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’…
Tomás Saraceno’s installation work at the Fondazione Palazzo Strozzi seeks to introduce the viewer to climate activism by serving gorgeously engorged balls, plant-filled terrariums, and aero-dynamic light displays…
‘I grew up working with my hands’, recalls Johanna Unzueta. ‘My mum always said I learned to weave and knit before I learned to read and write. Hands are tools for me and I can’t disconnect that’…
The archaic, derogatory distinctions between craft and art are falling away, as institutions, collectors and wider audiences begin to recognise the transcendent qualities of these mediums, and the creativity and skill they embody…
The Modernism and Alternate Spiritualities symposium, held at the Royal College of Art, was a day brimming with rich discourse on what the focussed study of personal and organised belief systems can provide to the expanding understanding of the literary, arts and social movements of modernity. Despite the seemingly niche nature of the symposium’s guiding […]
How much Bauhaus is too much Bauhaus? A question many Germans might have asked themselves this year as every street corner in every village attempted to prove a link modernism’s most famous institution.
The artistic experimentation and innovation within the space of the domestic speaks to Bauhaus’s relationship with functionality, a sense of home, modernity, domesticity, space and interiority.
The William Morris Gallery’s compact but eye-opening exhibitions in their temporary gallery space never disappoint – and Pioneers: William Morris and the Bauhaus is no exception.
Themes of domesticity underlie this exhibition, highlighting the complex ways that motherhood and domestic spaces go hand in hand in our collective imaginary.
Offering a critique of imperialist thought, Edward Said’s Orientalism created a paradigmatic shift in understanding the relationship between Western (Occidental) and non-Western (Oriental) cultures. Yet Orientalism still pervades mainstream representations of non-Western cultures, which oscillate between intense fetishization and demonization, often in almost the same breath. See for example Dalia Dawood’s description of the Aladdin […]
As is evidenced by Guess Who’s Coming To Dinner Too?, the process of acknowledging and voicing forgotten (or erased) histories of the oppressed in order to engender a form of dignity is at the core of Kaersenhout’s artistic practice.
In 2015, the novelist Kamila Shamsie issued a provocative call to arms to publishers: let’s make 2018 the Year of Publishing Women. What would happen, Shamsie asked, if publishers refused to publish any books by men during the centenary of women’s suffrage in 2018? In the end, only one publisher took up her challenge: the […]
The way we produce and work with materials is changing. The world of bio design dreams of artificial leather, DNA-based dyes, and zero plastic. It’s a brave new world of design-led thinking mixed with a healthy dose of scientific research. In our last issue, we explored craft’s relationship to the environment. Relating to this the […]
As Alexandra Harris notes in Romantic Moderns, modernism is more typically considered to offer allegiance ‘to the wasteland, and not the herbaceous border’, a consideration proved inadequate by the recent Botanical Modernisms symposium, held on the 17th of August 2019. The midsummer’s evening event, organised by Jasmine McCrory (PhD candidate at Queen’s University Belfast) in […]
The painter Helene Schjerfbeck (1862—1946) is apparently ‘one of Finland’s best kept secrets’. I must disagree: firstly, we Finns don’t really aim to keep national secrets (or, at the very least, we get very excited when anything Finnish, such as this exhibition, makes international news), and, secondly, Schjerfbeck is probably Finland’s most internationally acclaimed painter—that […]