Archive

Tag Archives: craft

SKILLSHARE
A day of craft research and discussion at Artexte
Une journée de réflexion sur l’artisanat à Artexte

nburisch_skillshare_promo3

November 16, 2013, 2:30-7PM // Le 16 novembre 2013, de 14 h 30 à 19 h

(le français suit)

2:30-3:30pm: Tour of the Artexte collection and presentation of selected materials and items
A guided tour of the Artexte collection and facilities, followed by a presentation on Nicole Burisch’s research at Artexte.

As 2012-2013 researcher in residence, Nicole Burisch has been investigating the presence and position of craft within Artexte’s collection. Recent developments in craft theory have been marked by a shift away from traditional definitions of craft as necessarily linked to specific materials (such as ceramics, textiles, or glass). Burisch’s research at Artexte builds upon this stance to look at how craft’s qualities appear throughout the collection – resulting in an intuitive and highly personal search for representations of materiality, handwork, labour, skill, process, texture, tactility, pattern, function, rural and “folk” cultures. Using this broader view on where craft might be located, Burisch has gathered a selection of items and excerpts from the collection that together raise and respond to the following questions: How are aspects of craft positioned or deployed within other fields? Which of craft’s qualities or knowledges are useful in communicating certain values or ideas? How has this shifted in relation to other art historical moments or movements?

The results of this research have been gathered together in a new publication: a limited edition bookwork that is half database and half zine. Produced through the repetitive acts of photocopying and (re)arranging, the publication traces the presence of craft in Artexte’s collection, while leaving room for gaps, contradictions, and future additions. Selected craft-based materials and items from the collection will also be on hand for consultation and discussion.

4:00-5:00 Lecture by Anthea Black and Nicole Burisch: From Craftivism to Craftwashing: consuming and co-opting the politics of craft
Craft has frequently been positioned as both a fix and foil for the ills of capitalism and alienating conditions of industrialization. The last decade is no exception, as a recent resurgence of hand-making in the fields of popular culture, design, and art, and the related practices of Craftivism, DIY, urban homesteading, and back-to-the-land, have been dubbed by some as a “craft revolution.” However, this fascination with all things handmade places emphasis on a romanticized notion of crafting (and often textiles in particular) as simple, fulfilling, and politically significant work. These assumptions about the status of craft operate in what is often a false opposition to mass production, consumer culture, and an increasingly technologized world.

In the almost-decade since the word “craftivism” has been used to describe the blending of craft and activism, a number of forces have complicated this relatively emergent dialogue and set of practices. We investigate how the particular qualities of craft have been conflated with notions of authenticity, individuality, and radical politics, and what this might mean in regards to changing notions of activism. If “greenwashing” refers to the use of branding to make a product seem eco-friendly while concealing its negative impacts, we introduce the term “craftwashing” to refer to instances where craft is used to market and perform political and social engagement while obscuring similarly sticky ethical, environmental, and economic impacts of global production and consumption.

-5:00-7:00pm: Book launch for Hay in a Haystack

This event is presented as part of The Deskilling/Reskilling of Artistic Production research-workshop and lecture series held at Concordia University, organized by the FoFA Gallery, and the Faculty of Fine Arts.

Heartfelt thanks to Sylvie Gilbert, John Latour, Felicity Talyer, karen elaine spencer, Eduardo Ralickas, Julie Fournier Lévesque, Éric Legendre, Sarah Watson, Jo-­Anne Balcaen, Anthea Black, Mikhel Proulx, Olya Zarapina. I am also grateful to the Canada Council for the Arts for their support of the research phase of this project.

//

14 h 30 : Visite de la collection d’Artexte et présentation de livres et de documents sélectionnés par Nicole Burisch

Chercheur en résidence à Artexte en 2012-2013, Nicole Burisch a enquêté sur la présence et le positionnement de l’artisanat au sein de la collection d’Artexte.  Sous une notion élargie de l’artisanat, Burisch a réuni un ensemble d’objets et d’articles qui, à la fois, soulèvent et répondent aux questions suivantes : comment voit-on certains aspects de l’artisanat dans d’autres domaines artistiques ? Quelles qualités ou connaissances artisanales sont utiles pour communiquer certaines valeurs ou idées ? Comment cela a-t-il changé par rapport aux autres moments ou mouvements de l’histoire de l’art ?

