Podcasts about modern craft

Paloma Checa-Gismero talks about the many processes of re-evaluation, re-contextualization, and re-animation that designates an object as art. To illustrate this point, she calls our attention to the work of artists like Mierle Laderman Ukeles in the 1970s, or the 1989 exhibition titled Magiciens de la terre at the Centre Georges Pompidou in Paris. She develops the concept of aesthetic conversions in her new book about the histories and geographies of art biennials, which, in the post cold war world, converted subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite. Paloma Checa-Gismero is a historian of global contemporary art. She is Assistant Professor of Art History at Swarthmore College. Originally trained as an artist, she has been an active art critic since 2009. Her scholarship and criticism have been published in Afterall, FIELD, Third Text, The Journal of Modern Craft, among others. She is the author of Biennial Boom: Making Contemporary Art Global (Duke University Press, 2024). Image: © 2023 Saronik Bosu. It is a tilted and warped version of the capital letter B that spills out of the frame, its three parts in maroon, violet, and deep green, against a yellow ochre background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Paloma Checa-Gismero talks about the many processes of re-evaluation, re-contextualization, and re-animation that designates an object as art. To illustrate this point, she calls our attention to the work of artists like Mierle Laderman Ukeles in the 1970s, or the 1989 exhibition titled Magiciens de la terre at the Centre Georges Pompidou in Paris. She develops the concept of aesthetic conversions in her new book about the histories and geographies of art biennials, which, in the post cold war world, converted subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite. Paloma Checa-Gismero is a historian of global contemporary art. She is Assistant Professor of Art History at Swarthmore College. Originally trained as an artist, she has been an active art critic since 2009. Her scholarship and criticism have been published in Afterall, FIELD, Third Text, The Journal of Modern Craft, among others. She is the author of Biennial Boom: Making Contemporary Art Global (Duke University Press, 2024). Image: © 2023 Saronik Bosu. It is a tilted and warped version of the capital letter B that spills out of the frame, its three parts in maroon, violet, and deep green, against a yellow ochre background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Welcome to another episode of The Embellish Pod!

In the final, somewhat delayed episode of our series on the Gothic history of withcraft in the Western World, Mary looks at how witches and witchcraft have evolved in the post modern era and Lauren goes on a rant about mass produced etsy tshirts.

For the PNW Yarn Crawl, Ewe and I Yarns is focusing on Turkey as their theme! Therefore, we talk about Turkish fiber traditions today, so you have some extra background information when you look at all the fiber goodness at Ewe and I! We cover Turkish color-knitting and we highlight Turkish rugs. We hope to see you soon at the PNW Yarn Crawl at Ewe and I! https://www.eweandiyarns.com/ Email us with suggestions and concerns at: Spinningayarnstale@gmail.com Or follow us on Instagram! Spinningayarnstale Patterns Talked about today:  The Bonnie Cardigan:  https://www.ravelry.com/patterns/library/bonnie-27 Pictures of Turkish Socks as well as a lovely article: https://pieceworkmagazine.com/sock-monday-turkish-socks/ RESOURCES:  a, n. (2020, March 2). Knitted socks from Turkey – craft techniques. THE CRAFT ATLAS. Retrieved March 6, 2023, from https://craftatlas.co/crafts/handmade-knitted-socks-from-turkey Aktaş, B. M., & Veryeri Alaca, I. (2017). The co-knitting project: A proposal to revive traditional handmade socks in Turkey. The Journal of Modern Craft, 10(3), 237–256. https://doi.org/10.1080/17496772.2017.1394524 Hershberger, L. D. T. (2018, February). Entranced by Turkish Socks. Piecework, 26(1). Nargi, L. (2014). Knitting around the world: A multistranded history of a time-honored tradition. Voyageur. Looms & Tools. Babak's Oriental Carpets. (n.d.). Retrieved March 8, 2023, from https://www.babaksorientalcarpets.com/pages/looms-tools YouTube. (2013). YouTube. Retrieved March 8, 2023, from https://www.youtube.com/watch?v=rsWL-2xHFps. Turkish rug motifs. Turkish Rug Motifs. (n.d.). Retrieved March 12, 2023, from https://www.abc-oriental-rug.com/turkish-rug-motifs.html Koçak, N. (2022, October 4). Artistry at work: Dazzling, traditional carpet-weaving of Türkiye. Daily Sabah. Retrieved March 12, 2023, from https://www.dailysabah.com/life/history/artistry-at-work-dazzling-traditional-carpet-weaving-of-turkiye Ferriter, M. (n.d.). Turkish spindles archives. TurkishFolkArt. Retrieved March 13, 2023, from https://turkishfolkart.com/product-tag/turkish-spindles/ Turkish spindles archives. TurkishFolkArt. (n.d.). Retrieved March 13, 2023, from https://turkishfolkart.com/product-tag/turkish-spindles/

