Craft is Political

D Wood's book explores how craft is a response to economic, social, and technological contexts, and how it can be seen as a political opposition to the Industrial Revolution. It includes case studies from Turkey, New Zealand, Taiwan, and Finland, and argues that a holistic perspective on craft is overdue.

\n Format: Hardback
\n Length: 280 pages
\n Publication date: 20 May 2021
\n Publisher: Bloomsbury Publishing PLC
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Throughout the 21st century, various craft practices have garnered the attention of academics and the general public in the West. In Craft is Political, D. Wood has assembled a collection of essays to argue that this attention is a direct response to and critique of the particular economic, social, and technological contexts in which we live. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution, Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South, Indigenous ideology, and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft, in light of colonialism, post-colonialism, critical race theory, and globalization, is overdue. A great diversity of case studies is included, from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education. Craft is Political brings together authors from a variety of disciplines and nations to consider politicized craft.

Craft is a multifaceted phenomenon that has captured the interest of scholars and the broader public in the West throughout the 21st century. In Craft is Political, D. Wood has curated a collection of essays that posit that this attention is a direct response to and critique of the specific economic, social, and technological contexts in which we reside. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a form of political opposition to the Industrial Revolution, Wood and her authors argue that contemporary craft activities are politically saturated when perspectives from the Global South, Indigenous ideology, and even Western government policy are examined. Craft is Political contends that a comprehensive understanding of craft, in the context of colonialism, post-colonialism, critical race theory, and globalization, is long overdue. This anthology includes a diverse range of case studies, encompassing craft and design in Turkey, craft markets in New Zealand, Indigenous practitioners in Taiwan, and Finnish craft education. Craft is Political brings together authors from various disciplines and nations to explore politicized craft.

Craft is a multifaceted phenomenon that has captivated the interest of scholars and the broader public in the West throughout the 21st century. In Craft is Political, D. Wood has assembled a collection of essays that argue that this attention is a direct response to and critique of the specific economic, social, and technological contexts in which we reside. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a form of political opposition to the Industrial Revolution, Wood and her authors contend that contemporary craft activities are politically saturated when perspectives from the Global South, Indigenous ideology, and even Western government policy are examined. Craft is Political contends that a comprehensive understanding of craft, in the context of colonialism, post-colonialism, critical race theory, and globalization, is long overdue. This anthology includes a diverse range of case studies, encompassing craft and design in Turkey, craft markets in New Zealand, Indigenous practitioners in Taiwan, and Finnish craft education. Craft is Political brings together authors from various disciplines and nations to explore politicized craft.

Craft is a multifaceted phenomenon that has captivated the interest of scholars and the broader public in the West throughout the 21st century. In Craft is Political, D. Wood has assembled a collection of essays that argue that this attention is a direct response to and critique of the specific economic, social, and technological contexts in which we reside. Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a form of political opposition to the Industrial Revolution, Wood and her authors contend that contemporary craft activities are politically saturated when perspectives from the Global South, Indigenous ideology, and even Western government policy are examined. Craft is Political contends that a comprehensive understanding of craft, in the context of colonialism, post-colonialism, critical race theory, and globalization, is long overdue. This anthology includes a diverse range of case studies, encompassing craft and design in Turkey, craft markets in New Zealand, Indigenous practitioners in Taiwan, and Finnish craft education. Craft is Political brings together authors from various disciplines and nations to explore politicized craft.

\n Weight: 596g\n
Dimension: 164 x 241 x 20 (mm)\n
ISBN-13: 9781350122260\n \n