Posts by Editor:
- Commentary by Catharine Rossie
- An Enquiry on Handicrafts Zodiac no. 4/5, 1959
- The House of Words reviewed by Helen Carnac
- Unresolved Matters: Social Utopias Revisited reviewed by Liesbeth Fit
- Gone With The Wind reviewed by Louise Schouwenberg
Journal of Modern Craft 3.2
August 17th, 2010
Second issue of 2010
Articles
Exogamy in World Craft: A South-South Perspective by Kevin Murray
Et in Suburbia Ego: A Cultural Geography of Craft in the London Suburbs by Lily Crowther
So-called Craft: The Formative Years of Droog Design, 1992-1998 by Timo de Rijk
Virtual Guilds: Collective Intelligence and the Future of Craft by Leonardo Bonanni and Amanda Parkes (pdf)
Towards Sustainable Craft Production in Jamaica by Suzette Wolfe Wilson
Statement of Practice
Tradition in Question: Glassblowing in Murano, Tunisia, and Afghanistan by Patricia Ribault
Primary Text
Exhibition Reviews
Spirit in a spear blade – Mande Blacksmiths
January 31st, 2010
Patrick McNaugthon’s study of Mali metalsmithing identified a problem in the applying Western distinction between art and life:
The Mande people of Mali, like some other African peoples, give a name to every kind of sculpture that they produce, and also to categories of objects such as wooden twin figures, dolls, animal masks and headdresses (McNaughton 1988:110f.). These names may be revealing as to an object’s perceived spiritual potency. Some types of objects might not be considered as art by Westerners, as in the case of spear blades and oil-burning lamps. Yet the Mande consider their beauty, symbolism, and place in society to take them beyond simple utility. The distinction between art and artifact (or crafts) is not generally marked in African languages.
Patrick R. McNaughton The Mande Blacksmiths: Knowledge, Power and Art in West Africa Bloomington, IN: Indiana University Press, 1988
The place of African craft: studio or village?
January 17th, 2010
Potters from Nkwalini Valley in KwaZulu-Natal including Masonto
Potters from Nkwalini Valley in KwaZulu-Natal including Masonto. Photo by Steven Smith. Click image for story.
The online theme for 2.3 is the broad relation between African craft cultures and the modern craft movement. To a large degree, the development of modern craft has coincided with the relocation of craft practice from the village to the studio – from cottage industry to the artistic production of unique objects. Does modern African craft follow a similar path? Does the origin of much African craft tradition in collective ritual entail a loss of meaning when an object is transferred into the cold and quiet space of a gallery? Does this limit the capacity for individual African craftspersons to participate in the international craft arena?
For this issue, we invite those working in the field of African craft to share their thoughts on issues special to their area.
Online from Journal of Modern Craft 2.3: Editorial and Handspring Puppet Company by Adrian Kohler, Basil Jones and Tommy Luther
