and humans. In these calibrations, the roboticists standardize and attune the humans and robots to each other through patterns of communication, linear algorithms, material affordances and limitations, dynamics and speed of movement. Equally, the roboticists apply models of human behaviour, and repertories of cultural expressions. The calibration of the robots’ social existence involves a search for social and communicative standards that both robots and humans can partake in. But such calibrations are not harmonious, and this work goes beyond the machinic and ordered regimes of calculation. Through their work, the roboticists themselves are affected by the on-going intimate tinkering and calibration of their robots. The robots are unruly, ambiguous, spectacular beings that provoke strong reactions of intimacy, care, recognition and affective uncertainty. Such tensions create affective relations that rouse sensations of excitement, alienation or confusion and render the robots open for conflicting interpretation and meanings. \n\tIn the staging of the encounters between humans and robots, the roboticists try to frame these tensions in productive ways through performative expression that juxtaposes conventional understanding of human sociality, with technical capabilities, and the promise of the innovatively new. ","downloadable_attachments":[{"id":75943052,"asset_id":63548720,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":55767603,"first_name":"Kristian","last_name":"Hoeck","domain_name":"manchester","page_name":"KristianHoeck","display_name":"Kristian Hoeck","profile_url":"https://manchester.academia.edu/KristianHoeck?f_ri=15820","photo":"https://0.academia-photos.com/55767603/71052726/59489005/s65_kristian.hoeck.jpg"}],"research_interests":[{"id":60,"name":"Mechanical Engineering","url":"https://www.academia.edu/Documents/in/Mechanical_Engineering?f_ri=15820","nofollow":false},{"id":77,"name":"Robotics","url":"https://www.academia.edu/Documents/in/Robotics?f_ri=15820","nofollow":false},{"id":465,"name":"Artificial Intelligence","url":"https://www.academia.edu/Documents/in/Artificial_Intelligence?f_ri=15820","nofollow":false},{"id":767,"name":"Anthropology","url":"https://www.academia.edu/Documents/in/Anthropology?f_ri=15820","nofollow":false},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=15820"},{"id":2170,"name":"Ethnography","url":"https://www.academia.edu/Documents/in/Ethnography?f_ri=15820"},{"id":4893,"name":"Humanoid Robotics","url":"https://www.academia.edu/Documents/in/Humanoid_Robotics?f_ri=15820"},{"id":11861,"name":"Transhumanism","url":"https://www.academia.edu/Documents/in/Transhumanism?f_ri=15820"},{"id":12059,"name":"Human-Robot Interaction","url":"https://www.academia.edu/Documents/in/Human-Robot_Interaction?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":17158,"name":"Japan","url":"https://www.academia.edu/Documents/in/Japan?f_ri=15820"},{"id":31280,"name":"Digital Anthropology","url":"https://www.academia.edu/Documents/in/Digital_Anthropology?f_ri=15820"},{"id":110866,"name":"Technics","url":"https://www.academia.edu/Documents/in/Technics?f_ri=15820"},{"id":998882,"name":"Affect Studies and Affective Labour","url":"https://www.academia.edu/Documents/in/Affect_Studies_and_Affective_Labour?f_ri=15820"},{"id":1744493,"name":"Science and Technology Studies","url":"https://www.academia.edu/Documents/in/Science_and_Technology_Studies?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38656513" data-work_id="38656513" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38656513/Feminist_Subjectivities_in_Fiber_Art_and_Craft_Shadows_of_Affect">Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This book interprets the fiber art and craft-inspired sculpture by eight US and Latin American women artists whose works incite embodied affective experience. Grounded in the work of Gilles Deleuze and Felix Guattari, John Corso Esquivel... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38656513" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This book interprets the fiber art and craft-inspired sculpture by eight US and Latin American women artists whose works incite embodied affective experience. Grounded in the work of Gilles Deleuze and Felix Guattari, John Corso Esquivel posits craft as a material act of intuition. The book provocatively asserts that fiber art―long disparaged in the wake of the high-low dichotomy of late Modernism―is, in fact, well-positioned to lead art at the vanguard of affect theory and twenty-first-century feminist subjectivities. [Cover Image: Sheila Pepe]</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38656513" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ce63d154296bec7f1be4576349c288c4" rel="nofollow" data-download="{"attachment_id":58740224,"asset_id":38656513,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58740224/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="17335370" href="https://davidson.academia.edu/JohnCorsoEsquivel">John Corso-Esquivel</a><script data-card-contents-for-user="17335370" type="text/json">{"id":17335370,"first_name":"John","last_name":"Corso-Esquivel","domain_name":"davidson","page_name":"JohnCorsoEsquivel","display_name":"John Corso-Esquivel","profile_url":"https://davidson.academia.edu/JohnCorsoEsquivel?f_ri=15820","photo":"https://0.academia-photos.com/17335370/4807095/12051350/s65_john.corso.jpg"}</script></span></span></li><li class="js-paper-rank-work_38656513 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38656513"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38656513, container: ".js-paper-rank-work_38656513", }); 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$(".js-view-count[data-work-id=38656513]").text(description); $(".js-view-count-work_38656513").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_38656513").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="38656513"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1192" href="https://www.academia.edu/Documents/in/Feminist_Theory">Feminist Theory</a>, <script data-card-contents-for-ri="1192" type="text/json">{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8302" href="https://www.academia.edu/Documents/in/Gilles_Deleuze">Gilles Deleuze</a>, <script data-card-contents-for-ri="8302" type="text/json">{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16161" href="https://www.academia.edu/Documents/in/Textile_and_Fiber_Art">Textile and Fiber Art</a><script data-card-contents-for-ri="16161" type="text/json">{"id":16161,"name":"Textile and Fiber Art","url":"https://www.academia.edu/Documents/in/Textile_and_Fiber_Art?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=38656513]'), work: {"id":38656513,"title":"Feminist Subjectivities in Fiber Art and Craft: Shadows of Affect","created_at":"2019-03-28T13:28:49.800-07:00","url":"https://www.academia.edu/38656513/Feminist_Subjectivities_in_Fiber_Art_and_Craft_Shadows_of_Affect?f_ri=15820","dom_id":"work_38656513","summary":"This book interprets the fiber art and craft-inspired sculpture by eight US and Latin American women artists whose works incite embodied affective experience. Grounded in the work of Gilles Deleuze and Felix Guattari, John Corso Esquivel posits craft as a material act of intuition. The book provocatively asserts that fiber art―long disparaged in the wake of the high-low dichotomy of late Modernism―is, in fact, well-positioned to lead art at the vanguard of affect theory and twenty-first-century feminist subjectivities. [Cover Image: Sheila Pepe]","downloadable_attachments":[{"id":58740224,"asset_id":38656513,"asset_type":"Work","always_allow_download":false},{"id":58735609,"asset_id":38656513,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":17335370,"first_name":"John","last_name":"Corso-Esquivel","domain_name":"davidson","page_name":"JohnCorsoEsquivel","display_name":"John Corso-Esquivel","profile_url":"https://davidson.academia.edu/JohnCorsoEsquivel?f_ri=15820","photo":"https://0.academia-photos.com/17335370/4807095/12051350/s65_john.corso.jpg"}],"research_interests":[{"id":1192,"name":"Feminist Theory","url":"https://www.academia.edu/Documents/in/Feminist_Theory?f_ri=15820","nofollow":false},{"id":8302,"name":"Gilles Deleuze","url":"https://www.academia.edu/Documents/in/Gilles_Deleuze?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":16161,"name":"Textile and Fiber Art","url":"https://www.academia.edu/Documents/in/Textile_and_Fiber_Art?f_ri=15820","nofollow":false},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=15820"},{"id":439407,"name":"Gego","url":"https://www.academia.edu/Documents/in/Gego?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12846862" data-work_id="12846862" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12846862/THE_CURATORIAL_CHALLENGES_SUSPENDING_COLOURS">THE CURATORIAL CHALLENGES: SUSPENDING COLOURS</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The first ‘Suspended’ exhibition – which became my whirlwind intro- duction to curation – began within Gabi Green’s small gallery in the Westend of Munich in 2012 during the week of Schmuck, that informal, half secret rollercoaster ride... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12846862" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The first ‘Suspended’ exhibition – which became my whirlwind intro- duction to curation – began within Gabi Green’s small gallery in the Westend of Munich in 2012 during the week of Schmuck, that informal, half secret rollercoaster ride of a week of jewellery exhibitions and ‘happenings’ that infiltrates the city each March.