TY  - BOOK
AU  - Adamson,Glenn
TI  - Thinking through craft
SN  - 1845206460
AV  - N8510 .A33 2007
U1  - 745.5 22
PY  - 2007///
CY  - Oxford, New York
PB  - Berg
KW  - Art
KW  - Technique
KW  - Handicraft
KW  - Workmanship
N1  - Includes bibliographical references (pages 171-201) and index; Craft at the limits -- Craft as a process -- Supplemental -- Homage to Brancusi -- Wearable sculptures : modern jewelry and the problem of autonomy -- Reframing the pattern and decoration movement -- Props : Gijs Bakker and Gord Peteran -- Material -- Ceramic presence : Peter Voulkos -- Natural limitations : Stephen De Staebler and Ken Price -- Crawling through mud : Yagi Kazuo -- The materialization of the art object, 1966-72 -- Breath : Dale Chihuly and Emma Wooffenden -- Skilled -- Circular thinking : David Pye and Michael Baxandall -- Learning by doing -- Thinking in situations : Josef Albers - from the Bauhaus to Black Mountain -- Charles Jencks and Kenneth Frampton : the ad hoc and the tectonic -- Conclusion : skill and the human condition -- Pastoral -- Regions apart -- Two versions of pastoral : Phil Leider and Art Espenet Carpenter -- North, south, east, west : Carl Andre and Robert Smithson -- Landscapes : Gord Peteran and Richard Slee -- Amateur -- "The world's most fascinating hobby" : Robert Arneson -- Feminism and the politics of amateurism -- Abject craft : Mike Kelley and Tracey Emin -- Conclusion
N2  - This volume provides an introduction to the varied concepts and theories of modern arts and crafts. The author writes about craft as a process or an approach -- not as things. He demonstrates the complex interdependencies of craft and art as well as "craft's" own conflicting historical tendencies. The author presents five aspects of "craft's" supposed second-class identity: supplementarity, sensuality, skill, the pastoral, and the amateur. Contrary to the implied second-class status of these themes, he suggests that these are in fact the things that make craft significant and unique; This book provides an introduction to the way that artists working in all media think about craft. Dispensing with clichéd arguments that craft is art, Adamson persuasively makes a case for defining craft in a more nuanced fashion
UR  - http://www.loc.gov/catdir/enhancements/fy0730/2007027931-b.html
ER  -