There is no single history of craft.
Craft is long. Craft is and has been at the core of cultural knowledge, learning between generations, and community connections. And yet, whiteout conditions in academia and museums continue to frame craft as something to be discovered, uncovered, and saved.
Photographed against a white background, we wonder: what context would your questions about craft–about this pot–bring into view? What could we learn if your hand is holding that mic, and your voice asking the questions? What could your research do to shape a field of craft studies?
The pot pictured above connects to a constellation of stories; some are well-worn and well-known, others quiet and private, and still others not yet voiced.
Join us to turn the mic to new voices, more stories, and bigger contexts.
Register here or email Nathan Wyrick, Director of Admissions, at firstname.lastname@example.org to attend an upcoming information session for Warren Wilson College’s low-residency MA in Critical Craft Studies.
Visit our program website to learn more about how we work to understand craft. The site gives context for how we think, learn, and communicate our research. There, you can listen to “Building a Craftscape: What is a Field and Who Does it Include?”, a Faculty Webinar by Namita Gupta Wiggers, Program Director; download Paired Conversations in which students discuss their research with artists, curators, scholars, and writers from multidisciplinary backgrounds; and access both of our student-led publications. All purchases of the publications support scholarships for students who are Black, Indigenous, and People of Color in the program.
Applications are due February 1, 2022. Attend an information session at admissions.warren-wilson.edu for more about how to apply.
*This question is asked in homage to WJT Mitchell’s What do Pictures Want?: The Lives and Loves of Images.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In his new book, Tyler Green argues that landscape was Emerson’s method of glorifying territories shaped and bordered by white men.
“The 52-hertz Whale,” which sings a song at a frequency no other whale uses, is a social media phenomenon. But this film shows that the phenomenon says more about us than whales.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
The unvarnished photographs celebrate the lives, beauty, and resilience of an oppressed group at Chile’s social peripheries in the 1980s, and the series was recently acquired by MOCA in Los Angeles.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.