Le résultat de cette recherche est rassemblé dans une nouvelle publication : l’édition limitée d’un livre d’artiste sous la forme hybride d’une base de données et d’un zine. En utilisant le processus répétitif du photocopieur et du réarrangement, cette publication trace la présence de l’artisanat dans la collection d’Artexte, tout en laissant la place aux lacunes, aux contradictions et aux ajouts futurs. Le lancement officiel de cette nouvelle publication aura lieu à 17h, après la conférence.

16 h à 17 h : Conférence d’Anthea Black et Nicole Burisch : From Craftivism to Craftwashing : consuming and co-opting the politics of craft

Dans la quasi décennie faisant suite à l’apparition du mot « craftivism » pour décrire la fusion de l’artisanat et de l’activisme, plusieurs forces ont brouillé ce dialogue alors émergent et l’ensemble de ses pratiques associées. Burisch et Black examinent comment les qualités particulières de l’artisanat ont été confondues avec la notion d’authenticité, de l’individualité et la politique et ce que cela signifie en regard de l’évolution de la notion de militantisme. Si l’écoblanchiment (greenwashing) fait référence à l’utilisation de la marque pour donner une image écologique responsable à un produit – tout en dissimulant ses impacts négatifs – est introduit ici le terme « craftwashing » pour désigner des cas où l’artisanat est utilisé pour commercialiser et effectuer l’engagement politique et social, tout en masquant les impacts éthiques, environnementaux et économiques de la production et de la consommation globale.

Cette conférence est présentée dans le cadre de l’événement The Deskilling/Reskilling of Artistic Production (la déqualification et la requalification de la production artistique), un atelier de recherche qui aura lieu à l’Université Concordia le 14 novembre, organisé par la Galerie FoFA et la Faculté des Beaux-Arts.

Merci à: Sylvie Gilbert, John Latour, Felicity Talyer, karen elaine spencer, Eduardo Ralickas, Julie Fournier Lévesque, Éric Legendre, Sarah Watson, Jo-­Anne Balcaen, Anthea Black, Mikhel Proulx, Olya Zarapina et au Conseil des arts du Canada pour leur soutien de ce projet.

mille_feuilles_2
Lancement
Lieu : atelier b. (5758 boul. Saint-Laurent, Montréal)
Date : le vendredi 23 août, dès 17 h.
événement facebook

Les textes de Nicole Burisch et d’Andréanne Godin se rencontrent autour de souvenirs de la maison et du territoire originels, d’où s’étaient tissés des liens solides en apparence qui, avec le temps, se sont fragilisés, dénoués, puis reformés.

Cette publication est la deuxième parution de Mille-feuille, projet de micro-édition de courts textes littéraires et poétiques faisant écho à des œuvres d’arts visuels. Pour cette édition, Nicole Burisch a été invitée à écrire un texte en réponse à l’œuvre de l’artiste Andréanne Godin.

*

Launch
Place : atelier b. (5758 boul. Saint-Laurent, Montréal)
Date : Friday August 23, at 5pm.
Facebook event

Texts by Nicole Burisch and Andréanne Godin converge around recollections of home and landscape, places with which seemingly solid ties were woven—ties which over time became fragile, came undone, and then re-formed.

This publication is the second issue of Mille-feuille, a micro-publishing project that presents short literary and poetic texts that respond to works of visual art. For this issue, Nicole Burisch was invited to write a text in response to a work by the artist Andréanne Godin.

renseignements / information
mille-feuilles.ca
info@mille-feuilles.ca

header_aHandmade

I’m headed to Sackville, NB from the 24th to the 27th of October to participate in A Handmade Assembly. I’ll be moderating the opening round table at 7:30pm on the 24th (with Ryan Statz, Allyson Mitchell, and Paula Jean Cowan) and giving an artist talk at 11am on the 25th.

Organized by Struts Gallery & Faucet Media Arts Centre with the Owens Art Gallery and Thunder & Lightning Ltd, A Handmade Assembly invites artists, curators and others from the region and away to lead discussions, facilitate workshops, initiate projects, open exhibitions, and share in a common thread, the handmade.

More information and a complete schedule at handmadeassembly.com, Preview in the Sackville Tribune Post.