When studying mokuhanga, whether you're an academic, a creator, or for general interest, there are some scholars and academics that are mandatory in your studies.  Claire Cuccio is that particular scholar. Currently based in Seattle, and working in international education for 20 years, Claire has been a resident in Asia as an Asian print and handcraft culture specialist and cultural heritage educator. While also working for the International Mokuhanga Conference and conducting research on Nepalese woodblock print culture, Claire has been an asset to the mokuhanga community for some time.  On this episode I speak with Claire about how she got involved in studying print culture in Japan and Asia. We talk on the sensibility of mokuhanga and how Claire is driven by her personal relationships. We also discuss the economics of mokuhanga history and her work with Nepalese printmaker, Kabi Raj Lama.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Claire Cuccio  - her International Mokuhanga Conference lecture from 2022 can be found, here. Claire's work with woodpaperhand can be found here which contains links to many of her projects and lectures.  The New Yorker -  is a weekly magazine which began publishing in 1925 in the United States. It is published by Condé Nast. It is a magazine that covers American and world politics, culture, and arts from around the world, and New York City.  Washington University in St. Louis - is an acclaimed private research university located in St Louis, Missouri, USA. It has an edownment of 13.3 billion. The school covers many subjects and career paths such as medicine and law. More information can be found on their website, here. Myōjō - (明星) was a monthly literary and arts magazine based in Japan. It began publication in 1900 but ended its run in 1908.  It was published by Shinshisha. It was revived twice from 1921-1927, and from 1947-49 by different publishers. The magazine was made famous because of the first sōsaku hanga print ever made by Yamamoto Kanae, “The Fisherman.”  Myōjō cover from February, 1901 Harpers - is a monthly magazine in the United States, published by Harper Collins and was founded in 1850. The magazine covers politics, culture, art, history amongst other subjects. More info can be found, here. Yosano Akiko (1878-1942) - was the pen name of Shō Hō, a Japanese poet, pacifict and feminist. Her work was in the tanka format of poetry, which is 5-7-5-7-7. The Masterclass website has an interesting article describing tanka poetry, here. Tekkan Yosano (1873-1935)- was the husband of Yosano Akiko. He too was a poet and activist in early Twentieth Century Japan. As Claire mentions in her interview, Tekkan founded Myōjō in 1900.  sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Fujishima Takeji (1867-1943)  - was a Japanese painter. He studied Western painting (yōga) in the Romantic and impressionistic styles, but also painted Japanese themes. He made mokuhanga during the sōsaku hanga period of Japanese printing, carved and printed himself.  Dawn Drizzle at Kawaramachi (1934) Ishii Hakutei (1882-1958) - was a Japanese painter who studied Western style painting. He became editor of the first incarnation of Myōjō in 1900, helping to publish Kanae's “Fisherman” print. Hakutei is famous for his Twelve Views of Tōkyō prints which he printed himself.  Twelve Views of Tōkyō: Yanagibashi (1910) Kyoto Consortium for Japanese Studies (KCJS) - located on the campus at Doshisha University, the KCJS is a fully immersive langauge school both culturally and linguistically. It has 13 member universities from the United States. More info can be found, here. Henry Smith II - is a professor emeritus at Columbia University. The article he wrote about the hanmoto system and Watanabe Shōzaburō (1885-1962) can be found, here.  Rebecca Salter - is the President of The Royal Academy of Arts, in London, England. She is also an artist who has written two books about Japanese woodblock printing, Japanese Woodblock Printing (2001), and Japanese Popular Prints (2006). She worked with the Satō Woodblock Print Workshop, documenting their process. Her interview with The Unfinished Print can be found, here.  shadow cast one (2015) Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.  International Society for Education Through Art (InSEA) - is a non governmental, associated with the United Nations, organization which tries to promote creative education around the world via events. They work with 70 countries from around the world. Find out more about what they do at their website, here. Moya Bligh (1954-2009) - was an Irish mokuhanga printmaker based in Kyoto. She lived in Japan for 30 years, having moved there permanently in the 1980's. A graduate of Tama Art University, Moya studied with Akira Kurosaki (1937-2019) and regularly conducted mokuhanga workshops in Ireland and Japan. Ms. Bligh's legacy in mokuhanga continues to this day. Beyond Wood 1 (2002) Kyoto Seika University - is a private university based in Kyōto, Japan. It is a university focused on art and scholarship. More info, here.  Elizabeth Forrest - is an award-winning Canadian artist and mokuhanga prinmaker. She has been producing mokuhanga since the late 1980's when she lived and studied in Kyōto. She has studied with the late Akira Kurosaki. More info about Elizabeth's work can be found, here.  Glancing North II (2009) Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing. Uchiwa fans - are a craft style of hand held fan commonly seen in the summer time in Japan. There are several types of uchiwa fans, according to Kogei Japan. First, is Chinese inspired, second, is Southern inspired, and lastly, Korean inspired. Uchiwa fans are shaped like a ping pong paddle. There are various styles of fans in Japan. More info about uchiwa fans and others can be found here at Japanobjects.com. New Year Card - called nengajo (年賀状) in Japanese, these cards have been traditionally passed from person to person since the Heian Period (794-1185). Mokuhanga practitioners make them as well, creating a new one every year focusing on the zodiac sign of the year as a theme. Kyōto Handicraft Center - opened  in 1967, it is a center dedicated to the traditional crafts of Japan. Located near the Heian Shrine in central Kyōto they offer work shops, food, a restaurant, and a bookshop for national and international tourists. On their website in English you can order from their online shop, shipping internationally. More info, here.  Kamigata Ukiyo-e Museum - is mokuhanga museum in Ōsaka that focuses on ukiyo-e era woodblock prints of actors. It is made up of four floors with a rotating exhibition and demonstration space. It's near the Dōntombori, a canal which runs from the Dōtonbori Bridge to Nipponbashi Bridge. It is a tourist hotspot in Ōsaka. More info, in Japanese, here.  Terry McKenna - is a mokuhanga printmaker based in Karuizawa, Nagano, Japan. He studied under Kyōto-based mokuhanga artist Richard Steiner. Terry also runs his own mokuhanga school in Karuizawa. His interview with The Unfinished Print can be found, here. Richard Steiner's interview with The Unfinished Print can be found, here.  Beyond Raging Waves (2017) David Bull - is a Canadian woodblock printmaker, and educator who lives and works in Japan. His love of mokuhanga has almost singlehandedly promoted the art form around the world. His company, Mokuhankan, has a brick and mortar store in Asakusa, Tōkyō, and online, here.  The Seacoast in Summer (2007-9) Doi Hangaten -  is a mokuhanga print publisher located in Tōkyō, Japan. Once a publisher of prints associated with the shin-hanga movement of the ealry twentieth century, the company continues to publish reproductions of famous Japanese prints, in the old ways. Most recently, the Doi family have collaborated with David Bull and Mokuhankan to publish new verions of some of the old blocks from almost 100 years ago. More info about the Doi Hangaten can be found here, here and here. The collaboration videos produced by Mokuhankan regarding the Doi family and the subsequant collaboration can be found, here.      Matsushima (1936)   Was designed by Tsuchiya Koitsu (1870-1949), and printed by Mokuhankan with Shun Yamamoto, who is himself an accomplished printmaker.  The Adachi Institute of Woodblock Prints - is a print studio located in Tōkyō. Established in 1994 in order to promote and preserve the colour woodblock print of Japan. More information, in English and in Japanese.  Narita, Chiba, Japan - is a city located roughly 70km from the city of Tōkyō. Known predominantly as the home to Narita International Airport. The city and its environs have a long and rich history unto itself. For tourist information,  here. For the history of protest in the area, here. Andy Warhol (1928-1987) was an influential artist and filmmaker who ushered in the genre of art, considered as "pop art."     Sunset Series (1972) screen-print   Kabi Raj Lama  - is a Nepalese printmaker based in Kathmandu, Nepal. He has lived and worked in Japan studying mokuhanga, has travelled the world involved in art residences, studying printmaking. Lama works in intaglio, screen-printing, lithography, and mokuhanga. See Claire's above video from the IMC about Kabi Raj Lama's life and history. HIs Instagram can be found, here.     Kabiraj 5 (2017)   The Kentler International Drawing Space - is an art gallery located in Red Hook, Brooklyn, New York. It has hosted several mokuhanga centred exhibitions. The most recent was Between Worlds as hosted by The Mokuhanga Sisters, from July 17 - July 31, 2022. More info, here.    The Mokuhanga Sisters - are a mokuhanga collective consisting of Yoonmi Nam, Mariko Jesse, Lucy May Schofield, Melissa Schulenberg, Kate MacDonagh, Katie Baldwin, Mia-O, Patty Hudak, and Natasha Norman. website,  Instagram   Between Worlds - was a mokuhanga specific show hosted by the Kentler International Drawing Space from July 17 - July 31, 2022.    Books Kinokuniya - is a Japanese chain of bookstores located throughout every Prefecture in Japan and around the world. More info, here.    Peter Ujlaki - is a gallerist and scholar based in Ashiya, Hyōgō, Japan. His website Osakaprints.com has been an asset when researching and discussing prints from the Kamigata (Kansai) region of Japan. His website buys and sells prints from the above region of Kyoto, Ōsaka, and Kobe. The history of woodblock prints from this region is different than of Tōkyō. You can find Peter's wesbite, here.   senjafuda - are the votive slips Claire brings up in her interview. These were hand printed slips pasted by the worshipper onto the Buddhist temple of their choosing. These slips had many different subjects such as ghosts, Buddhist deities, and written characters. Japan Experience has bit of history of senjafuda, here.   The Bai people - are an ethnic group located in Yunnan, Guizhou, and Hunan Provinces of China. The Bai people have unique festivals, foods, and architecture.    Nishiki-e (錦絵) - is the Japanese phrase for multi-colour woodblock prints, otherwise known as brocade pictures.    Sea of Japan - is a body of water which lies beteween Japan, the two Koreas, and Russia. It is predominantly referred to as the Sea of Japan but is also known as the East Sea or Korean East Sea. The dispute of naming rights is on going.    International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.     Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989-2012,  where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937-2019). Her work can be found, here.   Return To Home (2014)   geidai (芸大) -  is the Japanese word for “arts college.”    Lauren Pearlman Sugita - is the owner and operator of the Japanese paper educator and supplier, Paper Connection. Based in Rhode Island, USA, Paper Connection has been supplying artists and educators with paper from many countries for over thirty years. More info can be found, here.  Echizen - is a region in Fukui Prefecture, Japan associated with Japanese paper making. It has a long history of paper making. There are many paper artisans in the area. One famous paper maker is Iwano Ichibei. He is a Living National Treasure in paper making, and the ninth generation of his family is still making paper today. More info can be found here in English, and here in Japanese.  hosho paper - is a handmade and machine made paper from Japan used for printmaking. Some information can be found here. Ibe Kyoko -  is a Japanese artist who works with washi, Japanese paper. She produces installations, prints, stage art, and Japanese folding screens (byōbu). You can find more information about her work on her website, here. An interview with the artist can be found here, at the Noyes Museum of Art in Stockton.   Recycling Washi Tales - is a performance piece by Kyoko Ibe and playwright Elise Thoron,  made about Japanese paper making and with washi. It is four stories, narrated,  taking the observer through different parts of Japanese paper history. More info can be found here on PBS.    Vietnamese paper (dó) - a great video from Business Insider,  here, about the history and modern production of Vietnamese paper in Bac Ninh Province, Vietnam. Vietnamese paper goes as far back as the 13th Century with book making and folk art. Information regarding the Zó Project, a non profit for preserving traditional Vietnamese paper, mentioned in the video can be found, here.   BlueCat Paper -  is a paper company based in Bangalore, India. They make various handmade paper in India, different shapes and colours. They upcycle their paper, meaning that everything is reused in the making of their paper. More info can be found, here.   handmade paper from Laos - South East Asia has had a tradition of papermaking for 700 years. Laotian paper is made of mulberry. More info can be found, here   handmade paper from Bhutan -  Bhutan has a history of handmade paper using the Daphne plant. Stemming from the eighth century, papermaking in Bhutan is made throughout the country. In 1990 the Bhutanese Travel and Tourist Agency wanted to preserve Bhutanese handmade paper. They sent Norbu Tenzin to learn papermaking in Shimane Prefecture, Japan. More info can be found at thre North Bengal Tourism site, here.   Lokta paper - is a Nepalese paper which also uses the bark of the Daphne tree. It is usually sold with various prints and designs.  More info can be found at Paper Connection, here.   © Popular Wheat Productions opening and closing musical credit - Stakes Is High, the instrumental by James Dewitt Yancey [J Dilla] (1974-2006). This beat was used by De La Soul, and released on the record Stakes Is High (1996) released by Tommy Boy Records. RIP David Jude Jolicoeur [Trugoy the Dove] (1968-2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***      

