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WELCOME TO PAST PRESENT AND FUTURE CRAFT PRACTICE RESEARCH

Statement

Past, Present & Future Craft Practice (PPFCP) research is based at Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland. This major project is funded by the Art and Humanities Research Council, U.K., and is led by the Principal Investigator Professor Georgina Follett and Research Associate Dr Louise Valentine. PPFCP is exploring new directions, practices and perspectives in contemporary craft - helping to define a new relevance for craft in the 21st century.

The project involves a core team of academics at the University of Dundee who are committed to exploring craft research. The team also includes Bill Nixon, Professor of Law and Accountancy; Murdo Macdonald, Professor of Scottish Art History and three PhD researchers, namely Elizabeth Donald, Fanke Peng and Frances Stevenson. The team share a common interest in visual thinking and theory; knowledge management and its impact on contemporary culture; the development of a visual language and its relationship to economic and cultural wellbeing.

Project Aims and Objectives

The ‘Past, Present, and Future Craft Practice’ research project will explore the interrelations between skill, intent and culture. The project spans a five-year period (2005 – 2010) and will:
Conduct comparative research on visual and cultural aesthetics of craft-based practice; addressing the plurality of perspectives inherent in creative thinking.
Develop visual methods of interrogating the process of craft-based practice for the study of craft knowledge, involving participative and non-participative observation.
Develop an integrative framework of history, theory, and practice for analysing the material obtained through the application of visual methods.
Build a European network of research links with research centres and institutions concerned with craft-based practice and knowledge management.

WELCOME TO PAST PRESENT AND FUTURE CRAFT PRACTICE RESEARCH QUESTIONS

As with all research projects, there are key questions driving the investigation, and for PPFCP these include:

What can be learned from historical craft ideologies and philosophies?
Why is there a lack of understanding regarding the principles of craft?
Culturally, how do crafts relate to the other visual disciplines?
What is the value of craft to the development of culture?
How does a craft person communicate craft knowledge?
What can the craftsperson’s approach to thinking offer other disciplines?
How can craft regenerate itself?

We are seeking to answer these questions by focusing on the following issues:

Communicating the use of craft knowledge and skills
Creative vision and the role of craft tin cultural development
Transferred knowledge and its application in craft
Technology and its role within the process of making

Central to these issues is how interrogating visual knowledge deepens the skill of questioning the self, and how this relates to creating innovative cultural development.

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Space & Place

Space & Place is a lively, intellectual series of events designed to nurture communication and collaboration within the School of Design’s research culture. It incorporates lectures, workshops and seminars, and always has a dynamic discussion component. The range of subjects addressed in the programme reflects the growing number of research active staff and PhD students, and the diversity of interests within design research. Past events include, ‘Research Portfolio Mapping’, ‘Creative Writing’ (facilitated by Stuart Delves, henzteeth), ‘Publishing’ (facilitated by Suzie Duke), and ‘Research Poster Design’ (facilitated by Terry Irwin, ex Director of Metadesign).

Space & Place is managed by Professor Tom Inns and usually takes place at lunchtime, 12.30 – 1.30 p.m., in room 400, Crawford Building, Duncan of Jordanstone College of Art & Design.

For further information please email: Cathy Brown

go to Space & Place site>

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Speakers Diary

Prof Georgina Follett OBE
Dr Sandra Wilson
Elizabeth cumming
Leslie Reed
Dr Peter Walters
Prof Jorunn Veiteberg
Matthew Williams
Amanda Game
Michael Lloyd
Sue Prichard

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Prototyping: craft in the future tense, 10-11 June, 2010, Dundee Contemporary Arts

“Prototyping: craft in the future tense” is a symposium being held in the summer of 2010, at Dundee Contemporary Arts, Scotland. It is being co-convened by Duncan of Jordanstone College of Art & Design, University of Dundee and the Victoria & Albert Museum, London, and led by Dr Glenn Adamson, Fraser Bruce, Sean Kingsley and Dr Louise Valentine.

Innovation and entrepreneurship are key drivers of economies and cultures, and prototyping is a central aspect of the innovative process. Prototypes can be identified by industry and academia through a spectrum of fields – from ceramics to cars, bio-sciences to book binding, film to food, landscape gardening to letterform. The aim of the symposium is to bring historical, theoretical and practical conversations from a variety of intellectual areas, with representation from academia, public and corporate sectors. It is to facilitate a trans-disciplinary conversation as a way of developing new partnerships and new understandings for the creation of future prototypes.

The Thinking Behind the Event
Craft practitioners and scholars are becoming increasingly used to a post-disciplinary environment, in which generative ideas are more influential than fixed categories. It has become more important than ever to understand concepts that traverse the world of making. One example is the prototype: an object that is conceived as a means to an end beyond itself. Prototypes come in all shapes and sizes. They might be improvised and informal‹a few bits of foam and tape, perhaps, but nonetheless effectively communicate a design breakthrough. Or they can be immaculately crafted objects, whose aesthetic and tectonic qualities evoke (or even surpass) the mass-produced objects they are intended to represent. The materials from which a prototype is made can have a deep and unnoticed effect on design process. An automobile modeled in clay is bound to be different to one carved from wood, or shaped digitally on the screen. The very notion of the prototype is susceptible to experimentation. Creative practitioners at centers such as the MIT Media Lab, the Royal College of Art, and the University of Dundee itself have recently explored new conceptual approaches such as the ‘genotype’ (which models only the germ of an object, not its final form) and the ‘prototype-a-thon,’ which invites mass prototyping on a single theme as a way to prompt innovation. This burst of new thinking is perhaps no surprise, for every prototype is oriented to the future. Even the most pragmatically conceived prototype carries some trace of utopian conviction; a suggestion of the way things might soon be different. In this sense, the prototype serves as both an emblem and a vehicle for craft practice in general.

