The roll of skill within the D.I.Y. craft community is varied from self-taught to well-trained makers. My personal belief is that the foundation of D.I.Y. is that there are no rules. Based on this opinion, there is no imposed system of ranking in regards to where you went to school or who you studied under. [...]
Latest issue
-
Recent Posts
- African pottery in South Africa: Life after the village by Steven Smith
- African Craft: the Ghetto of the Village, the Penthouse of the Studio by Pamela Allara
- Hlengiwe Dube – African craft aspiring to gallery status
- Spirit in a spear blade – Mande Blacksmiths
- The place of African craft: studio or village?
Tag cloud
Africa Alaska Arts and Crafts Movement Asia Australia Australian Aboriginal Bauhaus Bernard Leach Britain Cambodia ceramics China craft craft activism Cuba Design diy Finland folk furniture happening India Indonesia Ireland Japan Kenya knitting labor nostalgia participatory performance politics queercraft quilts relational art silver social practice South Africa Sri Lanka tradition USA utopia village William Morris ZuluAbout
The Journal of Modern Craft offers academic perspectives on all aspects of craft within the condition of modernity, from the mid-19th century to the present day, without geographical or disciplinary boundary. The journal is published 3 times a year by Berg Publishers
Sections
Recent Comments
- Steven Smith: Thank you Kevin for your comment. Contemporary African ceramics (in South Africa) is certainly a hybrid...
- Editor: Stephen, thanks for an important article about the development of modern South African ceramics. Like most...
- Glenn Adamson: Thank you for this wonderful post Pamela – it resonates very well with the contents of the issue...
- Dr Lycia Trouton: From The Academe: in regards to what Editor Dr. Kevin Murray asks above, referring to...
- sarah: QUALITY I really like this blog, now im not 1 for adding links in my replies but I feel this is a great...
Subscribe to email updates
-
Archives
Pages