<br />I began with one concept: to take away the plinths and glass that so often create barriers between viewer and object and to suspend jewellery from threads. Previous experience of this Schmuck-fest had witnessed the viewers (mainly jewellery students or jewellery practitioners) dissecting each object with their eyes, mentally de- and then re-constructing each piece, hungry to understand the meshing of concepts and techniques on show. So the initial idea was pretty simple: to display jewellery with the minimum amount of props in a way which enabled the viewer to see as much of each item on display as possible.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12846862" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bf3e5c7ec2ea0b87412dc464a7c32f73" rel="nofollow" data-download="{"attachment_id":37849801,"asset_id":12846862,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37849801/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="950762" href="https://ucl.academia.edu/LauraBradshawHeap">Laura Bradshaw-Heap</a><script data-card-contents-for-user="950762" type="text/json">{"id":950762,"first_name":"Laura","last_name":"Bradshaw-Heap","domain_name":"ucl","page_name":"LauraBradshawHeap","display_name":"Laura Bradshaw-Heap","profile_url":"https://ucl.academia.edu/LauraBradshawHeap?f_ri=15820","photo":"https://0.academia-photos.com/950762/352065/4478781/s65_laura.bradshaw-heap.jpg"}</script></span></span></li><li class="js-paper-rank-work_12846862 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12846862"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12846862, container: ".js-paper-rank-work_12846862", }); 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Green and Christopher Reed, eds., JapanAmerica: Points of Contact, 1876-1976 (Ithaca, NY: Herbert F. Johnson Museum of Art, Cornell University, 2016), 66-87.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31061584" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="bfe78984ee70cf517a8ee969eccf608c" rel="nofollow" data-download="{"attachment_id":51495777,"asset_id":31061584,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51495777/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="47646" href="https://umcp.academia.edu/AliciaVolk">Alicia Volk</a><script data-card-contents-for-user="47646" type="text/json">{"id":47646,"first_name":"Alicia","last_name":"Volk","domain_name":"umcp","page_name":"AliciaVolk","display_name":"Alicia Volk","profile_url":"https://umcp.academia.edu/AliciaVolk?f_ri=15820","photo":"https://0.academia-photos.com/47646/14810/40569156/s65_alicia.volk.jpg"}</script></span></span></li><li class="js-paper-rank-work_31061584 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31061584"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31061584, container: ".js-paper-rank-work_31061584", }); 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Imperialism","url":"https://www.academia.edu/Documents/in/Colonialism_and_Imperialism?f_ri=15820"},{"id":1031798,"name":"World’s Fairs and Other Expositions","url":"https://www.academia.edu/Documents/in/Worlds_Fairs_and_Other_Expositions?f_ri=15820"},{"id":1714018,"name":"Art and Architecture of Japan","url":"https://www.academia.edu/Documents/in/Art_and_Architecture_of_Japan?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_17321871 coauthored" data-work_id="17321871" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/17321871/Crafting_Change_Practicing_Activism_in_Contemporary_Australia">Crafting Change, Practicing Activism in Contemporary Australia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">While introducing and analysing Australian craft(ivist) projects, this article also suggests new concepts useful in tackling the contemporary phenomenon of craft activism.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17321871" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="72b938f26744613f0fb978adfa81970c" rel="nofollow" data-download="{"attachment_id":39442740,"asset_id":17321871,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button 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Kontturi","profile_url":"https://utu.academia.edu/KatveKaisaKontturi?f_ri=15820","photo":"https://0.academia-photos.com/324765/628533/21092528/s65_katve-kaisa.kontturi.jpeg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-17321871">+1</span><div class="hidden js-additional-users-17321871"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://angklungeditions.academia.edu/TalFitzpatrick">Tal Fitzpatrick</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-17321871'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-17321871').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_17321871 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view 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data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8994" href="https://www.academia.edu/Documents/in/Social_Activism">Social Activism</a>, <script data-card-contents-for-ri="8994" type="text/json">{"id":8994,"name":"Social Activism","url":"https://www.academia.edu/Documents/in/Social_Activism?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a>, <script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16905" href="https://www.academia.edu/Documents/in/Craft_Knowledge">Craft Knowledge</a><script data-card-contents-for-ri="16905" type="text/json">{"id":16905,"name":"Craft Knowledge","url":"https://www.academia.edu/Documents/in/Craft_Knowledge?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=17321871]'), work: {"id":17321871,"title":"Crafting Change, Practicing Activism in Contemporary Australia","created_at":"2015-10-26T16:24:07.553-07:00","url":"https://www.academia.edu/17321871/Crafting_Change_Practicing_Activism_in_Contemporary_Australia?f_ri=15820","dom_id":"work_17321871","summary":"While introducing and analysing Australian craft(ivist) projects, this article also suggests new concepts useful in 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Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=15820"},{"id":73768,"name":"Relational aesthetics","url":"https://www.academia.edu/Documents/in/Relational_aesthetics?f_ri=15820"},{"id":76626,"name":"New Materialism","url":"https://www.academia.edu/Documents/in/New_Materialism?f_ri=15820"},{"id":157702,"name":"Participatory and Relational Arts","url":"https://www.academia.edu/Documents/in/Participatory_and_Relational_Arts?f_ri=15820"},{"id":193723,"name":"Craftivism","url":"https://www.academia.edu/Documents/in/Craftivism?f_ri=15820"},{"id":248985,"name":"New Materialisms","url":"https://www.academia.edu/Documents/in/New_Materialisms?f_ri=15820"},{"id":856943,"name":"New Materialism in Contemporary art","url":"https://www.academia.edu/Documents/in/New_Materialism_in_Contemporary_art?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_59037776" data-work_id="59037776" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/59037776/%D0%A6%D0%B2%D0%B5%D1%82%D0%BA%D0%BE%D0%B2%D0%B0_%D0%9D_%D0%9D_%D0%98%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D0%B2%D0%BE%D0%BB%D0%BE%D0%BA%D0%BD%D0%B0_Fiber_Art_%D0%B2%D1%82%D0%BE%D1%80%D0%BE%D0%B9_%D0%BF%D0%BE%D0%BB%D0%BE%D0%B2%D0%B8%D0%BD%D1%8B_%D0%A5%D0%A5_XXI_%D0%B2%D0%B2_%D0%BE%D1%81%D0%BE%D0%B1%D0%B5%D0%BD%D0%BD%D0%BE%D1%81%D1%82%D0%B8_%D1%80%D0%B0%D0%B7%D0%B2%D0%B8%D1%82%D0%B8%D1%8F_Terra_artis_%D0%98%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D0%B8_%D0%B4%D0%B8%D0%B7%D0%B0%D0%B9%D0%BD_2021_2_%D0%A1_24_35">Цветкова Н.Н. Искусство волокна «Fiber Art» второй половины ХХ–XXI вв.: особенности развития // Terra artis. Искусство и дизайн. 2021. № 2. С. 24–35.</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Following the decline of tapestry weaving in the 19th century, the 20th century saw a revival of textile art, the emergence of new three-dimensional forms — art objects, installations and soft sculpture — and the coinage of the term fiber... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_59037776" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Following the decline of tapestry weaving in the 19th century, the 20th century saw a revival of textile art, the emergence of new three-dimensional forms — art objects, installations and soft sculpture — and the coinage of the term fiber art. Starting in the second half of the 20th century, large-scale textile exhibitions, including the famous Lausanne Biennale, have been held in different countries around the world. After the Lausanne Biennale project was stopped in 1995, the rights to hold it were purchased by China. Currently, the Biennale is called “From Lausanne to Beijing” and is held in different Chinese cities. From 2000 to 2020, eleven exhibitions were held within the framework of the “From Lausanne to Beijing” Biennale. In 2020 the Biennale was held in an online format for the first time. Ecology remains one of the most popular topics of modern fiber art.<br />После упадка шпалерного ткачества в XIX в. ХХ в. стал временем возрождения текстильного искусства, появления новых объемно-пространственных форм-арт-объектов, инсталляций, «мягкой скульптуры» и возникновения термина «fiber art»-искусство волокна. Во второй половине ХХ в. в разных странах мира проходили масштабные текстильные выставки, в том числе знаменитые Лозаннские Биеннале. После того как в 1995 г. проект «Лозаннские Биеннале» прекратил свое существование, права на его проведение были выкуплены Китаем. В настоящее время Биеннале называется «Из Лозанны в Пекин» и проводится в разных китайских городах. С 2000 по 2020 г. в рамках проекта «Из Лозанны в Пекин» было проведено 11 выставок, в 2020 г. Биеннале впервые проходило в дистанционном формате. Одной из наиболее популярных тем современного «fiber art» является экология.