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These series of scholarly texts are paired with a different cultural institution in Montreal, Canada. These sites were visited by graduate students as part of the Master’s seminar “Examining the Artisan Tradition in North America :: Current Debates and Historical Craft”, taught by Dr. Elaine Paterson in the Spring 2010 at Concordia University, Montreal, Quebec, Canada
ARTH
614 :: Examining
the Artisan Tradition in North America :: Current Debates and
Historical Craft
This
seminar will explore the relationship between current debates
surrounding craft and the history of the arts and crafts movement
of the late nineteenth century. We will begin by examining the
North American manifestation of this movement and the radical
ideals proposed by its leading reformers, including the
democratisation of the arts, a critique of industrial production,
and a socialist political platform. We will then investigate
various theoretical approaches useful for conceptualising craft.
We will also explore concepts such as tradition, domesticity and
the decorative by looking at writing by craft historians. We will
consider work from a wide range of media including architecture,
interior design and furnishing, textile and ceramic art, as well
as fashion. Students
will have the opportunity to apply these discussions to craft
objects they will encounter and examine during visits to
Montreal’s museums and architectural spaces. Students
will engage with this primary material as a base for research
while also working with critical writing on craft to create a
framework for their discussion. Although the focus of the course
will be on historical objects, makers and practice, contemporary
topics will also be considered for essays and presentations. Garth
Clark, “The Death of Crafts.” Crafts No. 216 (Jan/Feb
2009): 48-51. Paula
Owen, “Labels, Lingo, and Legacy: Crafts at a Crossroads,” in
Paula Owen and M. Anna Fariello (eds) Objects
and Meaning: New Perspectives on Art and Craft (Oxford: The
Scarecrow Press, 2005), 24-34. Richard
Grassby, “Material Culture and Cultural History.” Journal
of Interdisciplinary History.
Vol.
XXXV/4 (Spring, 2005): 591-603. Tom
Crook, “Craft and the Dialogics of Modernity: The Arts and
Crafts Movement in Late-Victorian and Edwardian England.” The
Journal of Modern Craft 2/1 (March 2009), 17-32. Paul
Greenhalgh, “Morris after Morris,” in Linda Parry (ed.) William
Morris (New York: Harry N. Abrams, 1996), 362-366. William
Morris, ‘How I became a Socialist’ in News
from Nowhere Wendy
Kaplan and Elizabeth Cumming, The Arts and Crafts Movement
(London: Thames and Hudson, 1991). Eileen
Boris, Art and Labor: Ruskin, Morris, and the Craftsman Ideal
in America (Philadelphia: Temple University Press, 1986). Raymond
Williams, Culture and Society: Coleridge to Orwell (London:
The Hogarth Press, 1993; 1st published 1958), Chapter
7: ‘Art and Society: A.W. Pugin, John Ruskin, William
Morris,’ 130-160. William
Morris, “The Arts and Crafts of Today,” in
Isabelle Frank (ed.) and David Britt (trans.) The Theory of
Decorative Art (New Haven: Yale University Press, 2000),
61-70. Janet
Wolff, The Social Production of Art (New York: New York
University Press, 1993). Visit to the CANADIAN GUILD OF CRAFTS1460, Sherbrooke St. West, Suite B, H3G 1K4 Tel. 514.849.6091
Nelson
Graburn and Aaron Glass, “Introduction to special issue” Journal
of Material Culture (2004) 9, 2: 107-114. Jennifer
Harris, “Contextualising the Conceptual” Museums Journal (May
1992): 29-34. Liz
Stanley, “On Auto/Biography in Sociology” Sociology 27,
1 (February 1993): 41-52. Sandra
Alfoldy, “Defining Professional Craft,” Artichoke
(Summer 2004), 38-43. Ellen
Easton McLeod, “Embracing the ‘Other’,” in In Good
Hands: The Women of the Canadian Handicrafts Guild
(Montreal: McGill-Queen’s University Press, 1999),
203-233. Gayatri Chakravorty Spivak, ‘The Politics of Translation,’ in Michèle Barrett and Anne Phillips (eds), Destabilizing Theory: Contemporary Feminist Debates (Polity Press, 1992), 177-200. Visit
to the Montreal Museum of Fine Arts
(MMFA)
Tour
of the Decorative Arts Collection: 19th- 21st
centuries with Diane Charbonneau, curator of Contemporary
Decorative Arts. Michael
and Renata Hornstein Pavilion Readings
related to MMFA visit: Sandra
Alfoldy and Janice Helland, “Introduction,” Craft, Space
and Interior Design. Hampshire, Eng. and Burlington, Vermont:
Ashgate, 2008, 1-9. Igor
Kopytoff, ‘The Cultural Biography of Things: Commoditization as
Process’ in Arjun Appadurai (ed.), The Social Life of Things:
Commodities in Cultural Perspective (Cambridge: Cambridge
University Press, 1986), 64-91. Pierre
Bourdieu, The Field of Cultural Production (Columbia
University Press, 1993): Chapter
2, ‘The Production of Belief: Contribution to an Economy of
Symbolic Goods’, 74-111. David
Brett, “Introduction” and “ Chapter 5: The Refusal,” in Rethinking
Decoration: Pleasure and Ideology in the Visual Arts.
