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StudioStudio

Studio Fall - Winter 2017 - 2018

Studio magazine brings the best of contemporary Canadian craft and design to a creative, curious and passionate readership. As the only national magazine dedicated to fine craft in Canada, Studio has a unique perspective on issues and developments in the craft world.

Country:
Canada
Language:
English
Publisher:
Ontario Crafts Council
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2 Issues

IN THIS ISSUE

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contributors

GRACE BUTLAND is a fibre artist, writer and owner of Olio Fibre Art Studio & Gallery in Annapolis Royal, Nova Scotia.PETER FLEMING is the Head of the Furniture Studio of the Sheridan Bachelor of Craft and Design Program. He has designed and made furniture since 1983, and received his MA from York University. He was the 2000 Saidye Bronfman Award Laureate.ERIN KLASSEN manages Etsy’s Community Programs and Partnerships in Canada, based out of the Toronto office. In her spare time, she runs the indie publishing venture With/out Pretend. She aims to prioritize collaboration and community in every project she leads.KATHY KRANIAS is a Toronto-based ceramic artist. She has been part-time faculty in the Craft and Design Program at Sheridan College since 2004, and is a contributor to The Journal of…

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editors’ note

WHAT ARE WE MAKING? That is a question we are always asking ourselves here at Studio. Making a magazine is an unfolding process and each issue invites us to pose the question and respond to the ideas that result.First, we recently decided that we needed to make some changes. The Slice section had run its course. The internet is the place for topical news and announcements. When there is something to celebrate or announce, we should be doing it immediately, not gathering it 6 months ahead of press-time to let it get stale in paper pages. So you will see all of what would have been Slice on studiomagazine.ca once we revitalize the website in the new year".We will not make stale pages, we decided. Our questions are now and…

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what are we making?

Prehistoric people, about eighteen thousand years ago… we call their ambitious culture Solutrean…knapped astonishing yellow blades in the shape of long, narrow pointed leaves...Most of these blades are the size and thickness of a filet of sole...A modern surgeon…used such a blade to open a patient’s abdomen; it was smoother than his best steel scalpels. Its edge split few cells and left scant scar…Hold one of these chert knives to the sky. It passes light. It shines dull, waxy gold—brown at the center, and yellow towards the edges as it clears…the blade thins from translucency to transparency. You see your skin, and the sky. At its very edge the blade dissolves into the universe at large. It ends imperceptibly at an atom.ANNIE DILLARD FOR THE TIME BEING 99-100Sym-poiesis is a…

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craft council calendar

Ningiukulu Teevee, Caribou Legs, 2017. Printed by Tapaungai Niviaqsi. Ink on Kizuki Kozo Natural paper. Stonecut. 61.5 cm x 81.4 cm. (IMAGE CREDIT:DAVID HANNAN OF DORSET FINE ARTS)CRAFT ONTARIOcraftontario.com2017 Cape Dorset Print CollectionCraft Ontario Shop1106 Queen Street West, Toronto, ONOctober 14 - October 31, 2017International release: Saturday, October 21, 2017The Craft Ontario Shop will feature the 58th Annual Cape Dorset Print Collection, which showcases remarkable Inuit work from West Baffin Island’s Kinngait Studios. Craft Ontario will acquire two complete sets of the 50 edition collection, which features works by Ningiukulu Teevee, Tim Pitsiulak, Cee Pootoogook and Saimaiyu Akesuk to name a few.One of the first establishments to represent Inuit and Native art in Toronto, the Craft Ontario Shop continues to support and be supported by the rich history and culture…

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the meeting of matter and meaning

Zimra Beiner’s The Weight of Things and Sharon Hogg’s Tapestries in Space open up material agency – they present new possibilities for understanding how materials mediate and transform human experience. In these two exhibitions, Beiner’s ceramic still lifes and Hogg’s textile installation reveal relationships between contemporary craft practices and knowledge production. In this era of significant human impact – the proposed ‘Anthropocene Epoch’ – ecological urgency is largely based on a material knowledge gap directly linked to humanity’s most devastating habits of overproduction and overconsumption. The result is an imperative to better figure out materials and processes in the production of objects and behaviours. This rising awareness makes obsolescent the dichotomy of concept over materiality in the production, interpretation, and circulation of art/craft/ design objects. Conceptual art, or art in…

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writing glass: virtual, real

In his new crowd-funded book Glass: Virtual, Real, Koen Vanderstukken, artist and studio head of Glass at Sheridan College, writes about the artistic and philosophical values of glass in Western culture. What amazes me about this book is how it reveals and connects many different histories through the piecing together of events, exhibition catalogues, curatorial and scholarly writing, and the voices of artists and craftspeople.Substantiated by these countless texts and images, Vanderstukken charts the breakthrough of glass in the arts during the modern era, and demonstrates the significance of glass to postmodern and contemporary art. It is not surprising that the author makes important contributions to art discourse as he emphasizes the complexities of glass and the increasing use of it in the digital era as a medium for artistic…

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