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/59037776" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b4ccd482a28ab6e015e036ff197ca264" rel="nofollow" data-download="{"attachment_id":73160328,"asset_id":59037776,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73160328/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="181812236" href="https://ghpa.academia.edu/TERRAARTISArtandDesignScientificJournal">TERRA ARTIS. Art and Design. Scientific Journal</a><script data-card-contents-for-user="181812236" type="text/json">{"id":181812236,"first_name":"TERRA ARTIS. Art and Design.","last_name":"Scientific Journal","domain_name":"ghpa","page_name":"TERRAARTISArtandDesignScientificJournal","display_name":"TERRA ARTIS. Art and Design. Scientific Journal","profile_url":"https://ghpa.academia.edu/TERRAARTISArtandDesignScientificJournal?f_ri=15820","photo":"https://0.academia-photos.com/181812236/50360692/40855181/s65_terra_artis._art_and_design..scientific_journal.jpg"}</script></span></span></li><li class="js-paper-rank-work_59037776 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="59037776"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 59037776, container: ".js-paper-rank-work_59037776", }); });</script></li><li class="js-percentile-work_59037776 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 59037776; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_59037776"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_59037776 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="59037776"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 59037776; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=59037776]").text(description); $(".js-view-count-work_59037776").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_59037776").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="59037776"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">17</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="915" href="https://www.academia.edu/Documents/in/Art_History">Art History</a>, <script data-card-contents-for-ri="915" type="text/json">{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4950" href="https://www.academia.edu/Documents/in/Modern_Art">Modern Art</a>, <script data-card-contents-for-ri="4950" type="text/json">{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="11833" href="https://www.academia.edu/Documents/in/Applied_Art">Applied Art</a><script data-card-contents-for-ri="11833" type="text/json">{"id":11833,"name":"Applied Art","url":"https://www.academia.edu/Documents/in/Applied_Art?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=59037776]'), work: {"id":59037776,"title":"Цветкова Н.Н. Искусство волокна «Fiber Art» второй половины ХХ–XXI вв.: особенности развития // Terra artis. Искусство и дизайн. 2021. № 2. С. 24–35.","created_at":"2021-10-19T08:51:13.084-07:00","url":"https://www.academia.edu/59037776/%D0%A6%D0%B2%D0%B5%D1%82%D0%BA%D0%BE%D0%B2%D0%B0_%D0%9D_%D0%9D_%D0%98%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D0%B2%D0%BE%D0%BB%D0%BE%D0%BA%D0%BD%D0%B0_Fiber_Art_%D0%B2%D1%82%D0%BE%D1%80%D0%BE%D0%B9_%D0%BF%D0%BE%D0%BB%D0%BE%D0%B2%D0%B8%D0%BD%D1%8B_%D0%A5%D0%A5_XXI_%D0%B2%D0%B2_%D0%BE%D1%81%D0%BE%D0%B1%D0%B5%D0%BD%D0%BD%D0%BE%D1%81%D1%82%D0%B8_%D1%80%D0%B0%D0%B7%D0%B2%D0%B8%D1%82%D0%B8%D1%8F_Terra_artis_%D0%98%D1%81%D0%BA%D1%83%D1%81%D1%81%D1%82%D0%B2%D0%BE_%D0%B8_%D0%B4%D0%B8%D0%B7%D0%B0%D0%B9%D0%BD_2021_2_%D0%A1_24_35?f_ri=15820","dom_id":"work_59037776","summary":"Following the decline of tapestry weaving in the 19th century, the 20th century saw a revival of textile art, the emergence of new three-dimensional forms — art objects, installations and soft sculpture — and the coinage of the term fiber art. Starting in the second half of the 20th century, large-scale textile exhibitions, including the famous Lausanne Biennale, have been held in different countries around the world. After the Lausanne Biennale project was stopped in 1995, the rights to hold it were purchased by China. Currently, the Biennale is called “From Lausanne to Beijing” and is held in different Chinese cities. From 2000 to 2020, eleven exhibitions were held within the framework of the “From Lausanne to Beijing” Biennale. In 2020 the Biennale was held in an online format for the first time. Ecology remains one of the most popular topics of modern fiber art.\nПосле упадка шпалерного ткачества в XIX в. ХХ в. стал временем возрождения текстильного искусства, появления новых объемно-пространственных форм-арт-объектов, инсталляций, «мягкой скульптуры» и возникновения термина «fiber art»-искусство волокна. Во второй половине ХХ в. в разных странах мира проходили масштабные текстильные выставки, в том числе знаменитые Лозаннские Биеннале. После того как в 1995 г. проект «Лозаннские Биеннале» прекратил свое существование, права на его проведение были выкуплены Китаем. В настоящее время Биеннале называется «Из Лозанны в Пекин» и проводится в разных китайских городах. С 2000 по 2020 г. в рамках проекта «Из Лозанны в Пекин» было проведено 11 выставок, в 2020 г. Биеннале впервые проходило в дистанционном формате. Одной из наиболее популярных тем современного «fiber art» является экология.","downloadable_attachments":[{"id":73160328,"asset_id":59037776,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":181812236,"first_name":"TERRA ARTIS. Art and Design.","last_name":"Scientific Journal","domain_name":"ghpa","page_name":"TERRAARTISArtandDesignScientificJournal","display_name":"TERRA ARTIS. Art and Design. Scientific Journal","profile_url":"https://ghpa.academia.edu/TERRAARTISArtandDesignScientificJournal?f_ri=15820","photo":"https://0.academia-photos.com/181812236/50360692/40855181/s65_terra_artis._art_and_design..scientific_journal.jpg"}],"research_interests":[{"id":915,"name":"Art History","url":"https://www.academia.edu/Documents/in/Art_History?f_ri=15820","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false},{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false},{"id":11833,"name":"Applied Art","url":"https://www.academia.edu/Documents/in/Applied_Art?f_ri=15820","nofollow":false},{"id":13966,"name":"History of Art","url":"https://www.academia.edu/Documents/in/History_of_Art?f_ri=15820"},{"id":14985,"name":"Decorative Arts","url":"https://www.academia.edu/Documents/in/Decorative_Arts?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":16161,"name":"Textile and Fiber Art","url":"https://www.academia.edu/Documents/in/Textile_and_Fiber_Art?f_ri=15820"},{"id":18788,"name":"Applied Arts","url":"https://www.academia.edu/Documents/in/Applied_Arts?f_ri=15820"},{"id":37490,"name":"Modern and Contemporary Art","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Art-1?f_ri=15820"},{"id":38193,"name":"Textiles (Art History)","url":"https://www.academia.edu/Documents/in/Textiles_Art_History_?f_ri=15820"},{"id":79037,"name":"Historia del Arte","url":"https://www.academia.edu/Documents/in/Historia_del_Arte?f_ri=15820"},{"id":111180,"name":"Textile","url":"https://www.academia.edu/Documents/in/Textile?f_ri=15820"},{"id":113473,"name":"Art and Design","url":"https://www.academia.edu/Documents/in/Art_and_Design?f_ri=15820"},{"id":169803,"name":"Art \u0026 Design","url":"https://www.academia.edu/Documents/in/Art_and_Design-22?f_ri=15820"},{"id":179440,"name":"Eastern European Modernist and Postmodernist Art","url":"https://www.academia.edu/Documents/in/Eastern_European_Modernist_and_Postmodernist_Art?f_ri=15820"},{"id":241799,"name":"Historia y Teoria del Arte y la Arquitectura","url":"https://www.academia.edu/Documents/in/Historia_y_Teoria_del_Arte_y_la_Arquitectura?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3670308" data-work_id="3670308" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3670308/The_Mingei_Movement_and_Contemporary_Ceramics_in_America">The Mingei Movement and Contemporary Ceramics in America</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The Japanese term mingei was created to define a body of folk and traditional craft arts made by unknown craftsman, which inherently embody in their forms an egoless and unselfconscious beauty. Mingei provided a model and became the basis... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3670308" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The Japanese term mingei was created to define a body of folk and traditional craft arts made by unknown craftsman, which inherently embody in their forms an egoless and unselfconscious beauty. Mingei provided a model and became the basis of a philosophy and practice for contemporary craft makers. The writings, tours and activities of mingei's founders has had a profound impact on the development of the ceramic arts in the 20 th century.