Cambridge, New York: Cambridge University Press, 2005, 1-12 and
184-214. Visit
to the Musée des Maîtres et
Artisans du Québec
Talk
about history and mandate of museum; tour of permanent collection;
introduction to archives. 615,
avenue Sainte-Croix, Saint-Laurent
H4L 3X6 http://www.mmaq.qc.ca/
Readings
related to Musée
visit: Mike
Press, “Handmade Futures: The Emerging Role of Craft Knowledge
in Our Digital Culture,” in Sandra Alfoldy (ed.) NeoCraft:
Modernity and the Crafts (NSCAD University Press, 2007),
249-266. Love
Jönsson, “Rethinking Dichotomies: Crafts and the Digital,” in
Sandra Alfoldy (ed.) NeoCraft:
Modernity and the Crafts (NSCAD University Press, 2007),
240-248. Bruce
Metcalf, “Replacing the Myth of Modernism” American Craft (February/March
1993): 40-47. Robin
Metcalfe, “Writing Craft: An Interdiscursive Approach” in Jean
Johnson (ed.), Exploring Contemporary Craft: History, Theory
and Critical Writing (Toronto: Coach House Books, 2002),
101-107, 122. Pamela
Johnson, “Out of Touch: The Meaning of Making in the Digital
Age” in Tanya Harrod (ed.), Obscure Objects of Desire:
Reviewing the Crafts in the Twentieth Century (London: Crafts
Council, 1997), 292-299
Beverly
Gordon, “Intimacy and Objects: A Proxemic Analysis of
Gender-Based Response to the Material World” in The Material Culture of Gender: The Gender of Material Culture, Katharine
Martinez and Kenneth Ames, eds (Hanover: University Press of New
England, 1997), 237-252. Visit
to the MCCORD
MUSEUM OF CANADIAN HISTORY
Tour
of Costume and Textiles collection with Dr. Cynthia Cooper, Curator
of Costume and Textiles
and Head of Collections
and Research. 690
Sherbrooke Street West
Readings
related to McCord
visit: Cheryl
Buckley, ‘Made in Patriarchy: Toward a Feminist Analysis of
Women and Design,’ in Victor Margolin (ed.), Design
Discourse, History, Theory and Criticism (Chicago: The
University of Chicago Press, 1989), 251-262. Julie
Wolfram Cox and Stella Minahan, “Stitch’n Bitch: Cyberfeminism,
a Third Place and the New Materiality” Journal of Material
Culture 12/1 (2007), 5-21. Eileen
Boris, ‘Crossing Boundaries: The Gendered Meaning of the Arts
and Crafts,’ in Janet Kardon (ed.), The Ideal Home: The
History of Twentieth-Century American Craft, 1900-1920 (New
York: Harry N. Abrams, 1993), 32-45. Penny Sparke, ‘The Architect’s Wife’ in As Long as it’s Pink: The Sexual Politics of Taste (London: Pandora, 1995), 1-12.
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