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People

Prof. Georgina Follet OBE
Dean of Duncan of Jordanstone College
Deputy Principal, University of Dundee

Giving Voice: the relation between skill, intellect and culture in craft practice

Georgina is the Principal Investigator of the AHRC funded, ‘Past, Present and Future Craft Practice’ research project, and is a contemporary craft practitioner of 40 years, specialising in plique-de-jour enamelling.

The premise of her research is that craft is a journey through the mind, an intellectual struggle with the self to continually push personal knowledge boundaries. Craft is a process and life work that strives to bring into form, an aesthetic held between physical vision and intangible consciousness: a journey reliant on building tacit knowledge through individual visual obsessions to give voice to that which did not exist.

The conundrum she is working on is that within critical writings on craft, the skill of clearly communicating the intellectual and personal voice in the development of work is usually missing. Subsequently, Georgina’s research is challenging perceptions and responsibilities of the craftsperson to keep their creative journey silent and author-less. The objective is to expose the evolution of ideas in craft thinking thereby revealing the ideological and philosophical basis that practitioners establish through time.

The reason for investigating craft from this perspective is, 1) give transparency to the intellectual basis underpinning craft practice, 2) articulate the cultural value of craft practice to future Scotland, and 3) communicate economic relevance of craft in tomorrow’s national and international contexts i.e. as one of Scotland’s unique selling points.

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Prof. Bill Nixon
BComm, MBA, PhD, FCA, MIMgt, CA, FRSA,
Professor of Management Accounting

Craft and the Economy

Bill's research focuses on how management accounting can support the new product design and development process. A basic premise of the research is that accounting can act as an integrating vernacular linking all of the internal and external participants in the new product development process. The working framework used in this research consists of four related activities namely risk management, investment appraisal, value management and performance management; these activities are examined within the planning, implementation and control concepts of strategic management.

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Dr Louise Valentine
Design Lecturer

Dialogue in the Making

Louise is a design lecturer. She is the post-doctoral research associate funded by the Arts and Humanities Research Council to research and manage the 'Past , Present and Future Craft Practice' project. Her research considers craft to be a system of thought, where there is no separation between the subconscious and conscious levels of being because separating offers little value when contemplating through making. The notion being that when internalising, the ability to sustain participation in the reflective dialogue is an integral component of craft, and that craft is an act of thinking and making rather than an object.

The internal dialogue that takes place during the thinking process is an intellectual space, which offers an unrelenting restlessness and a deeply probing approach to questioning. It is a place that facilitates deep, personal understanding of the self; an environment where deeply held assumptions can be observed, and it is a context for heightening aesthetic integrity. Valentine’s research will attend to this internal reflective dialogue as it involves working with a range of tacit and explicit subtleties. The assumption underpinning the work is that the subtleties and nuances that come with thinking and making are imperative to craft, and that understanding the varying degrees to which subtleties are listened to and questioned by the practitioner, is crucial.

The questions driving the study include, what is craft dialogue? How does a craftsperson communicate the knowledge embodied and embedded in craft? What is the significance of the craftsperson’s approach to thinking for other knowledge domains?

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Elizabeth Kay Donald
PhD Researcher

Evaluating the Aesthetic of Craft: a 21st century study of practice

Elizabeth Donald is a tapestry designer and full time PhD researcher evaluating the aesthetics embodied in craft through analysis of methodological approaches embedded within historical and contemporary practice. The central objectives of research include development of a model for 'reading' the visual language associated with craft, and the identification of opportunities for developing communication of craft as a discipline of thought.

Elizabeth is initially investigating traditional craft, popular craft and fine craft. Despite the long tradition of learning and applying established techniques to produce artefacts, there is still an illusive definition or consensus of what craft is. The first stage of study seeks to investigate the similarities and differences of these perspectives through mindfulness and dialogue with craft educationalists and practitioners to address the questions: what is craft?

The House of Falkland* is also being used as a context for evaluating the aesthetic values embodied in craft work. The house provides a rich source of visual reference for a case study, reflecting on the period of creativity termed “The Arts and Crafts Movement” of the late 19th and early 20 century. The question driving this aspect of investigation is, what can be learned from historical craft ideologies and philosophies?

House of Falkland is a resource of international significance. The House is an 'A' listed building designed by Wiliam Burn, built between 1839/1844 with the exterior and the landscape created by Alexander Roos; the internal decoration commissioned by John Patrick Crichton Stuart, Third Marquis of Bute, greatest Victorian patron of the Arts who installed works by Robert Weir Schultz, Horatio Walter Lonsdale, and others. House of Falkland has never been subject to investigation, nor sought resource support from any public body. This unique resource enables visual analysis and cultivation of the crafts from a historical perspective.

