Relevant bibliographies by topics / Arts and crafts movement

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Arts and crafts movement'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Arts and crafts movement"

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Whyte, W. "The Arts and Crafts Movement." English Historical Review CXXIII, no. 501 (April 1, 2008): 486–88. http://dx.doi.org/10.1093/ehr/cen025.

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Filippov, Vasily D. "Arts & crafts in architecture." Urban construction and architecture 11, no. 4 (December 15, 2021): 113–24. http://dx.doi.org/10.17673/vestnik.2021.04.14.

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In the middle of the 19th century, the Arts and Crafts movement emerged in England. The development of the movement in England, USA, Germany is described. The influence of the ideas of the novel News from Nowhere by William Morris on the emergence of the idea of a garden city by Ebenezer Howard and on the preservation of the historical heritage of cities is shown. Describes the influence of Peter White on the emergence of Arts and Crafts in the United States, on the formation of the Chicago School, as well as the worlds first manifestation of modern in the architecture of Louis Sullivan. Shows the influence of Gustav Stickley on the birth of the American folk style of a residential building and his contribution to the modernism of Irving John Gill. The features of the Arts and Crafts in Germany are described, the role of Hermann Mutesius in the evolution of the movement from rejection of industrial production to unification with it and the establishment of the German Werkbund is emphasized. The influence of Mutesius ideas on the German art of the 1920s is shown. A description of the aesthetic direction of the movement, which received the name modern, is given and examples of it in Belgium, Germany, Austria, Scotland are given. The importance of movement as the basis for the birth of modern architecture is emphasized.
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Brett, David, and Paul Larmour. "The Arts and Crafts Movement in Ireland." Circa, no. 63 (1993): 61. http://dx.doi.org/10.2307/25557763.

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Crawford, Alan. "Inspiring Reform: Boston's Arts and Crafts Movement. Exhibition.Inspiring Reform: Boston's Arts and Crafts Movement. [Catalogue]. Marilee Boyd Meyer." Archives of American Art Journal 37, no. 3/4 (January 1997): 28–31. http://dx.doi.org/10.1086/aaa.37.3_4.1557878.

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Amos, Johanna. "Meaning and ‘Material Reality’: Jane Morris’ Keepsake Books." Journal of Design History 33, no. 2 (November 26, 2019): 107–22. http://dx.doi.org/10.1093/jdh/epz052.

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Abstract Though long overshadowed by her socialist–designer husband, Jane Burden Morris, wife of arts and crafts pioneer William Morris, has begun to receive recognition for her contributions to the alternative art movements of the nineteenth century, including her work as a Pre-Raphaelite model and arts and crafts embroiderer. This article furthers this exploration by examining Jane Morris’ engagement with the book arts. Through an analysis of the textual, visual and material qualities of four keepsake volumes Morris made c.1880, this article considers how the books illuminate Morris’ material reality and emphasize their maker’s commitment to socialist ideals, artistic labour, and collaborative working. It further situates Morris’ keepsake volumes within the nineteenth-century reinvigoration of the book arts and the arts and crafts movement in order to consider the ways in which arts and crafts ideals penetrated amateur domestic production.
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Stankiewicz, Mary Ann. "From the Aesthetic Movement to the Arts and Crafts Movement." Studies in Art Education 33, no. 3 (1992): 165. http://dx.doi.org/10.2307/1320898.

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Freeman, Meghan. "NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH." Journal of the Gilded Age and Progressive Era 17, no. 1 (January 2018): 121–44. http://dx.doi.org/10.1017/s1537781417000573.

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In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.
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Anscombe, Isabelle. "An Outpost of the Arts and Crafts Movement." Journal of Decorative and Propaganda Arts 8 (1988): 80. http://dx.doi.org/10.2307/1503971.

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Bowe, N. G. "The Arts and Crafts Movement in Central Europe." Journal of Design History 18, no. 4 (January 1, 2005): 399–401. http://dx.doi.org/10.1093/jdh/epi061.

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Danahay, Martin. "The Arts and Crafts Movement, Steampunk, and Community." Victorian Review 41, no. 1 (2016): 40–46. http://dx.doi.org/10.1353/vcr.2016.0008.

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Dissertations / Theses on the topic "Arts and crafts movement"

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Sprague, Abbie Noel. "The craftsman painters of the arts and crafts movement." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609045.

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Wright, Christopher Wellman. "The Arts and Crafts aesthetic in a contemporary setting /." Online version of thesis, 1988. http://hdl.handle.net/1850/11547.

