Anni Albers, City, 1949, The Josef and Anni Albers Foundation, Bethany

Decorating Dissidence is currently open for submissions on the following themes:

Tools, Mastery, and Use, guest edited by matt lambert

“The master’s tools will never dismantle the master’s house.” Audre Lorde

This issue is looking for reflections, narratives and research on tools. How we use tools, how we make tools and how makers and objects have been used as tools for larger historical conversations. This issue is broadly open to historical and personal narrative, poetry, object analysis and process description as well as exhibition reviews. Tools, use and mastery are the words used between the maker, the object and user/participant/viewer. They are terms to talk about the invisible movements not always seen when experiencing an object. Audre Lorde has used the metaphors of tools and mastery to talk about ways of being and many have used her words to expand on possibilities in making tools for societal and cultural shifts. Makers have used tools to physically build foundations of societies and societies have used makers as tools to change cultural narratives. Tool as a term takes on a multiplicity of meaning in making practices and the writing of histories. This issue is being developed with the assertion that the personal is historical and that poetry and creative writing/acts can hold histories that are otherwise not seen or accepted by conventional western/Eurocentric cannons. Please email submissions to with the subject DD Tools by 24th Jan 2022.

  • About our guest editor:
  • matt lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working towards equity, inclusion, and reparation. They are a founder and facilitator of The Fulcrum Project and currently are a PhD student between Konstfack and University of Gothenburg in Sweden. They hold a MA in Critical Craft Studies from Warren Wilson College and an MFA in Metalsmithing from Cranbrook Academy of Art. Lambert currently is based in Stockholm Sweden and was born in Detroit MI, US where they still maintain a studio. They have exhibited work nationally and internationally including at: Turner Contemporary, Margate, Uk, ArkDes, and Sven-Harrys Konstmuseum, Stockholm, Sweden, Museo de la Ciudad, Valencia , Spain and Walker Art Center, Minneapolis, MN, US

    Judith Leemann, from arvensis, 2017

    *POSTPONED* TEXT, guest edited by Janyce Denise Glasper

    • TEXT seeks to uncover artists who are pushing boundaries when it comes to language, moving words beyond paper, bringing them to sculpture, installation, textile. Adrian Piper, Barbara Kruger, Jenny Holzer, Glenn Ligon, Bethany Collins, and Jade Montserrat are just some of several prolific conceptual artists using text in their work. Text requests viewers to utilize both parts of the brain— the visual act of seeing the words and analyzing the interaction of those words. Size, shape, and contrast invites critical thinking, to read and understand. Even languages that are not in our own native tongue evoke undeniable importance: Shirin Neshat’s violent Arabic laced photographs that reveal the violent oppression of Iranian women or Sophie Calle’s intimate French books. This issue is looking for sharp, edgy writings about past or contemporary artists who craft/crafted provocative, engaging, thought-provoking art that challenges how text is perceived. Please email submissions to
    • About our guest editor: Janyce Denise Glasper is a multidisciplinary artist, writer, and independent scholar. She has a BFA in drawing from the Art Academy of Cincinnati and post baccalaureate and MFA from the Pennsylvania Academy of the Fine Arts. She currently lives and works in Dayton, Ohio and blogs at AfroVeganChickfemfilmrogues, and Black Women Make Art.
    Jade Montserrat, The Last Place They Thought Of, installation view, Institute of Contemporary Art, Philadelphia, 2018

    What we’re looking for…

    We accept: reviews of contemporary exhibitions or performances; interviews with contemporary practitioners; articles on aspects of craft and making in art, from the early twentieth century to the present day; images of art and craft work from practitioners; artist statements; interviews with contemporary artists, makers, and curators; and creative responses to art and craft.

    We’re always open to new ideas, so if you want to submit something that’s not covered in the above, please get in touch!

    Advice When Submitting Work

    Word count will vary depending on the type of submission, but generally we suggest roughly 600-1000 words for reviews, articles, and interviews. 

    For written creative responses, we are looking for work that directly responds to a piece of visual art or craft, or a craft technique. 

    When submitting, you should include: 

    • A short 150-250 word bio of yourself, including website and social media links.
    • Relevant images

    The best guide to the kind of submissions we might like to receive is what we usually publish, so please take the time to familiarise yourself with previous issues before contacting us. You can reach us at:

    We generally advise submitting a proposal of around 200-300 words first, so that we can discuss your ideas before you write the piece, so that we can discuss how this will fit in to the issue as a whole. However, do feel free to submit a full piece for review.

    Please note that unfortunately we are not currently in the position to pay for submissions, as the Decorating Dissidence blog generates no revenue and everyone involved with editing and managing it is donating their time for free. We are working hard to change this in the future!