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Frances Stevenson
Design Lecturer, PhD Researcher

Pattern and Emotion: the Craft of Printed Textiles

Frances Stevenson is a printed textile designer and lecturer undertaking a PhD (part-time) on the AHRC funded ‘Past, Present and Future Craft Practice’ project. Her study aims to explore the relation between the context and content of craft within a cultural framework through the questioning of craft practice and practitioners, looking specifically at the inter-relation of craft, creativity and the craft economy.

Is it possible to ‘make a living’ in craft and maintain a balance between personal/creative fulfilment/achievement and commercial gain? Is there a need for compromise and where or what should it be? Reports carried out for the Scottish Arts Council and the Arts Council for England and Wales identify the majority of craftspeople as low earners and part-time workers. In order to identify and secure a future for craft practice the problem of ‘making a living’ should be addressed as it raises questions around value, knowledge and aesthetics and how the crafts practitioner moves between business practice and making process.

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Fanke Peng
PhD Researcher

Innovation – Beyond Craft

Fanke Peng is an interactive media designer and full-time PhD researcher working on the AHRC funded project, ‘Past, Present and Future Craft Practice’. Her study explores the relation between social values and innovation within craft practice between 1870-2005.

The premise of investigation is the relation between science, religion and politics in any given period of time is the context for Craft practice, irrespective of the discipline in which an object manifests itself. This intellectual arena determines the nature of innovation (for example, social, cultural, technological and material) to be found in a particular era of time. The aim is to observe the relation between science, politics and religion (1870 - 2005) in order to identify the pattern of preference within society regarding innovation within craft.

The central objectives include conducting 3 case studies of leading Scottish based craft practitioners, the first of which is Phoebe Anna Traquair. The research concerning Traquair initially reflects on her mural decoration and embroidery, critically analysing the work in terms of technique, subject, cultural context and methodological framework. Using her education and training in interactive media, Peng’s research seeks to combine theoretical and historical understanding of craft with practical knowledge of visual methodologies to demonstrate the nature of innovation in craft.

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PRACTICE

New Craft Future Voices Conference 2007

Overview & Rationale
'New Craft - Future Voices' conference was hosted by Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland from 04 - 06 July 2007.

Organised to encourage debate surrounding the future of craft, it sought to expose and articulate craft issues currently being investigated via doctoral research, post-doctoral research and craft practitioners, and to document new ways of questioning and disseminating the dialogue of craft practice.

This event brought together craft practitioners and academics to develop a new vision for the 21st Century. Digital, Radical, Innovative, Fine, D.I.Y, Process, Craftivism and Hobbyist craft - 'New Craft - Future Voices' captured a diversity of activities within the crafts, taking stock of its fast changing cultural and creative role.

It consisted of a 3-day conference with 45 papers the opportunity to hear prominent keynote speakers, including Paul Greenhalgh, Bruce Metcalf, Joruun Veiteberg, Marie O'Mahony and Sandra Alfoldy. The conference promoted the highest level of craft practice and initiated a new discourse around some critical questions, including:

Where should the emphasis of a new craft discourse be located, is it object, process or maker?
What is the significance of the craftsperson's approach to thinking for other knowledge domains?
What is the future role for craft?
How does a craftsperson communicate the knowledge embodied and embedded in their practice?
What are the distinguishing features of craft in comparison to other forms of creative practice?
What is the value of craft to the development of culture?

Conference Themes: included
Craft and science; Innovation, Design and Craft; Craft management; Epistemology of making; Craft and the economy; Craft and digital process; Craft and cultural diversity; Practice and research; Intelligent making; The pedagogy of craft; Craft and wellbeing; Craft and manufacturing; Intuition, Creativity and Craft; Mindfulness; Craft & Dialogue; Story-making and Storytelling.

Aims:
The conference was one element in the broader 'Past, Present & Future Craft Practice' (PPFCP) research project. The premise of the PPFCP investigation is that craft-based practice is a socially interactive process despite being a predominantly individually executed product, where dialogical methods expose contradictions and nurture mindful interrogation: a system of thinking and making. Through the 'New Craft - Future Voices' conference, the PPFCP research sought to:

Identify emergent forms of craft practice
Publish some of the contributions at the conferences via an edited book in 2007.
Develop a futures dialogue.
Curate an international exhibition of craft practice.
Develop an international network of practitioners concerned with articulation of the craftsperson's voice, with a view to determining a new research agenda for craft.

The aim for 'New Craft - Future Voices' was to help articulate craft as a holistic process of thinking and making, to refine an understanding of craft suitable for the 21st Century, thereby creating a firm foundation for craft practice, and finally to articulate the uniqueness of the maker and the value of their thinking processes to other disciplines.

'New Craft - Future Voices' had an International Review Panel. It comprised of people with an expertise and profile and, the role of the international review panel was to referee abstracts and full papers when they were submitted on-line.

As part of its commitment to disseminate the outcomes of the conference to a wider audience, a resulting publication from the conference was provided as a vehicle for stimulating response and engagement by craft practitioners and other public bodies to create a pathway for future development of craft.

New Craft - Future Voices

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Celebrating Diversity

‘Future Voices: Celebrating Diversity’ was a major international exhibition showcasing 27 exhibit proposals from eleven countries, and represented a total of 37 practitioners with approximately 250 pieces of work.

Digital, Radical, Innovative, Fine and Process - the exhibition exposed a diversity of activities within the crafts and took stock of its fast changing cultural and creative role.