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3670308" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0e8fd201c36ce6227673346038bf7ab8" rel="nofollow" data-download="{"attachment_id":31360616,"asset_id":3670308,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/31360616/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2752866" href="https://independent.academia.edu/HerringJames">James Herring</a><script data-card-contents-for-user="2752866" type="text/json">{"id":2752866,"first_name":"James","last_name":"Herring","domain_name":"independent","page_name":"HerringJames","display_name":"James Herring","profile_url":"https://independent.academia.edu/HerringJames?f_ri=15820","photo":"https://0.academia-photos.com/2752866/893249/1116113/s65_james.herring.jpg"}</script></span></span></li><li class="js-paper-rank-work_3670308 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3670308"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3670308, container: ".js-paper-rank-work_3670308", }); });</script></li><li class="js-percentile-work_3670308 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3670308; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3670308"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3670308 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3670308"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3670308; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3670308]").text(description); $(".js-view-count-work_3670308").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3670308").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3670308"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="6679" href="https://www.academia.edu/Documents/in/Modern_and_Contemporary_Japan">Modern and Contemporary Japan</a>, <script data-card-contents-for-ri="6679" type="text/json">{"id":6679,"name":"Modern and Contemporary Japan","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Japan?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a><script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3670308]'), work: {"id":3670308,"title":"The Mingei Movement and Contemporary Ceramics in America","created_at":"2013-06-07T08:48:42.721-07:00","url":"https://www.academia.edu/3670308/The_Mingei_Movement_and_Contemporary_Ceramics_in_America?f_ri=15820","dom_id":"work_3670308","summary":"The Japanese term mingei was created to define a body of folk and traditional craft arts made by unknown craftsman, which inherently embody in their forms an egoless and unselfconscious beauty. Mingei provided a model and became the basis of a philosophy and practice for contemporary craft makers. The writings, tours and activities of mingei's founders has had a profound impact on the development of the ceramic arts in the 20 th century.","downloadable_attachments":[{"id":31360616,"asset_id":3670308,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2752866,"first_name":"James","last_name":"Herring","domain_name":"independent","page_name":"HerringJames","display_name":"James Herring","profile_url":"https://independent.academia.edu/HerringJames?f_ri=15820","photo":"https://0.academia-photos.com/2752866/893249/1116113/s65_james.herring.jpg"}],"research_interests":[{"id":6679,"name":"Modern and Contemporary Japan","url":"https://www.academia.edu/Documents/in/Modern_and_Contemporary_Japan?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29649173" data-work_id="29649173" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29649173/Live_Form_Women_Ceramics_and_Community">Live Form: Women, Ceramics, and Community</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29649173" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price.<br /><br />Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29649173" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8ebf27a8c2a1b2818f9a3be319f78e63" rel="nofollow" data-download="{"attachment_id":50085048,"asset_id":29649173,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/50085048/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1286448" href="https://ucsb.academia.edu/JenniSorkin">Jenni Sorkin</a><script data-card-contents-for-user="1286448" type="text/json">{"id":1286448,"first_name":"Jenni","last_name":"Sorkin","domain_name":"ucsb","page_name":"JenniSorkin","display_name":"Jenni Sorkin","profile_url":"https://ucsb.academia.edu/JenniSorkin?f_ri=15820","photo":"https://0.academia-photos.com/1286448/975606/4684079/s65_jenni.sorkin.jpg"}</script></span></span></li><li class="js-paper-rank-work_29649173 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29649173"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29649173, container: ".js-paper-rank-work_29649173", }); });</script></li><li class="js-percentile-work_29649173 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29649173; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_29649173"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_29649173 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="29649173"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29649173; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29649173]").text(description); $(".js-view-count-work_29649173").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29649173").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29649173"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3051" href="https://www.academia.edu/Documents/in/Contemporary_Art">Contemporary Art</a>, <script data-card-contents-for-ri="3051" type="text/json">{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4404" href="https://www.academia.edu/Documents/in/Abstract_Art">Abstract Art</a>, <script data-card-contents-for-ri="4404" type="text/json">{"id":4404,"name":"Abstract Art","url":"https://www.academia.edu/Documents/in/Abstract_Art?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15244" href="https://www.academia.edu/Documents/in/Ceramics_Art_History_">Ceramics (Art History)</a>, <script data-card-contents-for-ri="15244" type="text/json">{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a><script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29649173]'), work: {"id":29649173,"title":"Live Form: Women, Ceramics, and Community","created_at":"2016-11-03T12:12:17.308-07:00","url":"https://www.academia.edu/29649173/Live_Form_Women_Ceramics_and_Community?f_ri=15820","dom_id":"work_29649173","summary":"Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price.\n\nSorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.","downloadable_attachments":[{"id":50085048,"asset_id":29649173,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1286448,"first_name":"Jenni","last_name":"Sorkin","domain_name":"ucsb","page_name":"JenniSorkin","display_name":"Jenni Sorkin","profile_url":"https://ucsb.academia.edu/JenniSorkin?f_ri=15820","photo":"https://0.academia-photos.com/1286448/975606/4684079/s65_jenni.sorkin.jpg"}],"research_interests":[{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820","nofollow":false},{"id":4404,"name":"Abstract Art","url":"https://www.academia.edu/Documents/in/Abstract_Art?f_ri=15820","nofollow":false},{"id":15244,"name":"Ceramics (Art History)","url":"https://www.academia.edu/Documents/in/Ceramics_Art_History_?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":16905,"name":"Craft Knowledge","url":"https://www.academia.edu/Documents/in/Craft_Knowledge?f_ri=15820"},{"id":24868,"name":"Social Practice","url":"https://www.academia.edu/Documents/in/Social_Practice?f_ri=15820"},{"id":43729,"name":"John Cage","url":"https://www.academia.edu/Documents/in/John_Cage?f_ri=15820"},{"id":68932,"name":"Black Mountain College","url":"https://www.academia.edu/Documents/in/Black_Mountain_College?f_ri=15820"},{"id":193723,"name":"Craftivism","url":"https://www.academia.edu/Documents/in/Craftivism?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43614575" data-work_id="43614575" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43614575/New_Genre_Art_Gallery_Mindset">New Genre Art Gallery Mindset</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Art Gallery of All (not only visual) Senses Exercises in and facilitating the direct, active(not merely passive or viewing) participating (as myself, first person) in the sharing of the (undergoing as first person) of sensory experiences... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43614575" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Art Gallery of All (not only visual) Senses<br />Exercises in and facilitating the direct, active(not merely passive or viewing) participating (as myself, first person) in the sharing of the (undergoing as first person) of sensory experiences (taste, touch, smell, movement, etc) of/by another.<br />Compared to institutionalized, traditional, passive viewing by people of paintings.<br />We do not merely ask for more of the same Abramovic or Yoko Ono Performance Art that we must view passively, or even Participatory Art exercises (like sharing Ono’s sunset or Ambramovic’s directed exercises and her new spiritual system or -ism). What we attempt to express and conceptualize are more subtle ideas. All senses need to be explored more and all senses could be involved and the person becomes equipped to imagine exercises themselves, not only in galleries or museums but in all areas of their lives, any time and any place.<br />This is the opposing 2 different conventions, norms and attitudes to art and art gallery visitation.