Journal of Modern Craft 10.2

Editorial Introduction (full text available)


The Fabricated Image: Pictorial and Textile Transpositions in the Work of Robert Gober by Sara Martinetti

Design and the Evolving Tradition of Sanganer Hand Block Printing: Formation and Negotiation Artisanal Knowledge and Identities Against the Backdrop of Intangible Cultural Heritage by Chamithri Greru and Britta Kalkreuter

The Secret Dollhouse: Craft and Resistance in Stalinist Estonia by Trinn Jerlei


The Recrafting Traditions and Materializing Memories: A Conversation with Keri Ataumbi by Henrietta Lidchi and Keri Ataumbi


Commentary by Stephen Knott

The Count of Monte Cristo (extracts) by Alexandre Dumas


Out of Hand: Materializing the Digital reviewed by Jessica Hemmings

Entangled: Threads of Making reviewed by Imogen Racz

Beyond Bling: Jewelry from the Lois Boardmand Collection reviewed by Barbara Paris Gifford


Glass: Virtual, Real reviewed by Kathy Kranius

Crafting Design in Italy: From Post-War to Postmodernism reviewed by David Raizman

Funded PhDs in Craft

An opportunity for all craft scholars!

Academy of Design & Crafts (HDK), University of Gothenburg, Sweden is currently accepting applications for funded PhD study in Craft and Design.
The application deadline is September 1, 2017.

Further information can be found on the University of Gothenburg website:

Call for papers alert: 2018 College Art Association

The Poetics and Politics of “Anonymous” Contemporary Craft

Chair(s): Ezra Shales, Massachusetts College of Art and Design, [email protected]

Is anonymity in conditions of artisanal production counterintuitive to our understanding of contemporary craft? The great majority of recent exhibitions and publications about modern and contemporary craft cite artistry that has a known provenance, mainly comprised of identified individual authors. Is the monographic study of individual genius, a convention established by Vasari in the Renaissance, still helpful or a hindrance, and does that model serve the meanings of pottery, weaving, or cast metals, where workshops of dozens (or hundreds) are the longer historical tradition? If one of the strengths of craft history has been an expansive view beyond the traditional art historical canon and an inclusion of women’s work and indigenous making, a recurring weakness has been its paternalistic attitudes towards marginalized and underrepresented cultures. For instance, a craft museum recently exhibited 20th-century metalwork as “anonymous African jewelry,” a shorthand that normatizes three problematic terms in one fell swoop. This session seeks papers on anonymous artisans which go beyond the insider/outsider duality and which strive for taxonomies with more nuance than ‘folk,’ and especially welcomes field work that strays into complex manufacturing or collective production as well as case studies that “look at what the practitioners do” (Geertz, 1973).

Submission deadline: August 14, 2017
CAA Annual Call for Proposals (