'Future Voices: Celebrating Diversity' opened to the public on 4th July 2007, in the Cooper Gallery, Duncan of Jordanstone College of Art & Design, University of Dundee, and ran until 3rd August 2007.

The exhibition was an integral aspect of the ‘New Craft Future Voices’ conference and provided a window on contemporary craft: a focus for discussion, an indicator of quality in craft and a visual means of articulating the issues that need to be addressed through research.

The international conference ‘New Craft - Future Voices’ invited exhibit proposals that reflected the diversity of contemporary craft. In particular, proposals that demonstrated the range of spheres where craft is located, for example, material based craft, the craft of writing, designing spacecraft or the craft of medicine and science. The exhibition aimed to reflect new contexts for interpretation of craft as a contemporary phenomenon.

Craft was interpreted as the craft practitioner, craft processes and practice, and / or the crafted object. Proposals concerning craft as education and/or processes were also welcomed.

Proposals came from individuals and groups, and considered for example, new forms of craft, new collaborations, new forms of patronage, new contexts for interpretation of craft and new ways in which digital media and technology enhance the communication of craft.

Curatorial Objectives

To create a fresh and vibrant walk-through with countless surprises emerging through the varied forms of craft chosen by Professor Georgina Follett and Dr Louise Valentine.
To showcase a dynamic energy from the contributors work, encouraging the audience/viewer to probe the work and also their perception of what is ‘Craft’.
To promote Scotland as a leader in Craft Research exhibitions.

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Exhibitors

Adriana Ionascu
need list

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Dialogue in the Making Workshop

The Dialogue in the Making workshop, (Visual Research Centre, 13-14 November 2008), was held after the successful completion of a series of individual interviews conducted by Louise Valentine with Georgina Follett, Geoff Mann, Drummond Masterton, Sally Moir, Hazel White and Tim Parry-Williams. It explored the concept of innovation within the context of the six practitioners craft practice. The workshop also progressed the ideas discussed in the interviews, for example, the fuzziness surrounding the term ‘practice’, the concept of knowledge and its application in craft.

Professors Tom Inns and Seaton Baxter facilitated discussion during the workshop. The research results from both the interviews and workshop will be published in 2010.

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Deviants

Welcome to ‘Deviants’ which is a touring exhibition from the Crafts Council, brought to Scotland by the Past, Present and Future Craft Practice Research team as part of their approach to exploring new directions, practices and perspectives in contemporary craft. It was held in the Matthew Gallery, Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland from September to October 2008.

As part of our research we are selecting and generating a series of craft exhibitions to feed existing support for the crafts and, as a way of targeting new audiences across all aspects of education, local communities and professional practice.

‘Deviants’ was a great start to our craft exhibition series that will culminate in 2010 with a crafts festival, as it is an exhibition that delights and disarms the audience in equal measures. It provokes many different reactions - a chuckle, a squirm, a quizzical look. Whatever the reaction, this subversive face of craft challenges us to look at objects with new eyes and set our imaginations free.

To accompany the exhibition the Crafts Council produced an alternative gallery guide written by Dundee based artist and writer The Lonely Piper. Through his imaginative stories about each piece, The Lonely Piper captured the unconventional essence of these deviant objects. For him, Henry Pim’s A Pot with Ears “spies on its owner by covertly eavesdropping on conversation”, Hans Stofer’s Grape Trap “portrays a grape imprisoned for the crime of being not green enough” and Angus Sutties’s Teapot is “a painted clay celebration that’s not for the prudish of nature”.

For further information visit the Crafts Council website.

www.craftscouncil.org.uk

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Working Partnerships

House of Falkland

Overview
The House of Falkland is a rare undiscovered jewel, nestled at the foot of the Lomond Hills in Fife, Scotland, and is the central focus of the PPFCP research project. Built between 1839 and 1844 by William Burn, one of the pre-eminent Victorian country house architects, it provides a rich tableau for craft researchers to investigate and explore the indigenous techniques employed by craft artisans in the past, and to understand their aesthetic importance to the future of crafts.

The Falkland Centre for Stewardship has been established to safeguard the future of the category ‘A listed’ House and its outstanding landscape. It is seeking to achieve this by the practice and promotion of good stewardship, locally and globally. The house is currently in use as a residential school – but open on occasion to the public or for events.

The Big Tent Festival is an annual summer event held in Falkland, Fife, Scotland and is hosted by the Falkland Centre for Stewardship.

History
The House of Falkland’s magnificent interiors contain an amazing collection of unique works influenced by religion, symbolism and Byzantine architecture and it is claimed to be the best preserved of Burn’s house designs. The restoration work between 1887 and 1900 involved the construction of a chapel and superb Arts and Crafts interior redecoration. The works were done by the Scottish Architect Robert Weir Schultz and other artisans who were commissioned by the third Marques of Bute, the great private architectural patron of the 19th century.

PPFCP
The AHRC funded Past, Present and Future of Craft Practice research project intends to research and articulate the relation between skill, intent and culture by exploring and investigating the intellectual thought process and methodology behind these works. This research has both national and international significance. National, in that the indigenous knowledge can be documented to form a framework for invigorating future Scottish cultural heritage which has been undervalued due to globalisation and contemporary mass production.

