American Craft

American Craft

Summer 2021

Get American Craft digital magazine subscription today for its memorable stories and images that inspire readers to craft a conscientious, expressive life they feel good about. The magazine celebrates the age-old human impulse to make things by hand, in order to communicate, learn, heal, and connect. Our readers value community, sustainability, quality and authenticity.

Llegir Més
United States
American Craft Council
13,15 €(IVA inc.)
52,60 €(IVA inc.)
4 Números

en aquest número

1 min.
new & noteworthy

Blooms. Stunning art that evokes the ephemeral beauty of flowers.…

3 min.
letters from the readers

Thoughts on Changes Firstly, I love the cover: clean, spare, and elegant. That tattooed arm gives it a wonderful colorful jolt of surprise which elicits questions. The return to the older logo does change the focus somewhat, making the rest of the design of more visual importance. I am a weaver and have been getting wrapped and warped up in my looms for almost 50 years. American Craft has been a staple part of my reading for years, although I have only had a subscription for about a year. The spring edition was a very welcome surprise and very much appreciated after such a challenging, isolating year. The basketry was just great. The March 2021 edition of Craft Dispatch [the ACC’s monthly newsletter] was equally surprising and much appreciated. Indira Allegra’s letter was…

9 min.
the art of the flourish

Here’s what we know: In the late 1750s, a young man brought furniture to life in a cabinet shop on Philadelphia’s Chestnut Street. Selling piece by piece, he developed a shorthand technique that bewitched his carvings: draperies flowed, lion’s claws gripped the ball end of table legs, acanthus leaves arced arabesque over cornices and chair backs. Despite his relative youth, he was at the height of his career, creating pieces that would someday fetch over $6 million at auction and earn him a place in history as one of America’s finest carvers. What we don’t know about this unparalleled craftsperson? His name. He is called the Garvan carver because his work appears in Yale’s Mabel Brady Garvan collection. “His hand was first identified in three pieces of furniture that we have,”…

12 min.
unearthing the craftscape

When Namita Gupta Wiggers arrived at the University of Chicago in 1993, she planned to pursue a PhD in art history and focus on contemporary Asian American art. But when she scored a research assistantship with noted anthropologists Arjun Appadurai and Carol Breckenridge, her trajectory changed. “I worked for two years as their research assistant, and it opened up this space… to figure out how to be interdisciplinary between anthropology and art history,” she remembers. Wiggers, who was born in the US to Indian immigrant parents, shifted the focus of her research, deciding to look at how South Asian immigrants use everyday objects to transform cookie-cutter American houses into a place like home—an “anthropological, aesthetics-of-everyday, craft-oriented dissertation,” as she puts it. She kept up her coursework for art history and started taking classes…

8 min.
absence made present

There is the figure, Diana Al-Hadid says, and then there is the material poured over it, the skin that makes visible the space where the figure has been. We are speaking over the phone across an ocean about absence, about the ways that what looks like absence can be something else entirely. In Al-Hadid’s work, what one might be tempted to call negative space is rarely emptiness. Some of her pieces reveal only the edges of a figure, the space a body might have once occupied, as though her subject has vanished from beneath a layer of polymer. Just as often, though, what one might interpret as memory can also be its opposite; by glimpsing the edges of a missing shape, we are made to see the figure that could reside…

1 min.

Founder of The Homestead Atlanta, Kimberly Coburn explores the intersection of craft, the human spirit, and the natural world. In “The Art of the Flourish,” she writes about how artists use gestures, embellishments, and rhythm to make the functional beautiful and to express their voices. page 64. Zeyn Joukhadar was just starting a book tour for his most recent novel, The Thirty Names of Night, when we contacted him about writing a response to the work of the Syrian American artist Diana Al-Hadid. Despite a hectic schedule, he said yes because he fell in love with her art. page 88. This issue’s State of Craft article (“Unearthing the Craftscape” by Anjula Razdan, page 42), explores major shifts in how we are discussing craft. It’s followed by craft scholar and metalsmith matt lambert’s…