Warren Wilson College proudly announces the release of Mapping Craft: This is how we meet, our MA in Critical Craft Studies program’s first student-driven publication.
“As a cohort, we believe that craft is slippery,” explains the editorial team. “We accept its resistance to being pinned down in all capacities and use this as a strength in our research. This publication will act as a marker of current research interests within local, regional, and global contexts. It addresses partner organizations, prospective students, craft/art/design scholars in the US and abroad who, like us, are invested in challenging the canon and opening up possibilities in and for craft.”
Through interview transcripts, photo essays, poems, exhibition reviews, mappings, thesis excerpts, and essays, Mapping Craft demonstrates how the Class of 2020 critically responds to shifting perspectives in craft, celebrates a diversity of voices, and conveys the experiential and multidisciplinary core of the program. Each purchase of Mapping Craft: This is how we meet supports scholarships for Black, Indigenous, and people of color enrolled in the program.
Warren Wilson College offers the only low-residency MA in Critical Craft Studies in the US. This format enables students to pursue graduate studies without relocating or leaving current employment. Students begin the two-year (26 month) program each semester in intensive residencies that initiate each semester of study. Final practicum projects can take a variety of forms, such as an exhibition, a journal-length article, podcasts, curriculum development, and more. These are shared in a fifth residency and public symposium with the Center for Craft, Warren Wilson College’s founding program partner.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.