It is International, in that the knowledge gained can increase the understanding of the knowledge underpinning past craft practice which were employed by artisans of the past to create, document and re-establish a visual language that explored the themes and concerns of their times. This knowledge is invaluable to contemporary craft practitioners who often today work in isolation and neither relate to other practitioners or to other disciplines such as architecture, to study master craftsmen's work from the 19th century will provides rich information about the aesthetic of craft and facilitates understanding Scottish craft Culture.

House of Falkland Contact
Ninian C. Stuart
Founding Trustee and Stewardship Director of Falkland Centre for Stewardship.

Falkland Centre for Stewardship
The Stables, Falkland Estate
Falkland KY 15 7AF
Tel: 01337 858838/Fax: 01337 858808

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Economies Network

Professor Jeremy Peat
Chair
Jeremy retired from The Royal Bank of Scotland in 2005, where he had been Group Chief Economist for 12 years. Prior to that he had been Senior Economic Adviser at the Scottish Office for 8 years, following a career as a Government economist that had included spells at the Ministry of Overseas Development (as was), the Manpower Services Commission (as was) and HM Treasury (as still is).

He now holds three positions – BBC National Governor for Scotland, a member of the Competition Commission and Director of the Edinburgh-based David Hume Institute. In his BBC role he is also chair of the BBC Audit Committee and chair of the BBC Pension Fund Trustees. As from 1/1/07 he will transform from BBC Governor to BBC ‘Trustee’, as the governance structure changes.

In addition to these roles, Jeremy writes regular columns for the Herald newspaper, Holyrood magazine and Edinburgh’s Capital Review. He remains an Honorary Professor at Herriot Watt University and Visiting Professor at the University of Edinburgh. He has an honorary LLD from the University of Aberdeen and is a fellow of the Royal Society of Edinburgh and the Chartered Institute of Bankers in Scotland.

Professor Georgina Follet OBE
Principal Investigator
Jeremy retired from The Royal Bank of Scotland in 2005, where he had been Group Chief Economist for 12 years. Prior to that he had been Senior Economic Adviser at the Scottish Office for 8 years, following a career as a Government economist that had included spells at the Ministry of Overseas Development (as was), the Manpower Services Commission (as was) and HM Treasury (as still is).

Professor William Nixon
Co-Applicant & Supervisor
Professor William Nixon has been a professor of management and accounting at the University of Dundee since 2000. His research focuses on the interface between design, broadly defined, and business. A specific focus of this research is the financial management of the new product design and development process. The working framework for this research consists of four related activities, namely investment appraisal, risk management, value management and performance management; these activities are examined within the planning, implementation and control concepts of strategic management. Accounting and financial techniques in this framework, which has evolved from empirical research I design-intensive organisations, act as an integrating vernacular, linking all of the internal and external participants in the design process.

Dr Louise Valentine
Research Fellow
Louise is a Design Lecturer in the School of Design, University of Dundee. She manages the multi-disciplinary research team investigating, ‘Past, Present and Future Craft Practice’, has published in the area of visual thinking, intuition, mindfulness and rhetoric, and supervises a number of PhDs in the craft disciplines. Louise also has responsibility for development of a new interdisciplinary / inter-university postgraduate programme entitled, ‘Capitalising on Creativity’ which synthesises creative and management practice.

Prior to returning to Higher Education Louise worked within the SQA holding the remit to develop a knowledge management programme for a new advisory board.

Leslie Reed
Following a career as a ceramist, lecturer and training developer, Leslie Reed became the Crafts Council of Ireland's Chief Executive in 1995. This was halfway through a decade of phenomenal growth in turnover for Irish craftspeople which peaked in 2000 when increased low cost competition from imports began to erode their sales.

In 2000 he had the task of introducing a series of three year strategic plans which offered Irish craftspeople assistance in becoming more competitive, particularly in design terms. He believed that market research was the key to creating the most viable plans to stabilise and renew sales growth, and that effective policies must reflect the reality faced by Irish craft in its marketplace. This led to the creation of a programme of "joined up" product development and marketing activity for craft that is frequently envied in other countries.

Sue Prichard
Victoria & Albert Museum
Sue Prichard joined the V&A in 2001 from The Tate. She is responsible for the Contemporary Textile Collection and is particularly interested in artists working with ephemeral material. She curated the 62 Group of Textile Artists' 40th Anniversary Exhibition 'In Context'; Recent Acquisitions: A Decade of Collecting Textiles'; 'Concealed - Discovered - Revealed: New Work by Sue Lawty'; and 'Penelope's Thread -
Contemporary Tapestry in the V&A's Collection';. She has a cross museum role as Crafts Champion and is currently working on a major quilt exhibition to be held at the V&A in 2010 She holds an MA in Museum Studies from UCL, is an Associate of the Museums Association and a Fellow of the Royal Society of Arts.

Victoria & Albert Museum www.vam.ac.uk

Dr Ian Fillis
University of Stirling
Before entering the world of marketing Ian Fillis studied for a BSc in Civil Engineering at the University of Glasgow . He then gained an MA in Marketing from the University of Ulster and a PhD on the Internationalisation Process of the Smaller Firm from the University of Stirling . Ian arrived in Stirling in 1995 to commence his doctoral studies and has latterly been teaching assistant and lecturer. Appointed as a senior lecturer in 2005, Dr Fillis is Chair of the Academy of Marketing Special Interest Group in Entrepreneurial and Small Business Marketing and incoming editor of the Journal of Research in Marketing and Entrepreneurship. He is currently the Acting Director of Research in the Department of Marketing.