In this world of mokuhanga, there are artists whose passion and dedication to the art form comes not only from their work, but from how they see the medium itself. Linda J Beeman is a Michigan based mokuhanga printmaker who desires to explore nature, its conservation, its power through colour, its meaning, and aesthetic. Linda's work takes the viewer to an existing place, which when allowed in, soothes and calms, enveloped by the sacred. On this episode of The Unfinished Print I speak with Linda J. Beeman about her world, natural and artistic, how she got involved with mokuhanga, how she views her audience, her style. We discuss her time at MI Lab, and her love of artist-in-residence programs in the United States. Linda also speak on her process, her tools, and why mokuhanga is such a big part of her life.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com  Artists works follow after the note about them. Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Linda J. Beeman - website, Instagram, Facebook.  Aurora Borealis (2022) Dundas Valley School of Art - is a multi disciplinary art school located in Dundas, Ontario, Canada, which is a suburb of Hamilton. Founded in 1964 by Marion Farnan and Emily Dutton, the DVSA has evolved into a modern, and chic art space, providing accessible and affordable art education for all.   Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989-2012,  where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937-2019). Her work can be found, here. Urban Holiday (2016)   David Bull's “Baren Forum”  - was an early mokuhanga forum for printmakers which can still be found, here. It's chock full of information for printmakers of all levels.   Mary Brodbeck - is a mokuhanga printmaker, based in Kalamazoo, Michigan. She has been producing mokuhanga for nearly 25 years. Her work refelcts nature, and the power it contains.  Remnants   kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first.     hanshita - is a thin sheet of gampi paper that is pasted, reverse side, on a piece of wood. This is a guide, carved onto the block and is generally used for the key block and subsequent colour blocks. Methods such as acetate with water based pigment, can also be used rather than the thin gampi paper, which can cause misregistration if not pasted correctly.   Petrified Forest National Park - is a national park located in northeastern Arizona, on what is called the Colorado Plateau. The Plateau connects the American States of Colorado, Utah, New Mexico, and Arizona. Petrified Forest National Park is famous for early traces of human civilization through archeology and fossils, as well as an abundance of nature and natural formations. More info can be found, here, and here.    The Great Lakes -  are a series of lakes which are connecte to one another. They are located in North America. The lakes are; Lake Ontario, Lake Superior, Lake Erie, Lake Michigan, and Lake Huron. The lakes connect to the Atlantic Ocean, and through various rivers and other tributaries.    MI Lab - is a mokuhanga residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.    Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing.   shin hanga - is a style of Japanese woodblock printmaking which began during the end of the Ukiyo-e period of Japanese printmaking, in the early 20th Century. Focusing on the foreign demand for “traditional” Japanese imagery and motifs such as castles, bridges, famous landscapes, bamboo forests, to name just a few.  Shin hanga was born in 1915 by Watanabe Shōzaburō (1885-1962) when he found Austrian artist Frtiz Capelari (1884-1950) and commissioned Capelari to design some prints for Watanabe's feldgling printing house . From there shin-hanga evolved into its own distinct “new” style of Japanese woodblock printing. It lasted as this distinct style until its innevitable decline after the Second World War (1939-1945).   sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self made prints was a breakthrough for printmakers beginning to move away from where only a select group of carvers, printers and publishers created woodblock prints.    Watanabe Shōzaburō [渡辺 庄三郎] (1885-1962) - was the catalyst of the new print movement (shin-hanga) in the Japan of the early 20th Century. He assembled printers, designers, and carvers to re-create the now dead,  ukiyo-e style, of woodblock prints in Japan. Watanabe also welcomed "foreign" artists to design prints, such as Charles Bartlett (1860-1940). His relationship with many of Japan's future woodblock stars, such as Yoshida Hiroshi (1876-1950), and Hasui Kawase (1883-1957) established a mokuhanga style that has been emulated ever since.   Porcupine Mountains Wilderness State Park - found in Ontanagan, Michigan, USA. This state park has 35,000 acres of old growth forest, watefalls and abundant nature, on Lake Superior. The artist in residence perogram information can be found, here.    Hawai'i Volcanoes National Park -is an active volcano site, and a UNESCO Heirtage Site. With public tours, a rugged landscape made up of lava rock, as well as incredible biodiversity, the HLNPH is a wonderful way to visit Hawai'i. Their artist in residence program can be found, here.   American National Parks -  are a series of public parks that are federally run. Since 1916, the National Park Service has overseen the national parks in the United States.    National Parks Art Foundation - is a foundatoin that offers artist in residence programs as well as other artist focused programs within the National Parks Service, heritage sites, and National monuments. More info can be found, here.    petroglyphs - are a type of rock art where the rock is marked by abrasion, carving, or picking. Generally associated with humans living 10,000-12,000 years ago, and are found all over the planet except in Antarctica.   Rebecca Salter - is the President of The Royal Academy of Arts, in London, England. She is also an artist who has written two books about Japanese woodblock printing, Japanese Woodblock Printing (2001), and Japanese Popular Prints (2006). She worked with the Satō Woodblock Print Workshop, documenting their process. Her interview with The Unfinished Print can be found, here.    Aurora 1 (2014)   Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.    Michigan Artist and Culture Grants - are grants that are given to the citizens of Michigan who want to promote the arts within their communities. There are many avenues for application, so please look into your area of Michigan, perhaps there will be a grant program for you. Here is a link for the Michigan Arts and Council Grants, to get you started.    Winsor & Newton - is a British artist supply company, started in 1832,  which sells artist materials such as pigments, brushes, paper, etc. More info can be found, here.    Paul Furneaux - is a Scottish mokuhanga artist based in Edinburgh, Scotland. He makes abstract mokuhanga, mixed with wood and other mediums.    Lukas water colours - Lukas is an artist supply company founded in 1862, in Düsseldorf, Germany. They produce the Aquarell 1862 Water-colour which Linda describes in her interview. More info can be found, here.   Jerry's Artarama - originally founded in 1968 Long Island, New York, and now based in Raleigh, North Carolina. Jerry's Artarama sells various art supplies at reasonable princes. More info, here.  Dick Blick Art Supplies - is an art supply store with various brick and mortar stores throughout the United States, as well as online. Founded in 1911 by Dick Blick in Galesburg, Illinois, BLICK, as it's more commonly known, sells various types of art supplies, much like Jerry's Artarama. More info, here. shina - is a type of wood used in mokuhanga. It is part of the linden family of trees. This wood is produced in various parts of the world, such as Japan and Russia. Not all shina is created equal so buyer beware. Center for Contemporary Printmaking - founded by Grace and William Shanly in 1995. Orginally called The Connecticut Graphic Arts Center, it is a non-profit which, as its aim, is to increase the publics knowledge of orignal printmaking.  floating kentō - is a removable registration system attached to the block when printing. As the kentō isn't affixed to the block; blotting, and very clean borders are one of the positives of using this method of registration. It is an "L" shape.  * Production  note  - Linda says “last summer,” when discussing her last workshop. That “summer” was the summer of 2021.  © Popular Wheat Productions opening and closing musical credit - logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***              