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Denney, Matthew John. "Arts and Crafts furniture and vernacular furniture." Thesis, Bucks New University, 1997. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.714467.

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Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.

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Machenheimer, Cassandra Elizabeth. "An American "Bookbuilder": An Examination of Loyd Haberly and the Transatlantic Arts and Crafts Movement." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556243824913042.

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Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.

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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.
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Roberts, Rosalie. "Crafting Radical Fictions: Late-Nineteenth Century American Literary Regionalism and Arts and Crafts Ideals." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19668.

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This dissertation demonstrates that Sarah Orne Jewett’s The Country of the Pointed Firs (1896), Mary Hunter Austin’s The Land of Little Rain (1906), Kate Chopin’s The Awakening (1899), and Mary Wilkins Freemans The Portion of Labor (1903) exemplify the radical politics and aesthetics that late nineteenth-century literary regionalism shares with the Arts and Crafts Movement. Despite considerable feminist critical accomplishments, scholarship on regionalism has yet to relate its rural folkways, feminine aesthetics, and anti-urban stance to similar ideals in the Arts and Crafts Movement. Jewett, Austin, Chopin, and Freeman all depict the challenges of the regional woman artist in order to oppose the uniformity and conventionality of urban modernity. They were not alone in engaging these concerns: they shared these interests with period feminists, sexual radicals, and advocates of the Arts and Crafts Movement like John Ruskin and William Morris, all of whom deeply questioned industrial capitalism and modernization. Jewett, Austin, Chopin, and Freeman envisioned women’s Arts and Crafts communities that appealed to readers through narratives that detailed the potential uniqueness of homemade decorative arts and other aspects of women’s material culture. For Arts and Crafts advocates and regionalists, handcrafted goods made using local folk methods and natural materials fulfilled what they saw as the aesthetic requirements for artistic self-definition: The Country of the Pointed Firs and The Land of Little Rain embrace the destabilizing effect queer and feminist characters have on a presumably heterosexual domestic environment, and they formally resist the narrative structures of industrial modernity, emphasizing the Arts and Crafts ideal union between woman artist, natural environment, and communal bonds. The Awakening and The Portion of Labor expose the suffocating impact of industrial capitalism and sexism on women artists who strive for connection with their local environments and communities and cannot achieve their creative goals. I prove that all four texts do more than simply interpret regionalism through the Arts and Crafts Movement as a means to launch their critiques of industrial modernity, they transform the meaning of regionalist Arts and Crafts aesthetics and politics in late nineteenth-century American literature.
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Ibbotson, Verity Rose. "Collaboration and the Arts and Crafts Movement : the Art Workers' Guild, the Arts and Crafts Exhibition Society, the Quarto Imperial Club, and related group endeavour in Boston and Chicago." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577638.

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Rubinson, Claude. "The Production of Style: Aesthetic and Ideological Diversity in the Arts and Crafts Movement, 1875--1914." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/194514.

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What explains the aesthetic diversity of the Arts and Crafts movement? Typically, artistic movements are characterized by a single style but the Arts and Crafts produced both organic and geometric forms. Examining two Arts and Crafts retrospective exhibitions, I find that organic aesthetics predominated in Great Britain, Scandinavian countries, and Hungary and that geometric aesthetics were more prevalent in the United States, Germany, and Austria. This finding is largely consistent with previous sociological research on artistic form, which has found that stronger political-economies are more likely to produce geometric work while weaker political-economies are more likely to produce organic work. Austria, however, is a contradictory case and here the Arts and Crafts movement was more geometric than the political-economic model would predict.Through a comparative-historical study, I determine that the cause of aesthetic diversity of the Arts and Crafts movement was not per se a region's political-economic situation. Rather--and in contradiction to existing sociological theories of artistic style--the aesthetic variation of the Arts and Crafts was a function of whether, in a given country, the movement was backward-looking or forward-looking which, in turn, was function of which Arts and Crafts principles particular regions privileged. In regions where the members of the movement emphasized the value of labor (Great Britain) or regionalism (Scandinavia and Hungary), the movement was backward-looking and characterized by an organic aesthetic. In contrast, in regions that emphasized the democratization of the arts (the United States and Germany) or artistic unity (Austria), the movement was forward-looking and characterized by a geometric aesthetic. I further argue that in order to make sense of the ideological diversity of the movement, we must appreciate that the Arts and Crafts was a cultural manifestation of a period of political and economic turbulence characterized by the emergence of the first great world-wide depression, the decline of British hegemony, and the rise of American hegemony. The Arts and Crafts movement served to buffer the disruptive effects of this period and, in doing so, helped to usher in the modern age.
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Gower, Beverley Michael. "Craft idealism as an influence on design : with particular reference to furniture and interiors." Thesis, Cape Technikon, 1989. http://hdl.handle.net/20.500.11838/1322.