As well as pursuing research interests in marketing and entrepreneurship, Dr Fillis also focus on cross-disciplinary research outwith the conventional management field. Currently he is involved in projects which examine the role of aesthetics in marketing and management and the adoption of different forms of narratives in constructing alternative interpretations of the organisation. He has successfully secured funding from a range of external bodies including the ESRC, the Arts Council of England, Scottish Enterprise, Scottish Arts Council and Crafts Northern Ireland Details of his journal articles, conference papers and other publications.

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Pilot Craft Funded Placements Project 2008
Through a new and unique partnership with the Scottish Arts Council (SAC), up to three Craft funded placements at Duncan of Jordanstone College of Art & Design are being offered to creative practitioners, running from 1st July – 30th September 2008. These are being offered on a pilot basis through the SAC’s Crafts Creative Development Awards which support individuals to create new work through awards of up to £10,000.

www.scottisharts.org.uk

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Craft Practitioners

PPFCP, the University of Dundee has commissioned five practitioners to embark on a series of creative journeys from which craft as a process, product and experience can be documented, observed and evaluated.

The practitioners are

Geoffrey Mann (product artist)
Drummond Masterton (silversmith)
Sally Moir (curator)
Hazel White (jeweller)
Tim Parry-Williams (weaver)

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Geoffrey Mann is a Product Artist who trained at Gray’s School of Art, Aberdeen and the Royal College of Art, London. Mann’s work reflects the sinuous passage of time and space through ‘motion engendered forms’ using rapid prototyping and sub-surface engraving technologies. His work is trans-disciplinary, cutting across the areas of film, sculpture, physics, craft and design. In doing so, Mann’s portfolio of objects blur the traditional boundaries of art, craft and design.

In 2008, Mann sees his work exhibited across the world, at Tarot, Passegen in Cologne, Germany; in Design and the Elastic Mind at the Museum of Modern Art, New York, USA; Scope Project 4 Gallery, New York, USA; at the Bombay Sapphire Awards in Milan, Italy; as one of a number of practitioners exhibiting with DNA at Form, London and, in the European Glass Context, in Copenhagen, Denmark.

He has been short-listed for the Bombay Sapphire Awardsin the Overall Prize & Best Newcomer categories and, as the British representative for Best Newcomer at the European Glass Context.

Key Achievements pre 2008

Digitalbility, DesignMaiBerlin 2007
British Glass BiennaleStourbridge 2006
Bombay Sapphire Award New Designers 2005
James Dyson Private CollectionFlight – landing 2005
Generations, shortlistedRosenthal Design 2004

www.mrmann.co.uk
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Drummond H Masterton (b.1977) trained as a 3D designer, at Gray’s School of Art, Aberdeen and at postgraduate level at the Royal College of Art in London, from where he graduated from the Goldsmithing, Silversmithing Metalwork and Jewellery course in July 2000. Masterton embraces CAD CAM technology in his creative process and challenges the boundaries of computer software programmes. In doing so, he has developed a fundamental change to the way makers interact with machine code.

Masterton has participated in a number of exhibitions including ‘Intersculpt 2003’, Museum of Science and Industry, Manchester, ‘Languages’, a European touring exhibition, 2006 and ‘Interface’ a national touring exhibition, Devon Guild of Craftsmen, 2006. He has had work purchased by the Contemporary Art Society, (London) which promotes and loans the work of major British artists to public museums in the UK. He is currently a Senior Lecturer in 3D Design, and a Research Assistant in 3D digital production cluster at University College Falmouth, Penryn, UK.
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Sally Moir graduated from Gray’s School of Art, The Robert Gordon University, Aberdeen in 2002 with a first class degree in fine art. She completed her masters at The Slade School of Fine Art in London in 2004. Her work as an artist has included several solo shows as well as The Cross Trust Scholarship to New York, The RSA Latimer Award and MacLaines Walters Bronze Medal.

In 2004 she became curator for Aberdeen Foyer where she has co-ordinated and curated a programme of international calibre artists over twenty one individual exhibitions. In 2006 she initiated a unique partnership between RGU & Aberdeen Foyer co-ordinating a 2-year programme for Gray’s School of Art and Scott Sutherland School including: the British International Miniature Print Exhibition; the RIBA Stirling Prize 2006; and the Scott Sutherland Degree Show.

In January 2007 Moir founded Smart Consultants and swiftly established it as one of Scotland’s leading independent art agencies with a portfolio of curatorial and event management projects spanning both public and commercial sectors. Clients include BP, The Foyer, The Robert Gordon University & Duncan of Jordanstone College.

She is a winner of the Crafts Council, ‘Sparkplug’ 2008 curatorial awards. www.craftscouncil.org.uk
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Hazel White trained as a jewellery and metalwork designer at Duncan of Jordanstone College, graduating in1993 and at postgraduate level at the Royal College of Art in London, graduating from the Goldsmithing, Silversmithing Metalwork and Jewellery course in 1995.