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43614575" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="4fbba39cb230d745aaf304eeff9a8220" rel="nofollow" data-download="{"attachment_id":63916975,"asset_id":43614575,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63916975/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="162522292" href="https://independent.academia.edu/YoungDelton">Delton Young</a><script data-card-contents-for-user="162522292" type="text/json">{"id":162522292,"first_name":"Delton","last_name":"Young","domain_name":"independent","page_name":"YoungDelton","display_name":"Delton Young","profile_url":"https://independent.academia.edu/YoungDelton?f_ri=15820","photo":"https://0.academia-photos.com/162522292/45615029/35513573/s65_delton.young.jpg"}</script></span></span></li><li class="js-paper-rank-work_43614575 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43614575"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43614575, container: ".js-paper-rank-work_43614575", }); });</script></li><li class="js-percentile-work_43614575 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 43614575; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_43614575"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_43614575 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="43614575"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 43614575; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=43614575]").text(description); $(".js-view-count-work_43614575").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43614575").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43614575"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="808" href="https://www.academia.edu/Documents/in/Aesthetics">Aesthetics</a>, <script data-card-contents-for-ri="808" type="text/json">{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1386" href="https://www.academia.edu/Documents/in/Art_Theory">Art Theory</a>, <script data-card-contents-for-ri="1386" type="text/json">{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1657" href="https://www.academia.edu/Documents/in/Museum_Studies">Museum Studies</a><script data-card-contents-for-ri="1657" type="text/json">{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43614575]'), work: {"id":43614575,"title":"New Genre Art Gallery Mindset","created_at":"2020-07-14T05:00:32.522-07:00","url":"https://www.academia.edu/43614575/New_Genre_Art_Gallery_Mindset?f_ri=15820","dom_id":"work_43614575","summary":"Art Gallery of All (not only visual) Senses\nExercises in and facilitating the direct, active(not merely passive or viewing) participating (as myself, first person) in the sharing of the (undergoing as first person) of sensory experiences (taste, touch, smell, movement, etc) of/by another.\nCompared to institutionalized, traditional, passive viewing by people of paintings.\nWe do not merely ask for more of the same Abramovic or Yoko Ono Performance Art that we must view passively, or even Participatory Art exercises (like sharing Ono’s sunset or Ambramovic’s directed exercises and her new spiritual system or -ism). What we attempt to express and conceptualize are more subtle ideas. All senses need to be explored more and all senses could be involved and the person becomes equipped to imagine exercises themselves, not only in galleries or museums but in all areas of their lives, any time and any place.\nThis is the opposing 2 different conventions, norms and attitudes to art and art gallery visitation.","downloadable_attachments":[{"id":63916975,"asset_id":43614575,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":162522292,"first_name":"Delton","last_name":"Young","domain_name":"independent","page_name":"YoungDelton","display_name":"Delton Young","profile_url":"https://independent.academia.edu/YoungDelton?f_ri=15820","photo":"https://0.academia-photos.com/162522292/45615029/35513573/s65_delton.young.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=15820","nofollow":false},{"id":808,"name":"Aesthetics","url":"https://www.academia.edu/Documents/in/Aesthetics?f_ri=15820","nofollow":false},{"id":1386,"name":"Art Theory","url":"https://www.academia.edu/Documents/in/Art_Theory?f_ri=15820","nofollow":false},{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=15820","nofollow":false},{"id":3051,"name":"Contemporary Art","url":"https://www.academia.edu/Documents/in/Contemporary_Art?f_ri=15820"},{"id":3589,"name":"Psychology of art","url":"https://www.academia.edu/Documents/in/Psychology_of_art?f_ri=15820"},{"id":5081,"name":"Painting","url":"https://www.academia.edu/Documents/in/Painting?f_ri=15820"},{"id":5290,"name":"Philosophy of Art","url":"https://www.academia.edu/Documents/in/Philosophy_of_Art?f_ri=15820"},{"id":13703,"name":"Sociology of Art","url":"https://www.academia.edu/Documents/in/Sociology_of_Art?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":19161,"name":"Curatorial Studies and Practice","url":"https://www.academia.edu/Documents/in/Curatorial_Studies_and_Practice?f_ri=15820"},{"id":22098,"name":"Artists' Writings","url":"https://www.academia.edu/Documents/in/Artists_Writings?f_ri=15820"},{"id":26558,"name":"Visual Arts","url":"https://www.academia.edu/Documents/in/Visual_Arts?f_ri=15820"},{"id":37328,"name":"Art and Philosophy","url":"https://www.academia.edu/Documents/in/Art_and_Philosophy?f_ri=15820"},{"id":111252,"name":"Early Modern Art and Visual Culture","url":"https://www.academia.edu/Documents/in/Early_Modern_Art_and_Visual_Culture?f_ri=15820"},{"id":124352,"name":"Museum and Gallery Education","url":"https://www.academia.edu/Documents/in/Museum_and_Gallery_Education?f_ri=15820"},{"id":445622,"name":"Curating contemporary art","url":"https://www.academia.edu/Documents/in/Curating_contemporary_art?f_ri=15820"},{"id":699934,"name":"Art and Gallery Education","url":"https://www.academia.edu/Documents/in/Art_and_Gallery_Education?f_ri=15820"},{"id":1223620,"name":"Art ‘beyond the gallery’","url":"https://www.academia.edu/Documents/in/Art_beyond_the_gallery_?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10178602" data-work_id="10178602" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10178602/_Crystal_Clear_Dreams_A_Conversation_with_Eunsuh_Choi_in_Sculpture_30_10_December_2011_pp_39_41">"Crystal Clear Dreams: A Conversation with Eunsuh Choi", in "Sculpture", 30, 10, December 2011, pp.39-41</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10178602" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c035f1d9fcb55ffec81bca949bc4e148" rel="nofollow" data-download="{"attachment_id":36280598,"asset_id":10178602,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36280598/download_file?st=MTczNjEzNTM5Myw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2858924" href="https://rit.academia.edu/MAmy">Michael Amy</a><script data-card-contents-for-user="2858924" type="text/json">{"id":2858924,"first_name":"Michael","last_name":"Amy","domain_name":"rit","page_name":"MAmy","display_name":"Michael Amy","profile_url":"https://rit.academia.edu/MAmy?f_ri=15820","photo":"https://0.academia-photos.com/2858924/941530/1179391/s65_michael.amy.jpg"}</script></span></span></li><li class="js-paper-rank-work_10178602 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10178602"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10178602, container: ".js-paper-rank-work_10178602", }); });</script></li><li class="js-percentile-work_10178602 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 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na Época Contemporânea</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32293625" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="21aa8586f571a5cb6fb8245309a3d0ba" rel="nofollow" data-download="{"attachment_id":52509670,"asset_id":32293625,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Theory","url":"https://www.academia.edu/Documents/in/Craft_Theory?f_ri=15820","nofollow":false},{"id":53409,"name":"Arts and Crafts","url":"https://www.academia.edu/Documents/in/Arts_and_Crafts?f_ri=15820","nofollow":false},{"id":193723,"name":"Craftivism","url":"https://www.academia.edu/Documents/in/Craftivism?f_ri=15820","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_66199078 coauthored" data-work_id="66199078" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/66199078/The_Tentmakers_of_Cairo_Egypts_Medieval_and_Modern_Appliqu%C3%A9_Craft">The Tentmakers of Cairo: Egypt's Medieval and Modern Appliqué Craft</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the crowded center of Historic Cairo lies a covered market lined with wonderful textiles sewn by hand in brilliant colors and intricate patterns. This is the Street of the Tentmakers, the home of the Egyptian appliqué art known as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_66199078" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the crowded center of Historic Cairo lies a covered market lined with wonderful textiles sewn by hand in brilliant colors and intricate patterns. This is the Street of the Tentmakers, the home of the Egyptian appliqué art known as khayamiya. The Tentmakers of Cairo brings together the stories of the tentmakers and their extraordinary tents—from the huge tent pavilions, or suradeq, of the streets of Egypt, to the souvenirs of the First World War and textile artworks celebrated by quilters around the world. It traces the origins and aesthetics of the khayamiya textiles that enlivened the ceremonial tents of the Fatimid, Mamluk, and Ottoman dynasties, exploring the ways in which they challenged conventions under new patrons and technologies, inspired the paper cut-outs of Henri Matisse, and continue to preserve a legacy of skilled handcraft in an age of relentless mass production. Drawing on historical literature, interviews with tentmakers, and analysis of khayamiya from around the world, the authors reveal the stories of this unique and spectacular Egyptian textile art.