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Exhibiting Craft and Design: Transgressing the White Cube Paradigm, 1930-present investigates the ways that craft and design objects were collected, displayed, and interpreted throughout the second half of the twentieth century and in recent years. The case studies discussed in this volume explain the notion the neutral display space had worked with, challenged, distorted, or assisted in conveying the ideas of the exhibitions in question. In various ways the essays included in this volume analyse and investigate strategies to facilitate interaction amongst craft and design objects, their audiences, exhibiting bodies, and the makers. Using both historical examples from the middle of the twentieth century and contemporary trends, the authors create a dialogue that investigates the different uses of and challenges to the White Cube paradigm of space organization.
List of contents
List of Figures
Notes on Contributors
Acknowledgments
Dedication
1. Introduction: The Persistence of the White Cube Paradigm
Alla Myzelev
2. Textiles on Display
Virginia Troy
3. Crafting Koreanness: How Korean National Identity Became Interwoven with the Handmade Object in the 20th Century
Christine Y. Hahn
4. Within the Guilded Cage
Simon Olding
5. Curatorial Strategies that Remain True to the Craft Object
Gloria Hickey
6. Quiet Revolution: Contemporary Curatorial Approaches to Ceramics in the White Cube
Laura Gray
7. Jewellery Can be Worn Too
Roberta Bernabei
8. Store/Museum
Sara Nasby and Jen Hutton
9. 'I Could Have Visited Ikea for Free' Design Museums and a Complicated Relationship with Commerce
Elise Hodson
10. Outside the White Cube
Lisa Vinebaum
11. Afterword
Alla Myzelev
About the author
Alla Myzelev is Visiting Assistant Professor, SUNY Geneseo, USA.
Summary
Exhibiting Craft and Design: Transgressing the White Cube Paradigm, 1930–present investigates the ways that craft and design objects were collected, displayed, and interpreted throughout the second half of the twentieth century and in recent years. The case studies discussed in this volume explain the notion the neutral display space had worked with, challenged, distorted, or assisted in conveying the ideas of the exhibitions in question. In various ways the essays included in this volume analyse and investigate strategies to facilitate interaction amongst craft and design objects, their audiences, exhibiting bodies, and the makers. Using both historical examples from the middle of the twentieth century and contemporary trends, the authors create a dialogue that investigates the different uses of and challenges to the White Cube paradigm of space organization.