The Tory Burch FEED bag, one of the examples we address in our text.

Anthea and I have been busy working on a new body of research into the use of craft and crafted aesthetics as a form of political expression and identity construction. We recently presented a paper entitled, “Performing Austerity: Political Identities and the Co-option of the Crafted Aesthetic” at the Textile Society of America Symposium in Washington, DC. The theme of the Symposium was “Textiles and Politics” and we got to present as part of the fantastic Material Matters panel organized by Lisa Vinebaum, Ruth Scheuing, and Ingrid Bachmann.

The abstract of the paper is posted below, and there are more links, examples, and excerpts on the Performed Austerity website.

Craft has been positioned as both a fix and foil for the ills of capitalism and alienating conditions of industrialization, and the current moment, dubbed by some as a “craft revolution,” often romanticizes craft as simple, fulfilling, authentic, and politically significant work. This paper explores the use of crafted aesthetics in both consumption and anti-consumption models of social/political engagement to conspicuously perform values of personal agency, and social responsibility, as expressions of (life)style in an economic climate obsessed with austerity. We introduce the term “craftwashing” to refer to instances where craft is used to market fashionable goods whose desirability often obscures the sticky ethical, environmental, and economic questions around their production.

The Brick Factory @ NCECA 2012I just got back from a whirlwind trip to the annual NCECA (National Council for Education in the Ceramic Arts) conference, held in Seattle this year. I was there with the other members of The Brick Factory (a performance collective we formed during a residency at Watershed last summer). We presented a series of live performances over the course of 4 days as part of the Project Space exhibitions. Performances ranged from ceramic-themed reworkings of well-known historical performance art works, new original works created specifically for NCECA, and a few off-site interventions. For more information and documentation, check out The Brick Factory website, where we will be adding more posts soon.

extra_cover“In Craft Hard Die Free: Radical Curatorial Strategies for Craftivism, Anthea Black and Nicole Burisch provide a brief international survey of activities which seek to deploy craft for the purposes of protest. Knitting, and other textile arts traditionally associated with communal crafting, plays the leading role. The concept of the ‘revolutionary knitting circle’ recalls the 1970s feminist use of a similar group exchange as a form of consciousness raising. Black and Burisch also cite the AIDS Quilt project of the 1980s as an important precursor for the present moment. So much for precedents, what about the future? Clearly, efficacy and identity are interwoven in this essay, which takes for granted another 70s concept–that the personal is political–and offers real-world strategies for [maintaining] the efficacy of symbolic craft. It is too early to say whether craftivism will have staying power in the cultural imagination, like the Arts and Crafts, studio and countercultural craft movements before it. But there is little doubt that Black, Burisch and their peers have breathed new life into this old set of ideas.”
-Glenn Adamson, The Craft Reader

Extra/ordinary: Craft and Contemporary Art has been reviewed in BUST Magazine, Bad at SportsAmerican Craft, Liminalities and will go to its second printing at Duke soon.

For a copy: https://www.dukeupress.edu/Extra-Ordinary/

A series of performances by Wednesday Lupypciw, Suzen Green & Ryan Statz, and David McCallum & Dory Kornfeld. Presented as part of the M:ST 5 Performative Art Festival, Calgary, AB, October 2010.

This series brings together a group of artists whose hybrid practices incorporate craft and performance. Numerous recent craft projects and exhibitions have emphasized the ways that craft can be used to build community (either as a political tool or as a relational project). In contrast, the projects in this series use the performance of traditional craft activities like knitting and weaving to address ideas of competition and self-interest or to place their creators in a position of advantage. The projects in this series all involve the live creation of new craft works, and thus reveal links between the repetitive and time-consuming actions of crafting and durational performance art practices. Taken together, these performances provide a means to rethink relationships between craft, domesticity, traditional gender roles, and distinctions between the private and public spheres.

A publication accompanying this exhibition, featuring an extended curatorial text “Crafty Advantage: Craft, Performance, and Competition,” was published by M:ST in 2011, and a journal article “Craft Off: Performance, Competition, and Anti-Social Crafting/Performance, compétition et métiers d’art asociaux” was published in the Cahiers métiers d’art/ Craft Journal, Volume 5 Number 2 Spring 2012.

Reviewed by Dick Averns for Akimbo, Oct 11, 2010.