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/66199078" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4425335" href="https://csu-au.academia.edu/SamBowker">Sam Bowker</a><script data-card-contents-for-user="4425335" type="text/json">{"id":4425335,"first_name":"Sam","last_name":"Bowker","domain_name":"csu-au","page_name":"SamBowker","display_name":"Sam Bowker","profile_url":"https://csu-au.academia.edu/SamBowker?f_ri=15820","photo":"https://0.academia-photos.com/4425335/17340605/17443159/s65_sam.bowker.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-66199078">+1</span><div class="hidden js-additional-users-66199078"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/SeifElRashidi">Seif El Rashidi</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-66199078'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-66199078').html(); 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This is the Street of the Tentmakers, the home of the Egyptian appliqué art known as khayamiya. The Tentmakers of Cairo brings together the stories of the tentmakers and their extraordinary tents—from the huge tent pavilions, or suradeq, of the streets of Egypt, to the souvenirs of the First World War and textile artworks celebrated by quilters around the world. It traces the origins and aesthetics of the khayamiya textiles that enlivened the ceremonial tents of the Fatimid, Mamluk, and Ottoman dynasties, exploring the ways in which they challenged conventions under new patrons and technologies, inspired the paper cut-outs of Henri Matisse, and continue to preserve a legacy of skilled handcraft in an age of relentless mass production. Drawing on historical literature, interviews with tentmakers, and analysis of khayamiya from around the world, the authors reveal the stories of this unique and spectacular Egyptian textile art.","downloadable_attachments":[],"ordered_authors":[{"id":4425335,"first_name":"Sam","last_name":"Bowker","domain_name":"csu-au","page_name":"SamBowker","display_name":"Sam Bowker","profile_url":"https://csu-au.academia.edu/SamBowker?f_ri=15820","photo":"https://0.academia-photos.com/4425335/17340605/17443159/s65_sam.bowker.jpg"},{"id":117992360,"first_name":"Seif El","last_name":"Rashidi","domain_name":"independent","page_name":"SeifElRashidi","display_name":"Seif El Rashidi","profile_url":"https://independent.academia.edu/SeifElRashidi?f_ri=15820","photo":"https://0.academia-photos.com/117992360/54830155/42989515/s65_seif_el.rashidi.jpg"}],"research_interests":[{"id":1187,"name":"Ottoman History","url":"https://www.academia.edu/Documents/in/Ottoman_History?f_ri=15820","nofollow":false},{"id":1236,"name":"Art","url":"https://www.academia.edu/Documents/in/Art?f_ri=15820","nofollow":false},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=15820","nofollow":false},{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=15820","nofollow":false},{"id":6502,"name":"Mamluk Studies","url":"https://www.academia.edu/Documents/in/Mamluk_Studies?f_ri=15820"},{"id":8916,"name":"Islamic Art","url":"https://www.academia.edu/Documents/in/Islamic_Art?f_ri=15820"},{"id":9943,"name":"Egyptian History","url":"https://www.academia.edu/Documents/in/Egyptian_History?f_ri=15820"},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820"},{"id":16903,"name":"Traditional Crafts","url":"https://www.academia.edu/Documents/in/Traditional_Crafts?f_ri=15820"},{"id":20871,"name":"Quilts and quilt cultures","url":"https://www.academia.edu/Documents/in/Quilts_and_quilt_cultures?f_ri=15820"},{"id":21674,"name":"Fatimids","url":"https://www.academia.edu/Documents/in/Fatimids?f_ri=15820"},{"id":38193,"name":"Textiles (Art History)","url":"https://www.academia.edu/Documents/in/Textiles_Art_History_?f_ri=15820"},{"id":69905,"name":"Tents","url":"https://www.academia.edu/Documents/in/Tents?f_ri=15820"},{"id":94691,"name":"Textile History","url":"https://www.academia.edu/Documents/in/Textile_History?f_ri=15820"},{"id":142723,"name":"Islamic art and architecture","url":"https://www.academia.edu/Documents/in/Islamic_art_and_architecture?f_ri=15820"},{"id":212662,"name":"Cairo","url":"https://www.academia.edu/Documents/in/Cairo?f_ri=15820"},{"id":236002,"name":"Quilting","url":"https://www.academia.edu/Documents/in/Quilting?f_ri=15820"},{"id":358662,"name":"Textile Art","url":"https://www.academia.edu/Documents/in/Textile_Art?f_ri=15820"},{"id":1248249,"name":"Textile Architecture","url":"https://www.academia.edu/Documents/in/Textile_Architecture?f_ri=15820"},{"id":1595578,"name":"Khedivial Cairo","url":"https://www.academia.edu/Documents/in/Khedivial_Cairo?f_ri=15820"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_68688513 coauthored" data-work_id="68688513" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/68688513/Crafting_the_Commons_Between_Particular_Acts_and_Universal_Claims">Crafting the Commons: Between Particular Acts and Universal Claims</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Healing Alinah is an artist, writer and social activist. She has used installation, textiles and interaction to create poetic and provocative narratives around identity, loss, and our personal and social relationships. She has worked with... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_68688513" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Healing Alinah is an artist, writer and social activist. She has used installation, textiles and interaction to create poetic and provocative narratives around identity, loss, and our personal and social relationships. She has worked with museums, galleries and diverse communities in the UK and internationally for over 20 years. 'Craft in Common' comprises five reflective and instructional videos, with supporting illustrated guides. Alinah created the videos when plans for a physical residency in Birmingham were disrupted by the March 2020 COVID-19 lockdown. The digital resource explores emotional commons through themes of courage, care, loss, connection and repair. She drew on her personal experiences to make examples of each theme, using materials in her home to take people watching/ making on a journey with her. She wanted to examine, in an experiential way, through making and stories, the human values and emotional resources, produced through or as a Alinah Azadeh Craft in Common result of commoning. These acts take on special significance when civic spaces are not open to host activity and people have to isolate from each other. Alinah feels human attention, care, love, wellbeing and resilience are an undervalued aspect of commoning. Through this creative resource she invites people to use hearts, minds and hands to do whatever they can with whatever they can find at home. The making process can be used as a way to: face fears, acknowledge courage, deal with loss, show solidarity, remember we aren't alone, reach out to others, value our cultural heritage, stay well mentally and emotionally and remember that we are all interconnected. Participants are invited to make for themselves, gift to another or place in a public space. This 'gift to self' includes the time put aside to do it, and the human connection it is designed to nurture. Craftspace distributed instructional kits for making an everyday courage medal by post and through foodbanks. Online workshops were devised and continue to be delivered to community groups. Participants are also encouraged to use the resource to become facilitators themselves, further expanding the scope of the project as a form of generative, creative commoning. Commissioned in partnership with Midlands Art Centre and supported locally by The Active Wellbeing Society and Neighbourhood News Online. craftspace.co.uk/ craft-in-common f Medals for everyday courage made by the public using the resource.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/68688513" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d48c867dbca9c37ea24181995c16b896" rel="nofollow" data-download="{"attachment_id":79081428,"asset_id":68688513,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/79081428/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="2796328" href="https://nuim.academia.edu/PatrickBresnihan">Patrick Bresnihan</a><script data-card-contents-for-user="2796328" type="text/json">{"id":2796328,"first_name":"Patrick","last_name":"Bresnihan","domain_name":"nuim","page_name":"PatrickBresnihan","display_name":"Patrick Bresnihan","profile_url":"https://nuim.academia.edu/PatrickBresnihan?f_ri=15820","photo":"https://0.academia-photos.com/2796328/915758/4872906/s65_patrick.bresnihan.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-68688513">+1</span><div class="hidden js-additional-users-68688513"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://bristol.academia.edu/NaomiMillner">Naomi Millner</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-68688513'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-68688513').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_68688513 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="68688513"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 68688513, container: ".js-paper-rank-work_68688513", }); });</script></li><li class="js-percentile-work_68688513 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 68688513; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_68688513"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_68688513 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="68688513"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 68688513; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=68688513]").text(description); $(".js-view-count-work_68688513").