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Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town,1989
In iniustrialised societies which are !:JecoIninJ increasingly reliant on ca:rprter te::hnology the proliferation of han::lcraft would seem to be an anachramism. 'Ihis phenomenon has been explored from the viewpoint of the discipline of design and !OClre specifically in the areas relating to interiors and furniture. Against the background of a survey of contemporary activity in South Africa the historical evolution of craft has been examined in an attenpt to trace the relevance of this recent occurrence. The quality of idealism has been identified in that category of craft which emerged fram the Arts and Crafts Movement of last century. 'Ihis idealism in concert with the crafts emanating from the earlier material cultures of southern Africa has been proposed as a possible influence on design. A practical component has been included in the study in the form of experiments in han:icrafting pieces of furniture. The intention has been to gain urrlerstanding of the process and assist in furtherirrJ this particular craft.
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Books on the topic "Arts and crafts movement"

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Adams, Steven. The arts & crafts movement. Secaucus, N.J: Chartwell Books, 1987.

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Adams, Steven. The arts & crafts movement. London: Tiger Books, 1992.

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Massey, James C. Arts & crafts. New York: Abbeville Press, 1995.

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Blakesley, Rosalind P. The arts and crafts movement. London: Phaidon, 2006.

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Wendy, Kaplan, ed. The arts and crafts movement. New York, N.Y: Thames and Hudson, 1991.

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Anscombe, Isabelle. Arts & crafts style. London: Phaidon Press Ltd., 1996.

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Haslam, Malcolm. Arts & crafts. London: Macdonald Orbis, 1988.

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Jill, Bace, and Rae Graham, eds. Arts & crafts. New York, N.Y: DK Pub., 2005.

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Haslam, Malcolm. Arts and crafts carpets. London: David Black, 1991.

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Todd, Pamela. The arts & crafts companion. New York: Bulfinch Press, 2004.

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Book chapters on the topic "Arts and crafts movement"

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Adams, Brian. "Nell Brooker Mayhew and the Arts and Crafts Movement in America." In The Routledge Companion to Women in Architecture, 44–56. New York : Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9780429278891-5.

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Ahuja, Naman P. "Creating the Sensibility of the Modern Indian Artist-Craftsman: Santiniketan & the Arts and Crafts Movement." In The Making of a Modern Indian Artist-Craftsman Devi Prasad, 10–63. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003157250-1.

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Rotman, Deborah L. "Domestic Production for Public Markets: The Arts and Crafts Movement in Deerfield, Massachusetts, c.1850–c.1911." In Historical and Archaeological Perspectives on Gender Transformations, 45–62. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-4863-1_3.

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Mann, Amandeep Kaur. "The Early Twentieth Century and Beyond: The Influence of Lethaby, the Arts and Crafts Movement and Occult Concepts." In William Lethaby, Symbolism and the Occult, 159–205. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429356599-11.

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Luckman, Susan. "Precarious Labour Then and Now: The British Arts and Crafts Movement and the Ethics of Rural Cultural Work Re-visited." In Locating Cultural Work, 48–84. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283580_3.

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Mallinson, Jonathan. "6. 1913–14: A New Beginning." In William Moorcroft, Potter, 115–36. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.06.

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We consider the practical difficulties faced by Moorcroft in his first year at the new factory, built to a tight budget and at high speed. The move to full production was inevitably slow, and the consequential financial pressures were compounded by continuing disputes with Watkin about the market value of stock which Moorcroft bought from Macintyre’s. Drawing on contemporary documents and ledgers, we examine the design of the new works and its informed compliance with the ‘Regulations for the Manufacture and Decoration of Pottery’, enacted in 1913. Its distinctiveness, though, lay not just its compliance, but in its working environment, quite different from both industrial manufactories and smaller-scale art potteries. Closer to a studio, it was defined and energised by Moorcroft himself, who played an active role in all aspects of design and production, management and marketing, supported in this by his wife, Florence Lovibond, one of the first Women Factory Inspectors. This unique atmosphere was immediately noticed by reviewers, and written about in terms which implicitly linked it to the Arts and Crafts movement. We contrast it with Fry’s Omega Workshops, another variant on the Morris legacy, established at the same time. Moorcroft’s enterprise is seen to be both more personal and less exclusive, with a mission to create an ‘everyday art’ for more than a select few.
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Wilkinson, Philip. "Arts and Crafts." In 50 Schlüsselideen Architektur, 80–83. Heidelberg: Spektrum Akademischer Verlag, 2013. http://dx.doi.org/10.1007/978-3-8274-3066-3_21.

