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Zusatztext Sloppy Craft 's collection of essays is a welcome addition to a relatively small canon of craft theory in the twenty-first century. It offers a broad array of perspectives to consider! and these always within historical contexts. Informationen zum Autor Elaine Cheasley Paterson is Professor of Art History at Concordia University, Canada. Susan Surette is part-time Faculty at Concordia University, Canada and ceramic artist. Klappentext Sloppy Craft: Postdisciplinarity and the Crafts brings together leading international artists and critics to explore the possibilities and limitations of the idea of 'sloppy craft' - craft that is messy or unfinished looking in its execution or appearance, or both. The contributors address 'sloppiness' in contemporary art and craft practices including painting, weaving, sewing and ceramics, consider the importance of traditional concepts of skill, and the implications of sloppiness for a new 21st century emphasis on inter- and postdisciplinarity, as well as for activist, performance, queer and Aboriginal practices.In addition to critical essays, the book includes a 'conversation' section in which contemporary artists and practitioners discuss challenges and opportunities of 'sloppy craft' in their practice and teaching, and an afterword by Glenn Adamson. Zusammenfassung Sloppy Craft: Postdisciplinarity and the Crafts brings together leading international artists and critics to explore the possibilities and limitations of the idea of ‘sloppy craft’ – craft that is messy or unfinished looking in its execution or appearance, or both. The contributors address ‘sloppiness’ in contemporary art and craft practices including painting, weaving, sewing and ceramics, consider the importance of traditional concepts of skill, and the implications of sloppiness for a new 21st century emphasis on inter- and postdisciplinarity, as well as for activist, performance, queer and Aboriginal practices. In addition to critical essays, the book includes a ‘conversation’ section in which contemporary artists and practitioners discuss challenges and opportunities of ‘sloppy craft’ in their practice and teaching, and an afterword by Glenn Adamson. Inhaltsverzeichnis Foreword: Anne Wilson, School of the Art Institute of Chicago, USA Introduction: Elaine C. Paterson and Susan Surette, Concordia University, Canada Section One – Explorations of Postdisciplinarity through ‘Sloppy Craft’ Introduction ‘Male Trouble’: Sewing, Amateurism and Gender, Joseph McBrinn, University of Ulster, Ireland Sloppy Craft as Temporal Drag, Elissa Auther and Elyse Speaks, University of Colorado, USA An Impression of Déjà vu: Craft, the Visual Arts and the Need to get Sloppy, Denis Longchamps, Concordia University, Canada Section Two – The Implications of ‘Sloppy Craft’ Introduction Doomed to Failure, Sandra Alfoldy, NSCAD University, USA The Value of ‘Sloppy Craft’: Creativity and Community, Juliette MacDonald, Edinburgh College of Art, UK Why is Sloppy and Postdisciplinary Craft Significant and What are its Historical Precedents?, Gloria Hickey, curator and writer, USA From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Native America, Elizabeth Kalbfleisch, Concordia University, Canada Section Three – ‘Sloppy Craft’ in Practice and Pedagogy: A Conversation Introduction Eliza Au, Ceramist, Emily Carr University of Art and Design, British Columbia, Canada Jean-Pierre Larocque, Ceramist, Concordia University, Montreal, Canada Kelly Thompson, Fibres, Concordia University, Montreal, Canada Conor Wilson, Ceramist, Royal College of Art, London, UK Peter Wilson, Ceramist, Charles Sturt University in Bathurst, Australia Postscript - Reprint of Glenn Adamson’s text ‘When Craft gets Sloppy,’ from Crafts <...