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_68688513").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="68688513"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2891" href="https://www.academia.edu/Documents/in/Commons">Commons</a>, <script data-card-contents-for-ri="2891" type="text/json">{"id":2891,"name":"Commons","url":"https://www.academia.edu/Documents/in/Commons?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="14197" href="https://www.academia.edu/Documents/in/Autonomy">Autonomy</a>, <script data-card-contents-for-ri="14197" type="text/json">{"id":14197,"name":"Autonomy","url":"https://www.academia.edu/Documents/in/Autonomy?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15820" href="https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_">Modern and contemporary crafts (Art)</a><script data-card-contents-for-ri="15820" type="text/json">{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=68688513]'), work: {"id":68688513,"title":"Crafting the Commons: Between Particular Acts and Universal Claims","created_at":"2022-01-19T07:08:14.238-08:00","url":"https://www.academia.edu/68688513/Crafting_the_Commons_Between_Particular_Acts_and_Universal_Claims?f_ri=15820","dom_id":"work_68688513","summary":"Healing Alinah is an artist, writer and social activist. She has used installation, textiles and interaction to create poetic and provocative narratives around identity, loss, and our personal and social relationships. She has worked with museums, galleries and diverse communities in the UK and internationally for over 20 years. 'Craft in Common' comprises five reflective and instructional videos, with supporting illustrated guides. Alinah created the videos when plans for a physical residency in Birmingham were disrupted by the March 2020 COVID-19 lockdown. The digital resource explores emotional commons through themes of courage, care, loss, connection and repair. She drew on her personal experiences to make examples of each theme, using materials in her home to take people watching/ making on a journey with her. She wanted to examine, in an experiential way, through making and stories, the human values and emotional resources, produced through or as a Alinah Azadeh Craft in Common result of commoning. These acts take on special significance when civic spaces are not open to host activity and people have to isolate from each other. Alinah feels human attention, care, love, wellbeing and resilience are an undervalued aspect of commoning. Through this creative resource she invites people to use hearts, minds and hands to do whatever they can with whatever they can find at home. The making process can be used as a way to: face fears, acknowledge courage, deal with loss, show solidarity, remember we aren't alone, reach out to others, value our cultural heritage, stay well mentally and emotionally and remember that we are all interconnected. Participants are invited to make for themselves, gift to another or place in a public space. This 'gift to self' includes the time put aside to do it, and the human connection it is designed to nurture. Craftspace distributed instructional kits for making an everyday courage medal by post and through foodbanks. Online workshops were devised and continue to be delivered to community groups. Participants are also encouraged to use the resource to become facilitators themselves, further expanding the scope of the project as a form of generative, creative commoning. Commissioned in partnership with Midlands Art Centre and supported locally by The Active Wellbeing Society and Neighbourhood News Online. craftspace.co.uk/ craft-in-common f Medals for everyday courage made by the public using the resource.","downloadable_attachments":[{"id":79081428,"asset_id":68688513,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":2796328,"first_name":"Patrick","last_name":"Bresnihan","domain_name":"nuim","page_name":"PatrickBresnihan","display_name":"Patrick Bresnihan","profile_url":"https://nuim.academia.edu/PatrickBresnihan?f_ri=15820","photo":"https://0.academia-photos.com/2796328/915758/4872906/s65_patrick.bresnihan.jpg"},{"id":117694,"first_name":"Naomi","last_name":"Millner","domain_name":"bristol","page_name":"NaomiMillner","display_name":"Naomi Millner","profile_url":"https://bristol.academia.edu/NaomiMillner?f_ri=15820","photo":"https://0.academia-photos.com/117694/85661/115659673/s65_naomi.millner.jpg"}],"research_interests":[{"id":2891,"name":"Commons","url":"https://www.academia.edu/Documents/in/Commons?f_ri=15820","nofollow":false},{"id":14197,"name":"Autonomy","url":"https://www.academia.edu/Documents/in/Autonomy?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20300162" data-work_id="20300162" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20300162/Craftlike_The_Illusion_of_Authenticity_2015_">Craftlike: The Illusion of Authenticity (2015)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper problematizes the appropriation of craft into spheres that are not craft, but rather, craft-like. I am defining craft-like as a strain of work that incorporates the craft act or material evidence of what might be described as... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_20300162" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper problematizes the appropriation of craft into spheres that are not craft, but rather, craft-like.  I am defining craft-like as a strain of work that incorporates the craft act or material evidence of what might be described as a “soft theft”: a range of techniques that could be described as borrowing, pilfering, admiring, and copying.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20300162" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0281ab4a8129cb794a5970b34ae3e4a6" rel="nofollow" data-download="{"attachment_id":46025812,"asset_id":20300162,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/46025812/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1286448" href="https://ucsb.academia.edu/JenniSorkin">Jenni Sorkin</a><script data-card-contents-for-user="1286448" type="text/json">{"id":1286448,"first_name":"Jenni","last_name":"Sorkin","domain_name":"ucsb","page_name":"JenniSorkin","display_name":"Jenni Sorkin","profile_url":"https://ucsb.academia.edu/JenniSorkin?f_ri=15820","photo":"https://0.academia-photos.com/1286448/975606/4684079/s65_jenni.sorkin.jpg"}</script></span></span></li><li class="js-paper-rank-work_20300162 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="20300162"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 20300162, container: ".js-paper-rank-work_20300162", }); 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[Selma Gul]</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">VANDALİZM</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/17600466" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="665b7fb62b5a29a24499ebc210297e23" rel="nofollow" data-download="{"attachment_id":39604774,"asset_id":17600466,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39604774/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6060484" href="https://independentresearcher.academia.edu/selmag%C3%BCl">selma gül</a><script data-card-contents-for-user="6060484" type="text/json">{"id":6060484,"first_name":"selma","last_name":"gül","domain_name":"independentresearcher","page_name":"selmagül","display_name":"selma gül","profile_url":"https://independentresearcher.academia.edu/selmag%C3%BCl?f_ri=15820","photo":"https://0.academia-photos.com/6060484/2547100/18911489/s65_selma.g_l.jpg"}</script></span></span></li><li class="js-paper-rank-work_17600466 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="17600466"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 17600466, container: ".js-paper-rank-work_17600466", }); 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[Selma Gul]","created_at":"2015-11-02T01:36:36.271-08:00","url":"https://www.academia.edu/17600466/ROBERT_RAUSCHENBERG_ve_W%C4%B0LLEM_DE_KOON%C4%B0NG_EKSEN%C4%B0NDE_SANAT_MI_VANDAL%C4%B0ZM_M%C4%B0_Selma_Gul_?f_ri=15820","dom_id":"work_17600466","summary":"VANDALİZM","downloadable_attachments":[{"id":39604774,"asset_id":17600466,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6060484,"first_name":"selma","last_name":"gül","domain_name":"independentresearcher","page_name":"selmagül","display_name":"selma gül","profile_url":"https://independentresearcher.academia.edu/selmag%C3%BCl?f_ri=15820","photo":"https://0.academia-photos.com/6060484/2547100/18911489/s65_selma.g_l.jpg"}],"research_interests":[{"id":4950,"name":"Modern Art","url":"https://www.academia.edu/Documents/in/Modern_Art?f_ri=15820","nofollow":false},{"id":15820,"name":"Modern and contemporary crafts (Art)","url":"https://www.academia.edu/Documents/in/Modern_and_contemporary_crafts_Art_?f_ri=15820","nofollow":false},{"id":68933,"name":"Robert Rauschenberg","url":"https://www.academia.edu/Documents/in/Robert_Rauschenberg?f_ri=15820","nofollow":false},{"id":282786,"name":"çağdaş Sanat","url":"https://www.academia.edu/Documents/in/cagdas_Sanat?f_ri=15820","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_1877563" data-work_id="1877563" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/1877563/In_the_Loop_Knitting_Now_Black_Dog_2010_">In the Loop: Knitting Now (Black Dog: 2010)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In the Loop aims to challenge oversimplified associations of knitting as domestic craft and capture the diversity of contemporary textile culture related to knitting today. Contributors include Sandy Black, Mary Brooks, Sabrina... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_1877563" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In the Loop aims to challenge oversimplified associations of knitting as domestic craft and capture the diversity of contemporary textile culture related to knitting today. Contributors include Sandy Black, Mary Brooks, Sabrina Gschwandtner, Rachel Beth Egenhoefer, Deirdre Nelson, Linda Newington, Clio Padovani, Lacey Jane Roberts, Freddie Robins, Annie Shaw, Lycia Trouton & Joanne Turney.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/1877563" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="8fb32b94330ba56747fa8620f6b7d0ac" rel="nofollow" data-download="{"attachment_id":77892338,"asset_id":1877563,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/77892338/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65690" href="https://gu-se.academia.edu/JessicaHemmings">Jessica Hemmings</a><script data-card-contents-for-user="65690" type="text/json">{"id":65690,"first_name":"Jessica","last_name":"Hemmings","domain_name":"gu-se","page_name":"JessicaHemmings","display_name":"Jessica Hemmings","profile_url":"https://gu-se.academia.edu/JessicaHemmings?f_ri=15820","photo":"https://0.academia-photos.com/65690/18490/89426434/s65_jessica.hemmings.jpg"}</script></span></span></li><li class="js-paper-rank-work_1877563 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="1877563"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 1877563, container: ".js-paper-rank-work_1877563", }); 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Ocak 2019</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Mimaride “malzeme/materyal” sadece bir strüktürü oluşturmada pragmatik bir araç ya da dekoratif bir etkiden ziyade, siyasi bağlamda direnme jestini tasiyan, konusan bir nesne olabilir mi? Filistin işgal topraklarında, Batı Şeria'da... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38050781" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Mimaride “malzeme/materyal” sadece bir strüktürü oluşturmada pragmatik bir araç ya da dekoratif bir etkiden ziyade, siyasi bağlamda direnme jestini tasiyan, konusan bir nesne olabilir mi? Filistin işgal topraklarında, Batı Şeria'da mimarlik pratigini surduren Anasta Mimarlik Ofisi, yerel malzeme ve ustalarla guncel tasarımlar üretiyorlar. İsrail'in mekan ve planlamaya dayanan somurge stratejilerine karsı; Batı Şeria'da geleneksel malzemeyi tasarımla yeniden anlamlandırarak ve kaybolmakta olan zanaatkarların üretim agıni, guncel tasarim teknolojisi ile devamliligini amaclayan Anastas kardeşler, guncel Filistin mimarisini yeniden tanımlıyorlar. Beytüllahim’de, 1970’lerde kurulmus olan Anastas mimarlik ofisi, Anastas ailesinden Yusuef ve Elias Anastas tarafindan yurutuluyor.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38050781" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7f2dde8550c7cc230104e27494d54e76" rel="nofollow" data-download="{"attachment_id":58075467,"asset_id":38050781,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58075467/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="101119" href="https://batman.academia.edu/PelinTan">Pelin Tan</a><script data-card-contents-for-user="101119" type="text/json">{"id":101119,"first_name":"Pelin","last_name":"Tan","domain_name":"batman","page_name":"PelinTan","display_name":"Pelin Tan","profile_url":"https://batman.academia.edu/PelinTan?f_ri=15820","photo":"https://0.academia-photos.com/101119/27856/357572/s65_pelin.tan.jpg"}</script></span></span></li><li class="js-paper-rank-work_38050781 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38050781"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38050781, container: ".js-paper-rank-work_38050781", }); 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Beytüllahim’de, 1970’lerde kurulmus olan Anastas mimarlik ofisi, Anastas ailesinden Yusuef ve Elias Anastas tarafindan yurutuluyor. 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The liberation of women’s crafts and their role in social change and telling stories.”</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">An overview of the role of women's craft post Judy Chicago's The Dinner Party seminal installation.</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/36621033" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="0b6c365fc4bd0d08c8fe26b25542e061" rel="nofollow" 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type="text/json">{"id":1138,"name":"Women's Studies","url":"https://www.academia.edu/Documents/in/Womens_Studies?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2320" href="https://www.academia.edu/Documents/in/Textiles">Textiles</a>, <script data-card-contents-for-ri="2320" type="text/json">{"id":2320,"name":"Textiles","url":"https://www.academia.edu/Documents/in/Textiles?f_ri=15820","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="9071" href="https://www.academia.edu/Documents/in/Embroidery">Embroidery</a><script data-card-contents-for-ri="9071" type="text/json">{"id":9071,"name":"Embroidery","url":"https://www.academia.edu/Documents/in/Embroidery?f_ri=15820","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=36621033]'), work: {"id":36621033,"title":"“After The Dinner Party: The liberation of women’s crafts and their 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class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29448859/TERRA_LA_VIA_DELLA_CERAMICA_TRA_LIGURIA_E_PIEMONTE">TERRA! LA VIA DELLA CERAMICA TRA LIGURIA E PIEMONTE</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29448859" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a11f03c840d161d774963e2c15811b72" rel="nofollow" data-download="{"attachment_id":49893130,"asset_id":29448859,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49893130/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1627074" href="https://uinvr.academia.edu/LucaBochicchio">Luca Bochicchio</a><script data-card-contents-for-user="1627074" type="text/json">{"id":1627074,"first_name":"Luca","last_name":"Bochicchio","domain_name":"uinvr","page_name":"LucaBochicchio","display_name":"Luca Bochicchio","profile_url":"https://uinvr.academia.edu/LucaBochicchio?f_ri=15820","photo":"https://0.academia-photos.com/1627074/2004391/28935979/s65_luca.bochicchio.jpg"}</script></span></span></li><li class="js-paper-rank-work_29448859 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29448859"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29448859, container: ".js-paper-rank-work_29448859", }); 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A variety of artists, educators and historians share with readers their wealth of practical resources and frameworks for utilizing craft media... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_25781695" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This nine chapter volume explores creativity in art teaching through contemporary craft. A variety of artists, educators and historians share with readers their wealth of practical resources and frameworks for utilizing craft media (fiber, ceramics, baskets, needlepoint, knitting, etc.) and craft approaches (grassroots projects, digital communities, craftivism, etc.) within contemporary K-12 art education, museum and community programming, and teaching artist residencies. Authors representing a variety of specialties in craft, art, and education examine the resurgence of the handmade and homemade in contemporary youth culture, digital implications of how we define and teach craft creatively, and the overlap of design, function, and beauty in artists’ work. The anthology also describes the challenges and potentialities of working with craft in education settings, including the overarching craft of teaching practices. Each chapter provides a range of creative frameworks and practical models that educators can use comprehensively: from dynamic digital resources, to community groups, and lesson plans and activities in craft with art classes and special needs classes. The book serves to propose a working definition and rationale of the functions of craft in daily life, popular and youth culture, and larger social issues (including craft, D.I.Y., and activism/“craftivism”).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/25781695" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="363ef610bbaec94b2823c74206b32924" rel="nofollow" data-download="{"attachment_id":57669274,"asset_id":25781695,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57669274/download_file?st=MTczNjEzNTM5NCw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="407494" href="https://adelphi.academia.edu/CourtneyWeida">Courtney Weida</a><script data-card-contents-for-user="407494" type="text/json">{"id":407494,"first_name":"Courtney","last_name":"Weida","domain_name":"adelphi","page_name":"CourtneyWeida","display_name":"Courtney Weida","profile_url":"https://adelphi.academia.edu/CourtneyWeida?f_ri=15820","photo":"https://0.academia-photos.com/407494/99863/35228408/s65_courtney.weida.jpg"}</script></span></span></li><li class="js-paper-rank-work_25781695 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="25781695"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 25781695, container: ".js-paper-rank-work_25781695", }); 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