Indianapolis, Indiana, has a thriving craft beer scene and a rich history of brewing. Amy Beers covers both in our latest episode.In this episode we talk with Amy Beers, the author of the new book Indianapolis Beer Stories: History to Modern Craft in Circle City Brewing. Amy is a Certified Cicerone and she leads walking beer tours around Indy through her company Drinking with Beers. In this conversation we discuss her book, the invisible history of Indianapolis beer prior to Prohibition, and the vibrant modern beer scene in central Indiana.Breweries and beers discussed in this episode include Broad Ripple Brewpub, Sun King Brewery (Polynesian Passion), Metazoa Brewing (Hoppopotamus IPA), Indiana City Brewing, Scarlet Lane Brewing (Dorian Stout), Upland Brewing (Champagne Velvet, Two of Tarts), Fountain Square Brewing, Chilly Water Brewing (Built to Last & Dark Side of the Munich), and Taxman Brewing.You can find out more about Amy Beers and book one of her Drinking with Beers tours here.Indianapolis Beer Stories: History to Modern Craft in Circle City Brewing is available now. If your favorite independent bookstore doesn't have it, ask them to order it!You can purchase tickets to my Autumn in Belgium virtual tasting here.The music for this episode is from the songs “Come Home” and “Love's Not” by my dear friend, indie folk musician Anna ps. You can find out more about Anna's music in the show notes or at her website annapsmusic.com, where you can also get in touch to book her to play at your brewery, cafe, or other establishment.Guest:Amy BeersAmy Beers is a Certified Cicerone and the author of Indianapolis Beer Story: History to Modern Craft in Circle City Brewing. She leads walking beer tours around Indianapolis through her company Drinking with Beers.

In this episode of the A Pinch of Magick podcast I'm joined by Stella Hervey Birrell as she talks about her essay in the book The Modern Craft. Her essay is titled: Polite Persecution. Raising non-binary children, dismantling everything else. In this conversation Stella shares her experience of losing the spaces where she had previously felt safe because her children were non-binary, and how she rebuilt a safe space for herself and her family. She shares her experience of what she calls 'polite persecution' where people who had previously been close friends say the right things and smile, but actually withdraw their love and support. We also discuss using magick to create safe spaces and the importance of advocating for yourself and your family. About Stella Hervey Birrell Stella is a writer, award winning poet and parent living in beautiful Midlothian, Scotland. She is a contribbuter to the book: The Modern Craft; Powerful voices on witchcraft ethics. Instagram: stella_hb Facebook: Stella Hervey BirrellCome and share you thoughts over in our magickal community: https://circle.thewitchacademy.com/c/community/ Or join me over on instagram: https://www.instagram.com/themodernwitchway/ Lean more about the magick of you: www.RebeccaAnuwen.com

On today's episode I chat with AW Earl about their contribution to the book The Modern Craft: Powerful Voices on Witchcraft Ethics. Their essay is titled: Witch Boys and Devils on the Road: The Magick of Toxic Masculinity. We explore gender and its place in magick. As well as both the power and danger of being at the edges of society, in the liminal spaces. We also talk about the magick of writing and what intuitive magick looks and feels like to both of us. We talk about how the land can inform our magick, culture and traditions. And how the mundane, and the act of showing up, can often unlock the magick. About AW Earl: AW Earl is a contributor to The Modern Craft, ed. Dr Alice Tarbuck and Dr. Claire Askew. They have been quietly practicing Paganism and reading tarot for longer than they care to think about. A writer and storyteller, their work centers queerness, deviant bodies, folklore, and macabre. Connect You can find them @alysdragon on Twitter. The Book: The Modern Craft: powerful Voices on Witchcraft Ethics Get your copy hereCome and share you thoughts over in our magickal community: https://circle.thewitchacademy.com/c/community/ Or join me over on instagram: https://www.instagram.com/themodernwitchway/ Lean more about the magick of you: www.RebeccaAnuwen.com

