Title: SLOPPY CRAFT
Publisher: BRISTOL CLASSICAL PRESS
Binding: Soft cover
Book Condition: New
Editor(s): Cheasley Paterson, Elaine; Surette, Susan. Num Pages: 240 pages, 31 greyscale halftones32 colour images. BIC Classification: ABA; ACXJ. Category: (G) General (US: Trade). Dimension: 160 x 234 x 12. Weight in Grams: 456. . 2015. Paperback. . . . . Books ship from the US and Ireland. Bookseller Inventory # V9781472529008
Synopsis: 'Sloppy Craft': Post-Disciplinarity and The Crafts is the first scholarly project to bring together an international selection of artists, historians, theorists, and educators to clarify the possibilities and limitations of the idea of 'sloppy craft' within an increasingly interdisciplinary (or even post-disciplinary) contemporary art and craft environment. The central issues of this collection of essays from Canada, the United Kingdom, the United States, and Australia, implicate both contemporary art and contemporary craft, and include the lingering importance of traditional concepts of skill, the implications of this on a new twenty-first century emphasis on interdisciplinarity, as well as considerations of activist, performance, queer and Aboriginal practices as these relate to a post-disciplinary craft milieu.
The term 'sloppy craft,' is, at first glance, an oxymoron. Coined in 2008 by Art Institute of Chicago artist and educator Anne Wilson (author of the Foreword), this term was her response to the rather messy technique used by her student, Josh Faught, in his politically motivated textile works. Glenn Adamson, writing for Crafts in 2008, popularized Wilson's term, highlighting the use of calculated sloppy technical execution and/or appearance in traditional craft materials and/or techniques in contemporary conceptual art/craft. Adamson, Head of Research at the V&A, also suggested the term post-disciplinarity, rather than multi- or inter-disciplinarity to refer to this crossover approach. In a 2010 issue of Fiberarts magazine Elissa Auther described 'sloppy craft' as 'a new aesthetic' in fibre arts, and Studio: Craft and Design in Canada has focussed on the disciplinary debate, including post, trans, multi, cross for their 2012 issues. The creative potential of breaking down traditional boundaries in contemporary art and craft has been explored by Maria Elena Buszek through an edited collection of essays, Extra/Ordinary: Craft and Contemporary Art (Duke, 2011).
'Sloppy craft', interpreted as messy or unfinished in execution and/or appearance, concerns art and craft practices which question the privileging of skill.
Sloppy Craft: Post-Disciplinarity and the Crafts brings together leading international artists, historians, theorists and educators to explore the possibilities and limitations of the idea of 'sloppy craft' within an interdisciplinary (or even postdisciplinary) context. Contributors from Canada, the United Kingdom, the United States and Australia address 'sloppiness' in contemporary art and craft practice, discuss 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.
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