Hazel’s research and practice investigates the secret life of jewellery. Hazel collaborates with multimedia artists, computers scientists, craft makers and designers exploring how engagement with jewellery can be translated into personable wearable interactive artifacts, how the synthesis of hand processes and computer aided design and manufacture can be used to develop new aesthetics and how craft and design thinking can be applied to areas outside the traditional domain of craft. She has recently completed Charmed a research project funded by the Arts and Humanities Research Council investigating how jewellery can be used as a tool to elicit users’ needs of interactive devices. She has exhibited nationally and internationally, from the Danish Design Museum to the National Museums of Scotland. The Royal Mint and the British Museum have pieces of Hazel’s work in their collections.

In 2008 Hazel is, amongst others is, participating in DrawnReality, a project investigating the scope and potential for creating new 3D designs and producing real tangible objects by fusing digital 3D sketching and rapid prototyping, as part of the evaluation of the Tacitus Haptics research Project (Edinburgh College of Art).

Scoping the Smile research project with Dr Annalu Waller, expert in Augmentative and Alternative Communication (AAC). The project aims to develop a system to enable people with complex communication needs to articulate emotion through jewellery.

Presenting a paper at the Sixth International Conference on Design and Emotion in Hong Kong: Can Jewellery Tell Us What We Want From Wearable Technology

www.hazelwhitedesign.co.uk
www.smile-research.co.uk
www.charmedproject.co.uk
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Tim Parry Williams balances a full portfolio career of making, exhibiting, designing and teaching, but is first and foremost, a weaver.

Initial training was at ‘Farnham’ (now University College for the Creative Arts), and the holistic, process-based approach to textiles education has continued to inform working methodologies. A later MA exchange year in Okinawa, Japan, provided a deep exposure to vernacular textile cultures and production, and a very real identification of self. It was also the beginning of a personal and lasting relationship with Japan.

Practice broadly combines studio hand weaving and collaborative design for industry. Chief interests are materials and yarn properties, and work isn’t immediately concerned with pattern or even colour, but explores the regularly unseen aspects of design through the deeper values and potentials of material properties, construction and finish.

Studio production work involves exploratory and focused sampling for one-off units, where aesthetics steer material ideas into a whole. This work is often speculative, and directly reflects contemporary cycles of research, or inspiration. Industrial work is centered on fashion fabric developments, and demands a broad, systematic approach of rigorous applied research, based on very specific project focuses. Importantly, the approach is very much underpinned by the knowledge and understanding brought from the studio craft practice.

Tim works as an associate designer for industry in Japan, and with selected fashion designers. He is a Senior Lecturer at Bath Spa University, Member of the Acquisitions Panel of The Crafts Study Centre, Trustee of Stroudwater Textiles Trust, and lectures nationally and internationally.
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Resources

School of Design

Duncan of Jordanstone College of Art & Design, University of Dundee

Click below to visit Duncan of Jordanstone College, School of Design Research Web Portal
www.dundee.ac.uk/design/research
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International Craft Research Resources

:UK
Centre for Craft and Industry Research (CCIR)
Established in 2005 following a successful AHRC application, the CCIR is based at University of Dundee. The aim of the Centre is to actively support and develop craft practitioners and their commercial potential and contribution to Industry. Its main project; Past, Present and Future Craft Practice involves several PhD students. The project held its first conference New Craft: Future Voices in summer 2007.
www.craftresearch/dundee.ac.uk
www.craftresearch.blogspot.com/
www.newcraftfuturevoices.com

:Crafts Study Centre
The Crafts Study Centre was established in 1970 as an international centre for the archiving and collecting of twentieth century British Crafts. Chaired by the potter and writer Edmund de Waal, it is based in Farnham, Surrey.
www.csc.ucreative.ac.uk/

:NEVAC
The National Electronic and Video Archive of the Crafts (NEVAC), gathers materials which will act as a resource for those researching the nature of the Crafts. These materials are characteristically in the form of digital video and sound recordings of people who have been intimately associated with the development of the Crafts in Britain.
www.media.uwe.ac.uk/nevac/

There are currently 274 hours of interviews with 125 people, (including ceramists, textile artists, wood-workers, print-makers, enamel artists and curators).

:Craft Research
Craft Research is an international network to promote research in craft design and the applied arts. It was established in 1999 following the third international conference f the European Academy of Design. It aims to provide a forum for craft researchers and to further their interests within the Academy.
www.dundee.ac.uk/facdjcad
www.shu.ac.uk/schools/cs/ead/craft

Duncan of Jordanstone College of Art & Design (DoJ)

:USA
Center for Craft, Creativity and Design (CCCD)
The Center for Craft, Creativity and Design (CCCD) is a non-profit making regional centre of the University of North Carolina. Its mission is to support and advance craft, creativity and design in education and research and through collaborations, to demonstrate ways craft and design provide creative solutions for community issues. It was established in 1995.
www.craftcreativitydesign.org/

:India
Craft Revival Trust
This trust is engaged in bringing information on crafts into the public domain. As a part of this process, CRT has created an encyclopaedic guide and resource base on the crafts, textiles and folk arts of South Asia, with a particular focus on India. This is freely available on our website as we believe access to information empowers individuals and societies. CRT is also actively involved in various other craft related activities, details of which can also be found on the website
www.craftrevival.org

:Craft Councils
World Crafts Council
www.wccwis.cl

Crafts Council
www.craftscouncil.org.uk

American Crafts Council
www.craftcouncil.org

Craft Victoria
www.craftvic.asn.au/

Scottish Art Council
www.scottisharts.org.uk

Art Council England
www.artscouncil.org.uk

:Web-sites
Craft Scotland
The craftscotland website is a national and international showcase for Scottish craft which enables everyone to experience the best contemporary work. It is a gateway to all crafts based activities for both the public and for the crafts community.