On this episode of The Unfinished Print it is with honour, and great pleasure that I am able to present to you, my interview, with British  artist Rebecca Salter. We speak on her mokuhanga, her own work and work produced together with the Satō woodblock workshop in Kyōto. We discuss where Rebecca believes mokuhanga has gone since writing her book, Japanese Woodblock Printing (2001), a book which constantly inspires me in my own work. This book helps me to understand, what has felt at times to be such an esoteric and complicated art form, just a little bit more.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Rebecca Salter - website, interviews with Royal Academy, 1 and 2. University of West England - once called Bristol Polytechnic, is a public research University located in Bristol, England. British Museum - is a public museum, located in London, England, and is focused on human history, arts and culture. It was established in 1753.  Kyoto City University of Arts - is a public university of the arts located in Kyōto, Japan, and was established in 1880. lithography - is a printing process which requires a stone or aluminum plate, and was invented in the 18th Century. More info, here from the Tate.  screen printing - also called, serigraphy, is a method of printing by using stencils and forcing the ink through a screen onto paper, or other fabric. More info, here. Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. intaglio printmaking - is a style of printmaking, the opposite of relief printmaking, where scratches are made with a burin on the plate (copper, zinc, aluminum) and then dipped in acid. Ink and pigment is rubbed on with a brayer, brushes, etc. More info can be found, here.    scrolls - called kakemono 掛物 or emakimono 絵巻物  in Japanese. These scrolls contain many different types of themes and subjects. More info can be found, here. monoprint - is a print made from a re-printable block, such as wood, or an etched plate. It is usually a one and done type of printing with only one print being made. blue and white Japanese ceramics - are ceramics made for the Japanese market. Originally imported into Japan in the 17th Century from China, local Japanese ceramists from northern and southern Japan began locally producing ceramics. As trading with the Dutch escalated more porcelain wares were being imported from Europe into the Japanese port of Imari. Imari became the word to describe these types of blue and white ceramics.  Genji Monogatari emaki - is an elaborate scroll produced in 12th Century, Japan. It is based on the famous Tale of Genji, a tale written in the 11th Century and is attributed to Murasaki Shikibu (around 973-1014). You can find images of this scroll, here.  Edo Culture - the Edo Period of Japan (1603-1868) was a period of peace and prosperity for the Japanese military government, or bakufu. Led by the Tokugawa family, Edo period culture flourished in theatre, literature, and the arts. For a fantastic book on the subject please seek out, Edo Culture: Daily Life and Diversions of Urban Japan by Kazuo Nishiyama (trans. Gerald Groemer) and Edo Kabuki in Transition: From the Worlds of the Samurai to the Vengeful Ghost by Satoko Shimazaki.  Edo v. Kyōto Kabuki - kabuki theatre is a bombastic and powerful theatre from Japan. In its long history it has been generally attributed to both  Edo (Tōkyō) and Kyōto.  Edo kabuki is called aragoto kabuki and Kyōto kabuki is called wagoto kabuki. Aragoto kabuki is generally very loud and external, whereas Kyōto kabuki is more understated and gentle.  Satō woodblock workshop - is a traditional Japanese woodblock production house based in Kyōto, Japan. Here is an article from The Journal of Modern Craft with Rebecca Salter regarding this workshop.  Japanese woodblock of the 1950's and 1960's - post-war Japan was growing at an exponential rate, and this was true for the Japanese woodblock print. As the sōsaku-hanga movement began to out last the shin-hanga of the 1920's in terms of production, where most people could produce prints on their own,  American scholars , Oliver Statler (1915-2000), and James Michener (1907-1997), helped catalogue and document the burgeoning Japanese woodblock print movement through their books, The Floating World (1954), by Michener, and Modern Japanese Prints: An Art Reborn (1956) by Statler, for a Western audience. Along with the Western art scene and the 1951 São Paulo Art Biennial, Japanese woodblock prints began to be respected as a stand alone piece of fine art.  kozo paper -  is paper made from mulberry bark and is commonly used in woodblock printmaking, and cloth.  Echizen, Fukui - is a city located tin the prefecture of Fukui. The paper produced from this region is kozo, mitsumata, and gampi.  More information can be found from the website of Echizen Washi Village. Mosquito net technique - is a technique in ukiyo-e, and can of course be reproduced by the modern mokuhanga practitioner, where very fine lines are carved on two wood blocks and, when printed together, create the image of slight, thin netting. Rebecca Salter details this technique in her book, Japanese Woodblock Printing (2001)   Yale Center for British Art - located in New Haven, Connecticut, the YCBA is dedicated to British art of all types.  Louise Caan - is a British architect and teacher based in Oxford where she teaches architecture at the Oxford Brookes School of Architecture.  urushi zuri - is a technique which is used in traditional Japanese woodblock and mokuhanga, where pigment is mixed with nikawa (animal glue), and printed to enhance the enjoyment of the print. Usually seen in black hair, or garments represented in the print.  Japanese museums dedicated to Japanese woodblock -  if you are visiting Japan and are interested in the Japanese woodblock print you are spoiled for choice. This list is definitely not complete so I would advise doing some research for local museums which may be open in different parts of Japan you may be visiting. This list is a mix of museums dedicated specifically to the woodblock print, or museums dedicated to woodblock print artisans.  Finally, check online for larger art museums , galleries, and department stores, in the area that you're visiting to see whether they are having any shows dedicated to woodblock print artists, genres, etc. while you're there. I've added hyper-links. The Japan Ukiyo-e Museum  - Matsumoto, Nagano Sumida Hokusai Museum - Ryogoku, Tōkyō Ōta Memorial Museum of Art -  Harajukiu/Omotesando, Tōkyō Tokaidō Hiroshige Museum - Shizuoka City, Shizuoka Hokusai Museum - Obuse, Nagano Kamigata Ukiyo-e Museum -  Ōsaka CIty, Ōsaka Nakagawa Batō Hiroshige Museum - Nakagawa, Tōchigi Kawanabe Kyōsai Museum - Warabi, Saitama Naoko Matsubara - is a Japanese/Canadian contemporary artist, and sculptor, who lives and works in Oakville, Ontario, Canada.  She has focused much of her artistic life on making mokuhanga and has gained critical acclaim for it. My interview with Naoko Matsubara can be found, here.  Katsutoshi Yuasa - is a Japanese contemporary artist, and sculptor, who works predominantly in mokuhanga. He has  produced an incredible mount of work. My interview with Katsu can be found, here.  Brook Andrew - is an Australian contemporary artist who has shown internationally.  Ukiyo-e Censorship - the military Tokugawa government (bakufu) was not happy about being criticized. Ukiyo-e prints often lampooned authority with their imagery. Other artistic pursuits in Japan at the time, such as kabuki theatre, did the same. In ukiyo-e and Tokugawa history there were “reforms” which the bakufu created in order to stem this type of criticism. The Ehon Taikōki of 1804, which focused on woodblock prints and poetry, and The Tempo Reforms of 1841/42 that focused on actor prints, the manufacturing of woodblock prints,  and their price, to name just a few reasons.  William Evertson - is an American woodblock printmaker and sculptor based in Connecticut, USA, who's themes focus on the politics and process of The United States.   Annie Bissett - is an American mokuhanga printmaker based in Rhode Island, USA. She explores American life, past and present,  sexuality, and the esoteric through her prints. My interview with Annie Bissett can be found, here.  Paul Binnie - is a Scottish mokuhanga printmaker and painter, based in San Diego, USA. Having lived and worked in Japan in the 1990's, studying at the Yoshida atelier while there, Paul has successfully continued to make mokuhanga and his paintings.  Royal Academy of Arts Summer Exhibition - is a summer exhibition held at the Royal Academy in London, England. It is an open submission, one which started in 1769, showcasing all types of artistic mediums.  余韻 - (yoin) - is a Japanese word which means “lingering memory.” The Lake District - is an area in North West of England which has numerous mountains, lakes, and a National Park. It has been an inspiration for many artists, writers, and actors for years. It is a UNESCO World Heritage Site.  © Popular Wheat Productions opening and closing credit music - Cut/Copy - Rendevous from the album, I Thought of Numbers (2001) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***      

