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Free Example Papers on Crafts and Conclusion Chapters

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From its inception in the early years of the twentieth century, Craftsmen studied handicraft and celebrated its creation through exhibitions and craft demonstrations. In most cases, those craftspeople do not neatly fit a mid- or late-twentieth-century definition of a studio artist, one who makes a career of expressing a personal aesthetic through the exploration of the subtleties, nuances, and potentialities of a particular material, be it clay, wood, metal, fiber, or glass. As in any endeavor, studio craft had to walk before it could run.


Through educational initiatives and personal craft practices, early craft practitioners laid the groundwork for successive generations of craftspeople, first by merely reviving an interest in craft in both the practitioner and the patron; by exploring pre-industrial craft practices, many that, even then, were near obsolescence; by integrating into those archaic practices the results of artistic experimentation, as well as scientific and industrial innovation; by imposing quality benchmarks for craft through juried exhibitions; and by bringing together societies and guilds of like-minded individuals who brought creativity and ingenuity to the teaching and production of handicraft products.


Of the categories identified by those terms, craft has suffered a particularly ignoble fate. Art historians have long left the parameters of craft undefined and have relegated it to a position at the very bottom of the hierarchy of the arts. Craft has been considered the lowest subset of a broad category of decorative arts, all of which have an often-negative association with utility, the serving of food or the clothing of the body—the mundane needs and processes of everyday life. Yet, craft has revived in some way as we still use wood work, glass and metal decoration to decorate our homes though innovations have been introduced to the ancient designs.

References



Alan Crawford,(1997)  “Ideas and Objects: The Arts and Crafts Movement in Britain,” Design Issues 13, no. 1: 16.


Barbaralee Diamonstein,(1995) “Values, Skills, and Dreams: Crafts in America,” in The White House Collection of American Crafts by Michael W. Monroe (New York: Harry N. Abrams, Inc. 1995): 27.


Baxter, Sylvester.(1903) “Handicraft, and its Extension, at Ipswich,” Handicraft I, no. xi (February) 249-268.


J. William Fosdick in his studio using a surgical thermo-cauterizing tool that he adapted to the practice of pyrography. From J. William Fosdick, “Burnt-Wood Decoration,” The Art Interchange (July-August 1894): 14–16.


Jewel Stern (1940) Striking the Modern Note in Metal,” included in Craft in the Machine Age,


Kardon, Janet, ed., Craft in the Machine Age: The History of Twentieth-Century American Craft 1920-1945. New York: Harry N. Abrams, Inc., Publishers, in association with the American Craft Museum, 1996.


Karen Lucic (1951) description of Maija Grotell’s 1951 ceramic work in Lucic, “Seeing Through Surfaces, American Craft as Material Culture,” 60.


Kingsley,(1991) “The Making of Modern Art Glass,” 88 and Battie, David and Simon Cottle, general editors. Sotheby’s Concise Encyclopedia of Glass (London: Conran Octopus Limited): 177.


Livingstone, Karen and Linda Parry, (2005) eds. International Arts and Crafts. London: V&A Publications,.


Livingstone, Karen and Linda Parry, (2005) eds. International Arts and Crafts. London: V&A Publications.


Meyer, Marilee Boyd (1997). Inspiring Reform: Boston’s Arts and Crafts Movement. Wellesley: Davis Museum and Cultural Center,.


Rena Tucker Kohlman, “Her Metalcraft Spiritual,” International Studio 80 (October 1924): 54-55, quoted in Stern, “Strking the Modern Note in Metal,” Craft in the Machine Age, 123.


W. Scott Braznell, “The Metalcraft and Jewelry of Janet Payne Bowles,” in The Arts and Crafts Metalwork of Janet Payne Bowles, by Barry Shifman (Indianapolis: Indianapolis Museum of Art in cooperation with Indiana University Press, 1993): 64, quoted in “Striking the Modern Note in Metal,” 125.


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