A heartfelt display, Objects USA: 2020 updates the 1969 project by building bridges of influence and inspiration across generations of artists.
With the scarcity of human contact, crafting offers a tactile and sensory experience, a different type of touch and connection.
Peters Valley began as an experimental colony, eventually evolving into a craft school of prominent women blacksmiths, ceramicists, and fiber artists.
OBJECTS: REDUX, a reimagining of the groundbreaking 1969 Smithsonian exhibition OBJECTS: USA, explores innovative creation rooted in tradition and convention.
WASHINGTON, DC — The work presented at the Renwick Gallery was always a perfect counterpoint to the artifacts and antiquities, modernist painting, and contemporary sculpture and film on view at the various museums on the National Mall.
Neo-Craftivism, a group show at the Parlour Bushwick, brings together works by nine artists that dynamite the tired old boundaries separating craft and art.
LOS ANGELES — The term “craft,” especially in the context of the art world, is tricky. Who decides what’s art and what’s craft, and is there a hierarchy between the two? Happily, an exhibition sometimes comes along to further blur the line, as is the case with Clare Graham & MorYork: The Answer is Yes at the Craft and Folk Art Museum.
New York’s art world seems to be experiencing a newfound love affair with art made by hand — art that has, dare I say, “craft” in it.
LOUISVILLE, Kentucky — The Kentucky Museum of Art and Craft in Louisville has spent the last couple of years staking out a place in discussions occurring in contemporary art circles about the line dividing art and craft. The recent exhibition PRESS: Artist and Machine was a romantic show focused on illuminating the relationship between 19th-century printing-press technology and 20th- and 21st-century art production.
A proposed declassifying of crafting as a creative industry in the UK has the the country’s cavalcade of craft makers bristling. The broadly and ridiculously named Department for Culture, Media and Sport (DCMS) released a paper in late April directed at evaluating the creative industries, including the elimation of “crafts” as one of the accepted creative industries categories.
SPOKANE, WASHINGTON — Two weekends ago, I volunteered for Speedball printmaking inks at my local art supply store, Spokane Art Supply in Spokane, Washington. The shop was hosting an annual event called demo days, a weekend of hobby enthusiasts rollicking from booth-to-booth in search of the latest breakthroughs in art materials. The demographic was mostly retired craft warriors establishing themselves as masters in watercolor and decollage. I was feeling anxious, my self-conscious mind hounded me with thoughts of superiority, for my world of art was far different than theirs. Kitsch (the bad kind) was their motivator and I was stuck in the middle of a scene that I made sport of in art school and circles of like-minded peers.