On today's episode of the A Pinch of Magick podcast I'm joined by Lilith Dorsey and they share their contribution to the book The Modern Craft: Powerful Voices and Witchcraft Ethics. Lilith shares about ethics and the world of African Traditional Religions. Lilith shares about her own experiences as a practitioner, and among other topics we discuss stereotypes, the idea of 'do no harm' and the importance of curse and protection magic. About Lilith Dorsey MA Lilith Dorsey M.A., hails from many magickal traditions, including Afro-Caribbean, Celtic, and Indigenous American spirituality. Their traditional education focused on Plant Science, Anthropology, and Film at the University of R.I, New York University, and the University of London, and their magickal training includes numerous initiations in Santeria also known as Lucumi, Haitian Vodoun, and New Orleans Voodoo. Lilith Dorsey is also a Voodoo Priestess and in that capacity has been doing successful magick since 1991 for patrons, is editor/publisher of Oshun-African Magickal Quarterly, filmmaker of the experimental documentary Bodies of Water :Voodoo Identity and Tranceformation,' and choreographer/performer for jazz legend Dr. John's “Night Tripper” Voodoo Show. They have long been committed to providing accurate and respectful information about the African Traditional Religions and are proud to be a published Black author of such titles as Voodoo and African Traditional Religion, 55 Ways to Connect to Goddess, The African-American Ritual Cookbook, Love Magic, the bestselling Orishas, Goddesses and Voodoo Queens and Water Magic. They are a recent contributor to The Modern Craft. Connect Website: https://lilithdorsey.com/ Instagram: https://www.instagram.com/lilithdorsey/ Facebook: https://www.facebook.com/LilithDorseyAuthorCome and share you thoughts over in our magickal community: https://circle.thewitchacademy.com/c/community/ Or join me over on instagram: https://www.instagram.com/themodernwitchway/ Lean more about the magick of you: www.RebeccaAnuwen.com

On today's episode I interview Dr Alice Tarbuck and Dr Claire Eskew about the book they have curated: The Modern Craft; Powerful voices on witchcraft ethics. We discuss the ethics, barriers and sustainability of witchcraft and how we ourselves can create a more ethical and inclusive practice. One that honours ourselves, those around us, traditions and planet Earth. This is a fascinating conversation full of magick, inspiration and thought provoking ideas. The Curators of the Book: The Modern Craft Dr Alice Tarbuck is a writer, author of A Spell In The Wild and academic specializing in witchcraft and environmental humanities. She has been featured in Nasty Women and The Dangerous Women Project, and she has spoken on witchcraft at Scottish PEN, Freedom TV and the Arthur Conan Doyle Centre. Dr Claire Askew is the author of three novels: All The Hidden Truths, What You Pay For and Cover Your Tracks. A fourth, A Matter of Time, is out this year. Also a poet, Claire's second collection How to burn a woman features voices from the European Witchcraft Hysteria. Claire's accolades include the Lucy Cavendish Fiction Prize, a Jessie Kesson Fellowship and the McIlvanney Debut Prize. Join the book launch The Portobello bookshop, Edinburgh, 14th June, 7pm. Online or in-person tickets available: The Modern Craft: Powerful Voices on Witchcraft Ethics | The Portobello Bookshop Ritual Magic Event, Lighthouse Bookshop 18.06.2022 : 18:30 - 19:30 Lighthouse | The Modern Craft : Powerful voices on witchcraft ethics (lighthousebookshop.com) London Book Launch - Watkins Books, 07 Jul, 17:30 London, 19-21 Cecil Ct, London WC2N 4EZ, UK The Modern Craft - Alice Tarbuck & Claire Askew | Watkins BookshopCome and share you thoughts over in our magickal community: https://circle.thewitchacademy.com/c/community/ Or join me over on instagram: https://www.instagram.com/themodernwitchway/ Lean more about the magick of you: www.RebeccaAnuwen.com

In our third and final episode in partnership with North Lands Creative featuring artists participating in this year's #Collect2022 International Art Fair for Modern Craft and Design. I sat down with artist Jahday Ford who is based in Manchester. Jahday's work specialises in hot glass and mould design. Using the combination of glass blowing and digital design the materiality of his glass objects changes radically, effectively bonding these two diverse fields. It was great to have the chance to sit down with Jahday to discuss his artistic journey from growing up in Bermuda and how he continues to challenge himself as an artist. You can find out more about Jahday and his work on the links below. And a huge thanks to our episode sponsors North Lands Creative, Creative Scotland and Creative Europe. https://www.jahdayfordglass.co.uk/ https://instagram.com/jahdayfordesign?utm https://youtu.be/3Nafa_EG4ds https://northlandscreative.co.uk/2022/01/27/collect-2022/ As you know Creative Me Podcast is an independent run project that champions North East artists and creatives. All support for what we do is much appreciated, and you can support the podcast by buying us a Ko-fi or by Bigging Up The Deen https://ko-fi.com/creativeme https://www.etsy.com/uk/shop/BigUpTheDeenShop

In our second episode in partnership with North Lands Creative featuring artists participating in this year's #Collect2022 International Art Fair for Modern Craft and Design. I sat down with artist Te Rongo Kirkwood who is based in Auckland New Zealand. Her work fuses glass, textiles and other media creating sculptural artworks and personal adornment that are a contemporary expression of Maori identity and culture. It was great to have the opportunity to discuss with Te Rongo what motivates and drives her practice and the different topics that inspires her work as an artist. I want to thank Te Rongo for coming on the podcast and sharing her story with us. You can find out more about Te Rongo and her work on the links below. And a huge thanks to our episode sponsors North Lands Creative, Creative Scotland and Creative Europe. https://www.terongo.com/ https://vimeo.com/215758058 https://instagram.com/te_rongo_kirkwood?utm https://northlandscreative.co.uk/2022/01/27/collect-2022/ As you know Creative Me Podcast is an independent run project that champions North East artists and creatives. All support for what we do is much appreciated, and you can support the podcast by buying us a Ko-fi or by Bigging Up The Deen https://ko-fi.com/creativeme https://www.etsy.com/uk/shop/BigUpTheDeenShop

Ce mardi, Charlotte Maréchal parle mode et design avec des créateurs et des spécialistes de la mode au MAD Brussels, dans le quartier Dansaert, à l'occasion de la vitrine-exposition "Modern Craft", à découvrir jusqu'au 27 février.

