Craft Research最新文献_第9页

Designing through craft practice: A woven textile approach for footwear 通过工艺实践进行设计:纺织织物在鞋类中的应用

IF 0.4

Craft Research Pub Date : 2019-03-01 DOI: 10.1386/CRRE.10.1.41_1

J. Pinski, F. Kane, M. Evans

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引用次数: 0

The search for localism and abstract expressionism in Israeli ceramics in the 1970s 20世纪70年代以色列陶瓷中对地方主义和抽象表现主义的探索

IF 0.4

Craft Research Pub Date : 2019-03-01 DOI: 10.1386/CRRE.10.1.69_1

O. Nezer

引用次数: 0

An apprenticeship project: Silversmithing in Kapalıçarşı (the Grand Bazaar 学徒项目：Kapalıçarşı（大巴扎）的银匠加工

IF 0.4

Craft Research Pub Date : 2019-03-01 DOI: 10.1386/CRRE.10.1.91_1

B. Tarcan, Ayça Tunç Cox

引用次数: 1

The time-space of craftsmanship 工艺的时空

IF 0.4

Craft Research Pub Date : 2019-03-01 DOI: 10.1386/CRRE.10.1.17_1

L. Eriksson, Joakim Seiler, Patrik Jarefjäll, G. Almevik

引用次数: 7

Celebrating craft 庆典工艺

IF 0.4

Craft Research Pub Date : 2019-03-01 DOI: 10.1386/crre.10.1.3_2

K. Niedderer, K. Townsend

引用次数: 1

Exhibition Review 展会回顾

IF 0.4

Craft Research Pub Date : 2018-09-01 DOI: 10.1386/crre.9.2.325_5

Violeta Gutiérrez, Barbara Knoke de Arathoon

{"title":"Exhibition Review","authors":"Violeta Gutiérrez, Barbara Knoke de Arathoon","doi":"10.1386/crre.9.2.325_5","DOIUrl":"https://doi.org/10.1386/crre.9.2.325_5","url":null,"abstract":"Contemporary theories of subjectivity tell us that identity is constructed and, therefore, unstable. How is it, then, that our sense of self and our place in the world can feel so fixed? The works of British-Spanish artist Isabel Rocamora suggest that we needn’t look far to understand: what binds us to our social selves is a complex web, spun with small details of clothing and objects and repeated bodily movements and gestures; even the land beneath our feet pulls us, like gravity, toward particular identities. In each of the four moving-image works shown in the Koffler Gallery’s Troubled Histories, Ecstatic Solitudes, Rocamora explores four demographics of identity, then deconstructs the props and processes that hold, and often hurt, them. Evident was the artist’s performance background, and her subsequent development in video, then film. Curator Mona Filip’s selection of works and their arrangement in the gallery allowed for subtle conversations to develop between them, although they’ve never before been shown together. Serving to introduce both the show itself and Rocamora’s first moving-image experiments was Portrait in Time and Gesture (2005). Throughout the six-minute video, two nearly identical women, shot independently and then fused together through double exposure, stand before a roughly textured wall. When the video begins, the figures are aligned, and appear as one. Then, throughout the remainder of the video, the women variously merge with and separate from each other. The gap within the self opens up, then closes, suggesting the roving identities within a Lacanian split subject. Screening this work on a small monitor in the gallery entrance served its curatorial purpose—marking it as one of the artist’s early transitional pieces—but the monitor’s small size limited its aesthetic potential, available in the graceful flow of movements and mottled colored background. Three high-definition videos, shot originally on 16mm film, occupied the two gallery rooms. In the first room, and directly across from each other, were two films that shared symmetries, despite their different subjects. The loose narrative in the twenty-one-minute dual-channel Horizon of Exile (2007) expressed—through performance, dance, and sound—women’s tightly proscribed existence in society. The film was inspired by post-9/11 media representations of Middle Eastern women. Under that Orientalizing gaze, these nameless victims of Islamic brutality served to justify Western invasion. Rocamora sought to return to them their flesh and feeling. Horizon of exile follows the figure of “woman”—represented primarily through actors’ performances—through an allegorical journey within and away from her constricted role in society. In the first scenes, a woman gets dressed in her domestic space—her identity closing in more tightly with each precise layer of clothing. The singular figure doubles to two women who, clothed in black robes and hijabs, move through arid desert landscapes","PeriodicalId":42324,"journal":{"name":"Craft Research","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2018-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48278160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Rereading and revising: Acknowledging the smallness (sometimes) of craft 重读和修改：承认工艺的渺小（有时）

IF 0.4

Craft Research Pub Date : 2018-09-01 DOI: 10.1386/CRRE.9.2.273_1

Jessica Hemmings

引用次数: 2

Remarkable Image 卓越的形象

IF 0.4

Craft Research Pub Date : 2018-09-01 DOI: 10.1386/crre.2.200_7

R. Hooper

引用次数: 0

Conference Review 会议审查