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Xu, Guobin, Yanhui Chen, and Lianhua Xu. "Arts and Crafts." In Introduction to Chinese Culture, 113–31. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-8156-9_5.

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Winstedt, R. O. "Arts and Crafts." In The Malays, 161–75. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003463726-9.

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Radbourne, Jennifer, and Margaret Fraser. "Arts and crafts industry development." In Arts Management, 157–66. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416463-9.

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Conference papers on the topic "Arts and crafts movement"

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Alford, Grant. "Arts & Crafts (and iPads): Digital Craft and Political Economy." In 109th ACSA Annual Meeting. ACSA Press, 2021. http://dx.doi.org/10.35483/acsa.am.109.20.

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In discussions of craft since the digital revolution in architecture of the past twenty years it is common for an author to situate their position relative to the Arts and Crafts movement of the late 19th and early 20th centuries. Scholars have repeatedly and rightly noticed striking parallels between reactions in design thinking to the industrial revolution and reactions to the digital revolution in architecture. Proponents of various digital schools invoke the likes of William Morris and John Ruskin as historical theoretical foils to visions of craft in the digital age. There is, however, a tendency to overlook or dismiss as naïve the socio-political ambitions that underwrite the better-known aesthetic styles of various craft movements. Revisiting the political economy of movements like the Arts and Crafts and its allies prompts questions about various contemporary formulations of digital craft. Reinterpreting, for example, Ruskin’s prescient critiques of the technological revolution of his time still suggest social, political, and economic implications for handicraft in our own digital age. To define these questions and potentials, this paper will review the historical moral imperative of craft; survey representative attitudes towards craft in several prominent digital schools of thought; and suggest alternative ways of engaging the socio-political possibilities of digital handicraft through architectural drawing with digital tablet computers, such as the iPad.
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Barnes, Anthony. "Learning with Lutyens: Noel Bamford and the Design of Ngahere, Auckland (1907)." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5014ps6dt.

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Architects F. Noel Bamford (1881-1952) and A.P. Hector Pierce (1879-1918) both worked in Edwin Lutyens’ London office before establishing their Auckland partnership in 1907. Just prior to the formation of the partnership, Bamford designed a house called Ngahere in the Auckland suburb of Epsom. Ngahere is known as an early and important example of Arts and Crafts architecture in Aotearoa New Zealand. It is a novel application of the butterfly plan, with a dominant central section and two articulated wings. Although built in timber on a foundation of basalt, like some larger villas in surrounding Mount Eden, in its plan and form it was unlike any other house in Auckland. This paper explores the design of Ngahere considering Bamford’s knowledge and experience of Arts and Crafts architecture, including that gained during his time in Lutyens’ office. It asks whether this house is true to the ideals of the Arts and Crafts movement as conceived in England, using pre-industrial forms, traditional construction methods and hand-crafting, or shows evidence of other geographical paths of the Arts and Crafts movement such as the United States and Australia. Additionally, it asks whether aspects of the house relative to planning (including relationship to the site), built form, materials and detailing are reflected in later Bamford and Pierce houses, or more widely in Arts and Crafts houses in the Auckland region. The paper shows that while Bamford’s time in Lutyens’ office apparently provided him with a repertoire of design skills and ideas, it did not render him an acolyte. Rather, Ngahere included clear references to the broader architectural lineage and direction of the Arts and Crafts movement in England and beyond, apparent in the ways the house responds to its site and context, including the visual and physical relationships between indoor and outdoor spaces.
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Sawatani, Yuriko, and Nobuo Kanai. "New human engagement-first governance approach in craft startups." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003108.

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The research finds a new relationship with customers through crowdfunding in the case of BrewDog, a craft startup. Originally, the concept of craft was regarded as a primitive form of manufacturing that was passing away. However, the Arts and Crafts Movement, started by Morris and others (1892) against the Industrial Revolution, was an attempt to rediscover the potential of human beings themselves. By rethinking the purpose of life as an anti-capitalist movement and analyzing craft startups, where symbolism, aesthetic qualities, and entrepreneurial identity are important elements, we found a customer profile as a future-creating partner that transcends the traditional relationship enabled by the crowdfunding mechanism.
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Farikha, Alfi Yusrina. "The Existence of Indonesian Craft in the Middle of DiY Craft Movement by Millennial Community." In 4th International Conference on Arts Language and Culture (ICALC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200323.060.