As a trained scientist prior to creating with glass, Amanda Simmons is fascinated by how our world works and how it can be fixed. Inspired by subjects as diverse as the physics of our expanding universe or how drugs function on a molecular level, the artist has been discovering new ways to explore the properties of mass, heat, time and gravity in the creation of 3D vessel forms. Intense color and patterns result when opaque glass powders react to light, varying in translucency as the form elongates during the firing process. Works are finished using many coldworking processes to shape and mark the glass including sandblasting, hand lapping, diamond point and wheel engraving. Simmons states: “My practice as a glass artist has become a conduit to further learning by making objects in a material whose language I understand, addressing subjects that interest me in the natural world. Our achievements as a species are impressive but equally frustrating in the cycles of social and environmental injustice, from which we never seem to learn. I want to investigate these cyclic routes and the lessons unlearnt, incorporating this narrative into my work, cultivating and inspiring change in a positive and visual method.” Originally trained in biomedical sciences (pharmacology) and clinical sciences, Simmons became interested in glass in 2002 after a stained glass course with Ray Bradley and then pursued a postgraduate in Glass and Architecture from Central St. Martins College of Art and Design, London, in 2004. Following a recent two-week residency at Lyth Arts Centre in Caithness, the artist began exploring the continuing research of the Flow Country and its massive capacity to store carbon in the many layers of peat. Working from watercolor prints inspired by the patterns and colors of the land and sky, she produced some of her largest gravity formed glassworks to date for her first solo exhibition Outer Spaces, held July 2017 at The Scottish Gallery in Edinburgh.  Simmons' Dahlia Universe series, kilnformed solstice platters, were selected for exhibition in the 2019 British Glass Biennale. Creating work that often examines natural world contrasts, the artist kiln formed platters signifying the changes in season with the thought of our universe expanding like a growing flower. The works investigate whether we could use the biological theory of convergence to explain how our universe was made. Another series, Southern Hemispheres, was inspired by three months travelling and working in Australia. These pieces represent the first small-scale investigations of the resilient Australian native botanicals, posing the question: Do the survival techniques of these plants relate to our current crises in environmental and political situations?  Creating work from her studio in Dumfries & Galloway, Scotland, since 2005, Simmons is the winner of The Gold Award from ORIGIN 2010: The London Craft Fair and finalist in Bullseye Glass Company's Emerge 2012. United States and UK exhibitions include Craft Scotland 2013 and SOFA Chicago. Most recently, Contemporary Applied Arts exhibited Simmons glass art in their material-focused exhibition COLLECT: The International Art Fair for Modern Craft and Design. Her work can be found in public collections including: The Fitzwilliam Museum, Cambridge, England; National Museum of Scotland, Edinburgh, Scotland; Perth Museum and Art Gallery, Perth, Scotland; and Ernsting Stiftung Glass Museum, Germany.  An important part of Simmons' practice is to educate and mentor, a way to pass on the skills developed over 19 years of kiln forming glass. Her 60-minute Master Class Video, available on Bullseye Glass Co.'s website, shares the full process by which she creates her tall vessels. She says: “I enjoy mentoring students starting out in their careers with glass, including business advice, professional development, and a range of glass techniques.”  

For curator and scholar Glenn Adamson, craft isn't a quirky hobby that sits on the outskirts of contemporary culture. Rather, it's a vital, timeless tool for teaching us about one another, and about humanity as a whole. This belief fuels his writing, teaching, and curatorial projects, which seek to unpack the many ways in which the age-old activity shapes our lives. Adamson's work shows that craft is bigger than any single skillfully handmade object—each of which itself can serve as an important symbol of the human capacity for honing expertise over time—and influences countless aspects of society, from the Japanese tea ceremony to farming robots devised by Google's parent company, Alphabet X. In this way, craft acts as a lens for understanding people and places across time.Adamson, 49, has explored the virtues of craft throughout his two-decade-long career, which has included roles at Milwaukee's Chipstone Foundation, London's Victoria and Albert Museum, and New York's Museum of Arts and Design. In his 2018 book Fewer, Better Things, he positions craft as a means of connecting with fundamental issues and ideas (as opposed to those that hold only momentary or superficial relevance), and explains why taking the time to appreciate handmade objects from a maker's or a user's perspective holds particular spiritual and psychological value. Adamson's account of the discipline in the United States, neatly laid out in his latest book, Craft: An American History (Bloomsbury), reveals how artisans—whose trade often includes people who are disempowered by their ethnicity, gender, or both—have been consistently suppressed throughout the nation's history, but, paradoxically, are integral to many of its greatest achievements. His latest endeavor takes a more forward-looking approach. “Futures,” an exhibition Adamson co-curated that opens in November at the Smithsonian's Arts and Industries Building in Washington, D.C. (on view through summer 2022), considers how craft can signal where we might be headed, and why we should be optimistic about the time to come. Over and over again, Adamson demonstrates how skilled making is about more than just beautiful objects. “Craft stands in for the whole idea of what it means to be human,” he says, “and why that matters.”On this episode, Adamson discusses the various facets of skilled making, talking with Spencer about the value of hand-formed objects, the relationship between time and craft, and the discipline's essential, often complicated role in the history of human progress.Show notes:Full transcript on timesensitive.fm@glenn_adamsonglennadamson.com(16:20): Fewer, Better Things (Bloomsbury, 2018)(52:57): Chipstone Foundation (53:33): Milwaukee Art Museum(54:16): “Postmodernism: Style and Subversion 1970–1990” (Victoria and Albert Museum, 2011)(55:56): The Journal of Modern Craft(56:04): Museum of Arts and Design(59:50): Craft: An American History (Bloomsbury, 2021)(01:17:23): “Futures” (Smithsonian Arts and Industries Building, Nov. 2021–Summer 2022)

This week is the final episode in our four-part mini-season with Portman Marylebone. Ending on a high, Aleks sits down with Charlie Casely-Hayford, the owner and creative director at esteemed British menswear brand, Casely-Hayford London. Fellow fashionistas will doubtless know that Charlie inherited the brand from his father, the late, great, Joe Casely Hayford OBE, who sadly passed away in 2019 and was one of the most influential British designers of his generation.Today, Charlie is continuing to evolve the business in his father's stead and speaks to Aleks about how the brand continues to be informed ‘by a conversation between father and son'. We also touch on the brand's deft blending of high fashion and tailoring craft and explore how Charlie finds inspiration in both high and low culture – and everything in-between.If you enjoy listening, don't forget to follow us on Instagram @handcutradio, and get involved in the conversation. Please do rate and review us on Apple Podcasts, or subscribe to HCR on Spotify – either action helps to boost us up the podcast charts and is very much appreciated by the HCR team!---HandCut Radio is produced by Birch, the London based creative office of James Allen. Our theme music is by Joe Boyd.This episode is produced in partnership with Portman Marylebone, an elegant central London retail destination that is home to many of the city's most characterful restaurants, galleries and independent fashion brands. Portman Marylebone has been meticulously maintained by the Portman Estate for just under 500 years.---Show Notes:Charlie Casely-Hayford — Instagram | WebsitePortman Marylebone — Instagram | Website[03:45] FT | How to wear a suit now[08:20] Dazed & Confused Magazine[08:22] I-D Magazine[08:48] Virgil Abloh[08:54] Abloh-isms (book)[09:35] Gieves & Hawkes[22:24] Central Saint Martins[22:58] The Courtauld[29:03] ACNE Studios[30:38] Mark Cho on HandCut Radio[31:38] Jazziunf on Spotify

In this episode I sit down with Mayra from "Crafting By Mayra" to discuss a variety of topics including our hometown connection, new social media platforms and how to grow your audience on Instagram.

