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Diversity in the Global Art Market

If the notion of “diversity” suggests the fostering of a variety of expressions on an equal footing, then in the visual arts our scrutiny would have to be directed toward the situation of craft.

ALL TOGETHER NOW: Craft Across Boundaries

What is the place of craft in the global marketplace? It is hardly a new topic. In fact, handmade objects were once the world’s most important cultural ambassadors. Ceramics, textiles, and other goods traversed linguistic barriers in a way no written text could.

WHAT CRAFT IS MISSING: Conversation to Continue…

A longtime volunteer at our museum recently expressed discomfort with the content of the current exhibition. She explained that as a third generation American, the way in which America is represented in the exhibition disturbed her. Surprised at her reaction, I applaud her for expressing her own view.

The Margin You Feel May Not Be Real

Identify the act of making as a form of visual, tactile, and spatial speech. Art is made when the maker is willing to take a position in a dialogue larger than her own conscious ruminations.

WE ARE ALL CORALS NOW: A Crafty Yarn About Global Warming

Stretching along the coast of Queensland, Australia, in a riotous profusion of color and form, the Great Barrier Reef is the first living thing that can be seen from outer space.

CORPOREAL IMPULSE: Contemporary Artists Working in Clay

In an age where technology tends to form more physical detachments than connections, there is a cultural longing to experience something tangible and handmade.

Parallel Closets

Patchwork quilts of polyester pants and feedsacks filled spare rooms in a rough-hewn house full of hand-carved cradles, toys, and cabinets with smooth poplar floors.

In Conversation

RON LABACO with Lowery Stokes Sims

Out of Hand explores the role that digital fabrication, or computer-assisted manufacturing, has played in our built world, in art, design, and architecture since 2005.

Alex Matisse’s Creative Cycle of Intention, Accident, and Community

Snow. An old black dog. A worn white house tucked into a mountain valley. Across a small field, flames rocket upward from the brick chimney of a massive wood fired kiln protected by a shed roof. The red-orange flare means East Fork Pottery is in the midst of a firing, a seven day cycle of heat, smoke, and gradual cooling that produces over 1,000 pots ranging from monumental forms and dynamically patterned chargers to simple vases, bowls, and cups.


The Brooklyn Rail

APR 2014

All Issues