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Over the course of the nineteenth century, women in Britain participated in diverse and prolific forms of artistic labour. How women faced the pragmatics of their own creative labour as they pursued vocations, trades and professions in the domestic handicraft movements, music, design, commercial illustration, china painting, and authorship reveals the different ideological positions surrounding the transition of women from industrious amateurism to professional artistry.
Middle class women --- Handicraft --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Women --- Employment --- History
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The field of 'Craft Sciences' refers to research conducted across and within different craft subjects and academic contexts. This anthology aims to expose the breadth of topics, source material, methods, perspectives, and results that reside in this field, and to explore what unites the research in such diverse contexts as, for example, the arts, conserva-tion, or vocational craft education.
Handicraft. --- Handicraft --- Study and teaching. --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd
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Handicraft. --- Handicraft --- History. --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd
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By contrasting American experience with the Canadian context, which includes a unique Quebec identity and a Native dimension, Sandra Alfoldy argues that the development of organizations, advanced education for craftspeople, and exhibition and promotional opportunities have contributed to the distinct evolution of professional craft in Canada over the past forty years. Alfoldy focuses on 1964-74 and the debates over distinctions between professional, self-taught, and amateur craftspeople and between one-of-a-kind and traditional craft objects. She deals extensively with key people and events, including American philanthropist Aileen Osborn Webb and Canadian philanthropist Joan Chalmers, the foundation of the World Crafts Council (1964) and the Canadian Crafts Council (1974), the Canadian Fine Crafts exhibition at Expo 67, and the In Praise of Hands exhibition of 1974. Drawing upon a wealth of previously unexploited materials, this richly documented survey includes descriptions and illustrations of significant works and identifies the challenges that lie ahead for professional crafts in Canada.
Handicraft --- Decorative arts --- Applied arts --- Art industries and trade --- Art --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Manual training --- Sloyd --- History
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During periods of close collaboration, championed by figures like John Ruskin and William Morris, architecture and craft were referred to as "the allied arts." By the mid-twentieth century, however, it was more common for the two disciplines to be considered distinct professional fields, with architecture having little to do with studio craft. The Allied Arts investigates the history of the complex relationship between craft and architecture by examining the intersection of these two areas in Canadian public buildings. Sandra Alfoldy explains the challenges facing the development of the field of public craft and documents the largely ignored public craft commissions of the post-war era in Canada. The book highlights the global concerns of material, scale, form, ornament, and identity shared by architects and craftspeople. It also examines the ways in which the allied arts are mediated by institutions and the fragility of craft commissions once considered an integral part of the built environment. Considering a wide range of craftspeople, materials, and forms - from the ceramics of Jack Sures and Jordi Bonnet to the textile work of Mariette Rousseau Vermette and Carole Sabiston - Alfoldy celebrates the successes of architectural craftsmanship. The first work of its kind, The Allied Arts develops ideas about the complex relationship between architecture and craft that reach well beyond national boundaries.
Architecture --- Handicraft --- Decorative arts --- Applied arts --- Art industries and trade --- Art --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Manual training --- Sloyd --- History
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This text examines individuals, families, and communities of craftworkers and their changing experience in town and country. Based on case studies drawn from personal, business, institutional and official records, as well as newspaper reports and visual illustrations, it looks at workplace dynamics and handmade wares shaped by personal consumption, rather than industrial production. Stana Nenadic examines the 'things' that were made and the values they embodied at a time when most Scots were still engaged in hand making - either for income or pleasure - despite Scotland's emergence as a great industrial powerhouse.
Artisans --- Handicraft --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Artizans --- Craftsmen --- Craftspeople --- Craftspersons --- Skilled labor --- Cottage industries --- History
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Best known for her culinary and domestic guides and the award-winning short story "Mrs. Washington Potts," Eliza Leslie deserves a much more prominent place in contemporary literary discussions of the nineteenth century. Her writing, known for its overtly moralistic and didactic tones-though often presented with wit and humor-also provides contemporary readers with a nuanced perspective for understanding the diversity among American women in Leslie's time.Leslie's writing serves as a commentary on gender ideals and consumerism; presents complicated constructions of racial, national, and class-
Etiquette for women. --- Handicraft. --- Cooking, American. --- American cooking --- Cookery, American --- Women --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Etiquette --- Conduct of life
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Handicraft --- Artesanías --- Art schools --- Escuelas de arte --- Art --- Schools --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd --- Study and teaching
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"In an era of increasingly available digital resources, many textile designers and makers find themselves at an interesting juncture between traditional craft process and newer digital technologies. Highly specialized craft/design practitioners may now elect to make use of digital processes in their work, but often choose not to abandon craft skills fundamental to their practice, and aim to balance the complex connection between craft and digital processes. The essays collected here consider this transition from the viewpoint of aesthetic opportunity arising in the textile designer's hands-on experimentation with material and digital technologies available in the present. Craft provides the foundations for thinking within the design and production of textiles, and as such may provide some clues in the transition to creative and thoughtful use of current and future digital technologies. Within the framework of current challenges relating to sustainable development, globalization, and economic constraints it is important to interrogate and question how we might go about using established and emerging technologies in textiles in a positive manner"--
Textile design --- Decoration and ornament --- Design --- Textile industry --- Data processing. --- Technological innovations. --- Handicraft --- Fashion & textiles: design --- Philosophy. --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Decorative arts --- Manual training --- Sloyd
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Arts and Humanities --- Architecture, Fine and Decorative Arts --- Handicraft --- Decorative arts --- Decorative arts. --- Handicraft. --- Crafts (Handicrafts) --- Handcraft --- Occupations --- Manual training --- Sloyd --- Applied arts --- Art industries and trade --- Art --- Artisanat --- Arts décoratifs
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