Documents on Contemporary Crafts 1-5现代工艺文件1-5平装
关于AuthorNorwegian Crafts是一个非盈利组织，由挪威工艺美术协会于2012年成立。挪威工艺品公司与挪威和国际机构、策展人和艺术家合作发起并制作展览。其目的是加强挪威当代手工艺在国际上的地位，促进艺术家职业生涯的发展，并促进各国在工艺领域的进一步交流。
￥ 580 7.6折 ￥ 765 九品
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北京通州
认证卖家担保交易快速发货售后保障
作者Arnoldsche
出版社Arnoldsche
ISBN9783897905801
出版时间2019-11
印刷时间2019-11
印数1千册
装帧平装
开本16开
纸张铜版纸
页数616页
字数1千字
定价765元
上书时间2020-10-31
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•关于当代手工艺当前问题的独特系列现已统一在一个设计精美的盒子里•工艺领域最重要的理论家为这些出版物做出了贡献。当代手工艺文献是挪威工艺品公司与阿诺尔德策艺术出版社合作出版的系列丛书。该系列在更广泛的背景下对当代手工艺进行了批判性的反思，并在此过程中提出了当代手工艺、美术和设计之间关系的问题，从而有助于重新定义工艺本身的概念。这五卷讨论的主题，如技能，物质性，策展，收集，感知和新的物化。30多位撰稿人，从著名的工艺理论家，如乔伦·维特伯格、格伦·亚当森和利斯贝思·登贝斯登，到工艺传统之外的学者，如外科教育教授罗杰·L·尼伯恩，社会人类学教授特雷弗·马钱德（Trevor Marchand）和心理咨询师玛格丽特·瓦兹（Margaret Wasz）向萨拉·R·吉尔伯特、玛丽安·扎梅茨尼克和斯蒂芬·诺特这样的新兴声音说话。第一：技能博物馆。技巧对于手工艺语篇是必不可少的。然而，在过去50年里，艺术界越来越注重概念策略，我们看到了书桌化和外包的趋势。在《技能博物馆》中，撰稿人通过借鉴大脑研究、外科学和人类学领域的经验，分析技能的现状。第二：实质性问题。如果物质性在当代工艺和当代艺术中都是一个与质量相关的概念，那么我们谈论的是同一个概念吗？或者，一方面，一个制作者对他或她的材料的信心，另一方面，当代艺术家对特定材料的使用和改编，两者之间是否存在根本的区别？第三：制作展览。策展人的发言一直在增加策展话语已成为当代艺术的一个日益重要的方面。馆长扮演了展览的“作者”这个新角色。手工艺展览介绍了制作展览的一些过程，从概念的发展到实体的实现。投稿人提供了不同的展览方式。第四：关于收集。收藏品是当代工艺美术基础设施的重要组成部分。收藏家和博物馆有助于改善艺术家的经济状况。此外，被纳入“正确”的收藏或博物馆可以给艺术家一个高水平的认可和保存的艺术作品为未来。《论收藏》从不同的角度提供了对收藏的见解，并阐明了决定艺术品“可收藏性”的一些结构。第五：物质感知。例如，在日常生活中，玻璃和纺织品可以被视为手工艺品，或是手工艺品。物质感知研究当代工艺作为现实的表现，不依赖于自主性的概念，揭示了审美对象和日常事物之间的二元论。
• The unique series on the current issues of contemporary crafts now united in a beautifully designed box• The most important theorists from the crafts field have contributed to these publicationsDocuments on Contemporary Crafts is a book series published by Norwegian Crafts in collaboration with Arnoldsche Art Publishers. The series provides a critical reflection of contemporary crafts in a wider context and in doing so asks questions about the ties between contemporary craft, fine art and design, thus helping to redefine the concept of crafts as such. The five volumes discuss such topics as skills, materiality, curating, collecting, perception and New Materializm. The more than thirty contributors range from leading craft theorists, such as Jorunn Veiteberg, Glenn Adamson and Liesbeth den Besten, via academics outside the craft tradition, such as Roger L. Kneebone, professor of surgical education, Trevor Marchand, professor of social anthropology, and Margaret Wasz, consultant psychological therapist, to emerging voices like Sarah R. Gilbert, Marianne Zamecznik and Stephen Knott. No. 1: Museum for Skills. Skills are essential to the crafts discourse. Yet in an art world that for the last 50 years has become increasingly focused on conceptual strategies, we have seen the tendencies of deskilling and outsourcing. In Museum for Skills, the contributors analyze the current situation for skills by drawing on experience from the fields of brain research, surgery and anthropology. No. 2: Materiality Matters. If materiality is a quality-related concept in both contemporary crafts and contemporary art, are we talking about the same notion? Or is there a fundamental difference between, on one hand, a maker's confidence in his or her materials, and on the other, a contemporary artist's use and adaption of a given material? No. 3: Crafting Exhibitions. Curatorial discourse has been an increasingly important aspect of contemporary art. The curator took on a new role as the 'author' of the exhibition. Crafting Exhibitions introduces some of the processes that go into making an exhibition, from developing concepts to the physical realization. The contributors offer different approaches to exhibitions. No. 4: On Collecting. Collections make up an important part of the contemporary arts and crafts infrastructure. Collectors and museums help improve the financial situation of artists. Additionally, to be included in the 'right' collection or museum can give an artist a high level of recognition and preserves the art works for the future. On Collecting offers insights into collecting from different perspectives and sheds light on some of the structures that determine the 'collectability' of works of art. No. 5: Material Perceptions. Contemporary craft objects can be perceived for instance, as works of art in ceramics, glass, textile, metal and wood, or as functional, handmade and everyday objects. Material Perceptions investigates contemporary crafts as representations of reality that do not rely on the concept of autonomy, unravelling the dualism between aesthetic objects and everyday things.
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