Guernica Remaking, a research project led by Dr. Nicola Ashmore, seeks to explore how the radical energy of this political charged artwork is being harnessed by community groups across the globe.
… Spotlight: Guernica Remakings
Guernica Remaking, a research project led by Dr. Nicola Ashmore, seeks to explore how the radical energy of this political charged artwork is being harnessed by community groups across the globe.
… Spotlight: Guernica RemakingsAfter stumbling on an exhibition in Madrid, Roberta Quance discovers the affective resonance of crochet and the legacies of lacemaking…
… In the (Spider’s) Web (on Berta López)How the mysterious and enigmatic artist Madge Gill (1882-1961) defied all expectations of being a working class woman in the early 20th century.
… Madge Gill: Creativity with No BoundariesHannah Waldron’s weavings translate the dynamism of modern architecture and cityscapes into fabric design…
… Interview with Hannah WaldronContinuing Decorating Dissidence’s exploration into the legacy of the Bauhaus weaving workshops, Suzanna Petot got in touch with Erica Warren, Associate Curator in the Department of Textiles at the Art Institute of Chicago, to ask a few questions about her career and her most recent exhibition…
… Curator Interview: Tracing the Bauhaus Threads with Erica WarrenCeramics and pottery making are empowering practices, simple yet uplifting way of intervening in everyday life and leaving behind a trace of our touch.
… Editorial 9: CeramicsThrough the Lancaster Dinner Service, Himid interrogates the city’s involvement in the slave trade, forcing the viewer to confront the dark histories of the British Empire and the ongoing legacies of this violence and oppression.
… An interview with Lubaina HimidClay Clay Ceramics is a ceramics collective, featuring three young female artists; Alice Clarke, Madeline Denny-Gelder and Samantha Warden, whose binding quality lies within their interest in how ceramic artworks behave in a contemporary fine art setting.
… Clay Clay Ceramics: a Collective in an Age of Social DistancingIn the opening of Live Form: Women, Ceramics, and Community, Jenni Sorkin leads with a new take on this tussle between two forms to argue that it was ‘modern craft and not modern art that spearheaded nonhierarchical and participatory experiences’. A sentiment we at Decorating Dissidence can get behind.
… Review: Live Form by Jenni SorkinAugusta Savage’s classical sculpture humanised the Black experience during the prevalent Harlem Renaissance era.
… Augusta Savage: Continuing a legacyAs I approach 60, I feel comfortable working from ideas based on my interior perspective. The validation of others does not bother me too much – I like to be part of the conversation but otherwise I make what I feel like doing and that gives me pleasure.
… Community in Clay: Rosamund CoadyI could connect to people whom I a priori had nothing in common with, simply because we were potters. We spoke the same language, the language of clay, which went beyond the borders within which we had been born.
… A Life Journey Through ClayQueer(ing) Craft is guest edited by Daniel Fountain.
… Editorial 8: Queer(ing) CraftLiving Beyond Limits (20 October 2018 – 3 February 2019) at Middlesbrough Institute of Modern Art was a queer re-exploration of its art collection. Assistant Curator Helen Welford and I (Claire Mead) invited members of local LGBTQIA+ communities to co-curate and queer it with us. Based on their choices of objects to be displayed, co-curators wrote interpretation labels based on their own personal experiences and thoughts around queerness...
… Crafting Queer Spaces: Living Beyond Limits