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Latifah, Anne Enur, I. Wayan Suardana, and Meysa Dj Hasiru. "Ergonomic Aesthetic Existence in Tasikmalaya Woven Crafts." In 3rd International Conference on Arts and Arts Education (ICAAE 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200703.032.

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Amirbekovna, Gadzhalova Fatima. "PRESERVATION AND DEVELOPMENT OF PEOPLE ART CRAFTS AND CRAFTS ON EMBROIDERY IN CUBA." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-104-107.

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Wang, Ning. "A Viewpoint on Intervention with Inheritance of Traditional Arts and Crafts by Vocational Teaching of Arts and Crafts." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.138.

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Abdulmejidovich, Yusupov Khizri. "KHARBUK CRAFTS: STUDY AND CONSERVATION ISSUES." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-42-47.

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Xie, Cong. "Computer Aided Design of Arts And Crafts Products." In 2023 IEEE International Conference on Integrated Circuits and Communication Systems (ICICACS). IEEE, 2023. http://dx.doi.org/10.1109/icicacs57338.2023.10100313.

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Grigoryeva, N. V., and S. L. Sargsyan. "METHODOLOGICAL PRINCIPLES OF STYLIZATION IN ARTS AND CRAFTS." In ИННОВАЦИИ В СОЦИОКУЛЬТУРНОМ ПРОСТРАНСТВЕ. Благовещенск: Амурский государственный университет, 2022. http://dx.doi.org/10.22250/9785934933891_60.

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Reports on the topic "Arts and crafts movement"

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Klein, Randal, and Sam Johnson. Environmental Assessment: Proposed Automotive/Arts and Crafts Skills Center, Hill Air Force Base, Utah. Fort Belvoir, VA: Defense Technical Information Center, October 2010. http://dx.doi.org/10.21236/ada530627.

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Rito, Carolina, and Paul Goodwin. The Changing Same? British Black Artists and Visual Arts Organisations in the Midlands. Coventry University, May 2023. http://dx.doi.org/10.18552/camc/2023/0001.

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The Role of Visual Arts Organisations in the British Black Arts Movement in the Midlands’ is a research network funded by the Arts and Humanities Research Council (AHRC). Co-led by Carolina Rito (Coventry University) and Paul Goodwin (University of the Arts London), this project explored the institutional and curatorial strategies of the movement in the 1980s, and the institutional support in promoting and showing Black curators and artists then and today. The publication includes new insights about the process, and interviews with key researchers and practitioners in the field. It presents a series of recommendations and considerations for funders, cultural organisations and the HE sector, and feedback from the cultural partners.
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De Tolentino, Marianne, and Sara Hermann. Inside and Out: Recent Trends in the Arts of the Dominican Republic. Inter-American Development Bank, November 2008. http://dx.doi.org/10.18235/0006413.

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For many years the artistic movement in the Dominican Republic was a -best-kept secret. Their growing international contributions to contemporary visual arts have been changing that picture, but may also be characterized by even greater drive, selectivity, and regularity. We could say that of all the islands of the Caribbean, the Dominican Republic is, along with Cuba, Puerto Rico, and Haiti, the country most prolific in regard to modern and contemporary artists.
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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world
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Tradition and Entrepreneurship: Popular Arts and Crafts from Peru. Inter-American Development Bank, February 2004. http://dx.doi.org/10.18235/0006434.

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An exhibition honoring Peru, and the city of Lima, host of the 45th Annual Meeting of the Board of Governors of the Inter-American Development Bank, presented folk objects and crafts various regions of Peru in which tradition has evolved within age-old artistic expressions. The exhibit also included objects that reflect recent innovations introduced by artisans and entrepreneurs with the idea of making such expressions economically sustainable. The exhibition was organized and curated by the IDB Cultural Center, with the participation of the Museum of the Central Bank of Peru.
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Tradition and Entrepreneurship: Popular Arts and Crafts from Peru. Inter-American Development Bank, February 2004. http://dx.doi.org/10.18235/0008268.

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Presents an exhibition of folk objects and crafts from Peru, representing various regions in which tradition has evolved within oldage artistic expressions, was be presented at the Art Gallery of the Cultural Center of the InterAmerican Development Bank, in Washington, D.C., from February 26 to April 30. The exhibit also includes objects that reflect recent innovations introduced by artisans and entrepreneurs with the idea of making such expressions more economically sustainable.
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