5-11-21 This episode, we're headed off to the Netherlands, and hanging out with Jeroen Krikke, owner of Kollectiv Mead in Den Haag (The Hague). Jeroen is a long time mead maker, and has taken his love of mead commercial, with his small, but growing meadery. Jeroen used a sabbatical to start Kollektiv Mead in 2018, following his ambition to introduce The Netherlands to "Dutch Craft Mead". At Kollektiv he makes small batch Dessert style meads, often very fruit heavy, made with modern mead practices. His fermentation journey started with beer in 2015, with mead entering the picture around 2017. Inspired by great examples from the U.S. (Think NEIPA's, Pastry stouts, Dessert and Pastry style meads) he makes meads based heavily based on science rather then artistry. He learned a lot at the Mead Making 301 course at U.C. Davis, was present at the first ever EMMA conference and became a MJP certified judge. all the while making more and more mead. Kollektiv Mead was started on pretty much a shoestring budget causing batch sizes to be on the smaller side. Mead is hardly known at all in The Netherlands and when it's already known, it's from the medieval or fantasy angle. That has proven both a challenge as well as an opportunity, as a new path could be paved. From the 3-5 other commercial meaderies operating in The Netherlands, Kollektiv has clearly positioned itself on the modern craft side, introducing complex and intense meads.In response to a demand that is continuously rising, the decision was made to transform Kollektiv to a membership meadery with currently 120 spots and a waiting list several times that size. Currently Jeroen divides his time between occupying and permitting Kollektiv Meads first very own production facility, introducing a brand new session mead style beverage, current production at Kollektiv, starting a hot sauce brand and a full-time job in IT. Join us on the live chat! This player will show the most recent show, and when we're live, will play the live feed. If you are calling in, please turn off the player sound, so we don't get feedback.[break] [break]Click here to see a playable list of all our episodes! If you want to ask your mead making questions, you can call us at 803-443-MEAD (6323) or send us a question via email, or via Twitter @GotmeadNow and we'll tackle it online! 9PM EDT/6PM PDT Join us on live chat during the show Bring your questions and your mead, and let's talk mead! You can call us at 803-443-MEAD (6323), or Skype us at meadwench (please friend me first and say you're a listener, I get tons of Skype spam), or tweet to @gotmeadnow. Upcoming Shows May 25 - Kon and Julie Paseschinikoff - Bee Boyzz Honey and Meadery - Manitoba, Canada June 8 - Anders Reising & his partner Jarl- Askheimer Meadery, Norway June 22 - Gert Smet - Blacksmiths Meadery, Belgium July 27 - Danique Staal- De Noordelijke Mederij, Netherlands August 10 - Gordon Baron - Lancashire Mead, Great Britain Show links and notes Top, Middle and Base Notes: A Comprehensive List The Herbal Medicine Maker's Handbook: A Home Manual - James Green and Ajana Food Pairing website The Flavor Bible The Flavor Matrix - the Art and Science of Pairing Common Ingredients to Create Extrordinary Dishes On Food and Cooking: The Science and Lore of the Kitchen Closet of Sir Kenelm Digby Unlock'd - Historical mead recipes Wellcome Mead by Laura Angotti Let There Be Melomels by Rob Ratliff The Big Book of Mead Recipes by Rob Ratliff Take part in Kevin Meintsma's Hydromel Study - email hydromel@wtibiz.com and he'll send you questions Upcoming Events May 12 - American Mead Makers Association - MeadCon week 3 - Carvin Wilson on mead judging and Billy Beltz on building and operation a successful tasting room May 13 - Sweet Rebel Honingwijn, Antwerp, Belgium - Copenhagen Mead tasting May 15 - Haley's Honey Meadery, Hopewell,

Laurence Scott, Will Self and New Generation Thinkers Lisa Mullen and Danielle Thom look at redundant features in design plus a visit to Collect: International Art Fair for Modern Craft and Design, presented at the Crafts Council, at the Saatchi Gallery in London. And, we discuss the 19th century French novelist Karl-Joris Huysmans as art critic, with Huysmans scholar and translator Brendan King. Collect, The International Art Fair for Contemporary Objects is on at the Saatchi Gallery in London from 28 February - 3 March 2019 Danielle Thom is a curator at the Museum of London. Lisa Mullen is the author of Mid-century Gothic: The uncanny objects of modernity in British literature and culture after the Second World War Producer: Luke Mulhall

A case study of how Teach For America implemented a digital strategy across the organization. This case study goes through the process that Peter Petralia, Partner at Modern Craft led. We learn the key elements involved in steering an organization of this size. 

With the goal to evolve modern craft and quality, Coalesse general manager Lew Epstein and global design director John Hamilton discusses how a new approach to quality and modern craft is influencing design at Coalesse.

John Ounpuu is a Co-Founder and Partner at Modern Craft, a boutique marketing consultancy focused on helping brands keep pace with modern customers by upgrading the most critical components of their marketing engine. John is a seasoned strategist, a writer and a speaker with a deep interest in the new challenges and opportunities facing marketers today. His clients at Modern Craft include Destination Canada, Hootsuite, and Sesame Street. Before co-founding Modern Craft in 2014, John was the Vice President of Strategy at Blast Radius, a Vancouver-based digital agency, where he spent a decade guiding brands like Nike Golf, Nike Jordan, Microsoft, Starbucks, and Electronic Arts, as they adapted themselves to the challenges of an increasingly digital world. Prior to joining Blast Radius, he worked in software marketing and spent time in the tech startup world. John has been featured as a speaker by Forrester, BCAMA, Canada Post, and the CIMC Conference. His writing has been published by Forbes, CMO.com, CMSwire, and WARC, among others. In a previous career, way back in 1990s, John was a musician and songwriter, and the bassist for the Canadian Juno-nominated alternative rock band, Pluto.   Links: Modern Craft website Free ebook: Tapping the Power of Passion Modern Craft on LinkedIn Modern Craft articles on Medium Modern Craft on Twitter John on LinkedIn John on Twitter  

Namita Wiggers joins Tyler professors Chad Curtis and Jesse Harrod in a conversation about Questions of Critical Craft. Namita Gupta Wiggers is a writer, curator, and educator based in Portland, OR. She is the Director and Co-Founder of Critical Craft Forum. Wiggers teaches in MFA Applied Craft + Design, co-administered by Oregon College of Art + Craft and Pacific Northwest College of Art, and at Portland State University. She contributes to online and in-print journals and books, serves as the Exhibition Reviews Editor, The Journal of Modern Craft, and on the Editorial Board of Garland. Recent projects include: Across the Table, Across the Land with Michael Strand for the National Council on Ceramic Education in the Arts; EVERYTHING HAS BEEN MATERIAL FOR SCISSORS TO SHAPE, a textile-focused exhibition at the Wing Luke Museum of Asian American Experience, Seattle; a forthcoming publication with Wiley Blackwell Publishers; and a study of gender and jewelry with Benjamin Lignel. 

Emily Carr Twilight Hour Speaker Series T’ai Smith is Assistant Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia. Her forthcoming book, entitled *Writing on Weaving: a Bauhaus Craft, a Bauhaus Medium*, looks at how Bauhaus weavers articulated, through essays, the specific dimensions of their craft. That book will be out from University of Minnesota Press in late 2014. Her articles and reviews have appeared in various periodicals, including Art Journal, Grey Room, Journal of Modern Craft, and Texte zur Kunst. She is currently developing a new book project, provisionally titled “Textile Media and Philosophy," which will examine the use of textile metaphors in media theory and philosophy since the 19th-century. Next summer she will be a fellow at IKKM, a media studies institute at the Bauhaus University in Weimar, Germany.