Description
Book SynopsisElaine Cheasley Paterson is Associate Professor of Craft History at Concordia University, Montreal, Canada.
Susan Surette is a Postdoctoral Fellow in the Department of Art History and Critical Studies at Nova Scotia College of Art and Design University, Halifax, Canada and a professional artist.
Trade ReviewSloppy Craft is edited with precision and wit. It is an important, of the moment, contribution to craft writing. It crosses boundaries of practice with elegance and rigour, defining
Sloppy Craft in ways that are appealing as well as polemical. There is writing of the first order from some of the most significant authors in the field. -- Simon Olding Director, Crafts Study Centre, UK
Elaine Cheasley Paterson and Susan Surette have brought together diverse, uniformly thoughtful writings making the case that the concept of
Sloppy Craft is not a contradictory one. Much as the artists in this book explore art practices that simultaneously challenge and reassert traditions of art-making disciplines, so do its authors illuminate how “sloppy craft” similarly challenges and reasserts traditions of skill.
Sloppy Craft is an exciting, necessary new addition to the growing discourse on craft and contemporary art. -- Maria Elena Buszek, the University of Colorado Denver, USA
Sloppy Craft’s collection of essays is a welcome addition to a relatively small canon of craft theory in the twenty-first century. It offers a broad array of perspectives to consider, and these always within historical contexts. * International Journal of Education Through Art *
Table of ContentsForeword: Anne Wilson, School of the Art Institute of Chicago, USA
Introduction: Elaine C. Paterson and Susan Surette, Concordia University, Canada
Section One – Explorations of Postdisciplinarity through ‘Sloppy Craft’ Introduction ‘Male Trouble’: Sewing, Amateurism and Gender, Joseph McBrinn, University of Ulster, Ireland Sloppy Craft as Temporal Drag, Elissa Auther and Elyse Speaks, University of Colorado, USA An Impression of Déjà vu: Craft, the Visual Arts and the Need to get Sloppy, Denis Longchamps, Concordia University, Canada
Section Two – The Implications of ‘Sloppy Craft’ Introduction Doomed to Failure, Sandra Alfoldy, NSCAD University, USA The Value of ‘Sloppy Craft’: Creativity and Community, Juliette MacDonald, Edinburgh College of Art, UK Why is Sloppy and Postdisciplinary Craft Significant and What are its Historical Precedents?, Gloria Hickey, curator and writer, USA From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Native America, Elizabeth Kalbfleisch, Concordia University, Canada
Section Three – ‘Sloppy Craft’ in Practice and Pedagogy: A Conversation Introduction Eliza Au, Ceramist, Emily Carr University of Art and Design, British Columbia, Canada Jean-Pierre Larocque, Ceramist, Concordia University, Montreal, Canada Kelly Thompson, Fibres, Concordia University, Montreal, Canada Conor Wilson, Ceramist, Royal College of Art, London, UK Peter Wilson, Ceramist, Charles Sturt University in Bathurst, Australia
Postscript - Reprint of Glenn Adamson’s text ‘When Craft gets Sloppy,’ from
Crafts No 211 (March/April, 2008), 36-40 Index
