Full Product Details
Author: Glenn Adamson
Publisher: Bloomsbury Publishing PLC
Imprint: Bloomsbury Visual Arts
Dimensions:
Width: 17.20cm
, Height: 1.40cm
, Length: 24.40cm
Weight: 0.500kg
ISBN: 9781350092631
ISBN 10: 1350092630
Pages: 224
Publication Date: 01 October 2018
Audience:
College/higher education
,
Tertiary & Higher Education
Format: Paperback
Publisher's Status: Active
Availability: In Print
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Reviews
'At a time when technical skill has been widely dismissed or outsourced in the production of art, Glenn Adamson crucially adds an entire spectrum of hand-crafted objects to the creative history of the post-war era. And at a time when theoretical frameworks have stagnated, these objects, in his hands, bring with them a fresh and sophisticated set of interpretive perspectives.' * Thomas Crow, Institute of Fine Arts, New York University * 'Adamson asks provocative questions about the marginalization of craft within the discourse of modernism. Best of all, he writes with a lucidity, energy and engagement that takes the reader with him all the way.' * Pennina Barnett, Goldsmiths College, University of London * 'A highly original contribution, Thinking through Craft is both thoughtful and exacting about crafted objects and the lessons provided by the artists' time, labor and material inventiveness.' * Modern Painters * 'A pathbreaking book * Elissa Auther, University of Colorado * Throughout Thinking Through Craft, Adamson offers such provocative readings of both fine art and craft history that are likely to instigate radical new ways of thinking about each. * Maria Elena Buszek, for Surface Design * This book is ... full of thoughtful and pertinent analysis and achieves an impressive theoretical take on the role of studio craft within the history of modern art. * The Journal of William Morris Studies * A thoughtful, exciting and well-written book that touches on so many interesting ideas concerning craft. * Museum Anthropology Review * [R]ecommended to both art and design theorists and anyone else anxious to engage in theorizing about craft. -- Andrea Peach, Robert Gordon University, Aberdeen, UK
"'At a time when technical skill has been widely dismissed or outsourced in the production of art, Glenn Adamson crucially adds an entire spectrum of hand-crafted objects to the creative history of the post-war era. And at a time when theoretical frameworks have stagnated, these objects, in his hands, bring with them a fresh and sophisticated set of interpretive perspectives.' * Thomas Crow, Institute of Fine Arts, New York University * 'Adamson asks provocative questions about the marginalization of craft within the discourse of modernism. Best of all, he writes with a lucidity, energy and engagement that takes the reader with him all the way.' * Pennina Barnett, Goldsmiths College, University of London * 'A highly original contribution, Thinking through Craft is both thoughtful and exacting about crafted objects and the lessons provided by the artists' time, labor and material inventiveness.' * Modern Painters * 'A pathbreaking book"" * Elissa Auther, University of Colorado * Throughout Thinking Through Craft, Adamson offers such provocative readings of both fine art and craft history that are likely to instigate radical new ways of thinking about each. * Maria Elena Buszek, for Surface Design * This book is ... full of thoughtful and pertinent analysis and achieves an impressive theoretical take on the role of studio craft within the history of modern art. * The Journal of William Morris Studies * A thoughtful, exciting and well-written book that touches on so many interesting ideas concerning craft. * Museum Anthropology Review * [R]ecommended to both art and design theorists and anyone else anxious to engage in theorizing about craft. -- Andrea Peach, Robert Gordon University, Aberdeen, UK"
Author Information
Glenn Adamson is Deputy Head of Research and Head of Graduate Studies at the Victoria and Albert Museum, where he leads a graduate program in the History of Design. He holds degrees in Art History from Cornell University (BA) and from Yale University (PhD). Dr. Adamson was previously curator at the Chipstone Foundation, and in that capacity prepared exhibitions at the Milwaukee Art Museum and taught Art History at the University of Wisconsin-Madison. He is the co-editor (with Tanya Harrod and Edward S. Cooke, Jr.) of the Journal of Modern Craft, the only academic journal in the subject area, which will launch in March 2008.
