How does craft inform the design process?
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April/May 2008
Volume #:
68
Issue #:
2
Issue Articles
If the world were in search of a true craft capital, Japan might well fill the bill. Whether the medium is basketry or ceramics or textiles, the Pacific Rim country has a history steeped in work guided by the hand.
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Patricia Failing considers Kurt Weiser's "edenic" painted
porcelain vessels at Portland's Museum of Contemporary Craft.
By Ken Ferguson, Garth Clark, John Perreault,
Ted Rowland and Peter
von Ziegesar
Silver Gate, Inc.
Arlington, Texas
$45
Silversmiths to the Nation
Thomas Fletcher & Sidney Gardiner: 1808-1842
By Donald L. Fennimore and Ann K. Wagner
Antique Collectors' Club
Easthampton, Massachusetts
$95
In 2001 Sue Bass opened the Andora Gallery in Carefree, Arizona, a small town on the outskirts of Scottsdale. After operating there for six years, Bass, a midwesterner, decided to return to Chicago, the city she considers home. Upon her arrival she joined forces with Sandra Rusnak to bring Andora to Chicago.
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For her latest work, carved sculptural vessels that explore patterns in nature and the beauty of line, the Colorado artist Jennifer Falck Linssen has drawn on the venerable Japanese craft of katagami.
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In 2007, the Quirk Gallery inaugurated the Vault Project, in which an eight-by-nine-foot space-the Vault-tucked away behind the main exhibition area, is turned over to a curator or curators responsible for assigning a year's worth of one-month exhibitions to artists who they thought could best "exploit" the intimate brick-walled room.
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The Washington D.C.-based artist Elizabeth Lundberg Morisette never planned to become a weaver. In 1991 she was studying to be a graphic designer at North Carolina State University College of Design and found herself walking past the weaving room regularly.
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Andrew Wagner ponders craft, industry and the ties that bind.
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Joyce Lovelace reports on the craft scene in Los Angeles—a rich blend of old and new and as sprawling and diverse as the city itself, from museums and galleries celebrating the city’s postwar modernist heritage to shops and young, up-and-coming artists riding a new wave of interest in the handmade.
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Ezra Shales argues that ceramists (and art schools) should reconsider the legacy of the factory and lose the stereotype of industry as alienation.
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