Overview

Sloppy Craft: Postdisciplinarity and the Crafts brings together leading international artists and critics to explore the possibilities and limitations of the idea of ‘sloppy craft’ – craft that is messy or unfinished looking in its execution or appearance, or both. The contributors address ‘sloppiness’ in contemporary art and craft practices including painting, weaving, sewing and ceramics, consider the importance of traditional concepts of skill, and the implications of sloppiness for a new 21st century emphasis on inter- and postdisciplinarity, as well as for activist, performance, queer and Aboriginal practices. In addition to critical essays, the book includes a ‘conversation’ section in which contemporary artists and practitioners discuss challenges and opportunities of ‘sloppy craft’ in their practice and teaching, and an afterword by Glenn Adamson.

Full Product Details

Author:   Elaine Cheasley Paterson (Concordia University, Canada) ,  Susan Surette (Concordia University, Canada)
Publisher:   Bloomsbury Publishing PLC
Imprint:   Bloomsbury Visual Arts
Weight:   0.446kg
ISBN:  

9781350157699

ISBN 10:   1350157694
Pages:   240
Publication Date:   02 January 2020
Audience:   Professional and scholarly ,  College/higher education ,  Professional & Vocational ,  Tertiary & Higher Education
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

Foreword: 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

Reviews

Sloppy 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 *

Author Information

Elaine 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.

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