At the heart of this website is a searchable directory which gives every maker and craft outlet in Scotland their own free webpage. This directory can be searched in various ways: by type of craft, medium, area, end product and by map. Craftscotland enables the public and the crafts community to see and commission work, discover current crafts news and events and find out about opportunities and training, business advice and support agencies. Our online exhibition space - craftfocus, shows new world-class work by designer makers based in Scotland.
www.craftscotland.org

Craft Form
Craftform is the new website for the crafts community.

Offering information, books, forums, and the opportunity to promote
your work, gallery, shop or museum on a worldwide scale... and it's
absolutely free!
www.craftform.com
info@craftform.com

:Online craft publications
Craft Culture is an online publication produced by Craft Victoria for considering the role of the hand as a creative tool in contemporary society. There is a guide for contributors and feedback. You can also search contents. You can see all the articles on ceramics, fibre, glass and metal.
www.craftculture.org/

:Craft Newsletters/ Dialogues
Craftalmanac
Craft Almanac is a monthly email newsletter produced by Craft Victoria. It is free to subscribe. It features recent events in the craft world, updates to Craft Culture, and upcoming exhibitions, events and opportunities.
www.craftvic.asn.au/craftalmanac/

:Craft in Dialogue
The Craft in Dialogue project based in Sweeden will shortly complete its first three-year period. At its February meeting, Bildkonstnärsfonden - the public body responsible for the project – decided to continue to provide active support for international exchanges by craft artists and has earmarked funds for this purpose. When the current project is concluded at the end of June 2006 it is proposed that the operation should become part of Bildkonstnärsfonden’s ordinary international IASPIS programme.
www.iaspis.com/craft/

Craft in Dialogue is managed by Zandra Ahl and Päivi Ernkvist. If you have questions, suggestions or comments concerning the project or about Swedish craft or design in general, please contact ahl@iaspis.com or ernkvist@iaspis.com

To join the mailing list visit;
www.iaspis.com/craft/en2/frameNew2.htm

:Blogs
Craftivism: www.craftivism.com/
MuseumBlogging: www.museumblogging.com/
Redefining Craft: www.redefiningcraft.com/
Australia Youth Crafts: www.craftaustralia.com.au/forum/2006/
Hand Made Life: handmadelife.blogspot.com/
Castoff: www.castoff.info
Craftster: www.craftster.org
Threadymade: www.threadymade.co.uk
Hobbyprincess: ullamaaria.typepad.com/hobbyprincess/

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Craft Bibliography

Books

Butler, Louise. Ed.2000).Scotlandís Crafts. Edinburgh: National Museum for Scotland Publishing Ltd.

Collins, EJT. (2005). Crafts in the English Countryside: Towards a Future. Wetherby: Countryside Agency Publications.

Crafts Council. (1998). Learning and Making: Transcripts of two linked one-day conferences examining the value of creative practical education in Britain. London: Crafts Council.

Dooling, DM. Ed. (1979). A Way of Working: The Spiritual Dimension of Craft. New York: Parabola Books.

Dormer, Peter. (1990). The Meanings of Modern Design: Towards the Twenty-First Century. London: Thames & Hudson.

Dormer, Peter. (1994). The Art of the Maker. London: Thames and Hudson.

Dormer, Peter. (1997). The Culture of Craft: Status and Future. Manchester: Manchester University Press.

Greenhalgh, Paul. Ed. (2002). The Persistence of Craft. London: A & C Black (Publishers) Ltd.

Gustafson, Paula. Ed. (2002). Craft: Perception and Practice. A Canadian Discourse. Vancouver: Ronsdale Press.

Gustafson, Paula. Ed. (2002). Craft: Perception and Practice. A Canadian Discourse: Volume II. Vancouver: Ronsdale Press.

Halasa, Malu; Plas, Van der Els. (2003). The Future is Handmade: The Survival and Innovation of the Crafts. The Hague: The Prince Claus Fund Journal (10a.

Harrod, Tanya. (1999). The Crafts in Britain in the 20th Century. Yale University Press.

Hennell, Thomas. (1947). British Craftsmen. London: Collins.

Hickey, Gloria A.Ed. (1994). Making & Meaning: A Discussion of Meaning in Contemporary Craft. Quebec: Canadian Museum of Civilisation with The Institute for Contemporary Canadian Craft.

Howes, Justin. Ed. (1988). Craft History One. Celebrating the Centenary of the Arts and Crafts Exhibition Society. Bath: Combined Arts.

Johnson, Pamela. Ed. (1998). Ideas in the Making: Practice in Theory. Papers presented at a research seminar, University of East Anglia, 25 April 1998. Crafts Council: London.

Johnson, Jean. (2002). Exploring Contemporary Craft: History, Theory & Critical Writing. Toronto: Coach House Books & Harbourfront Centre.

Keeble, Brian. Ed (2005) Every Man An Artist: Readings in the Traditional Philosophy of Art. Indiana: World Wisdom.

Kettley, Sarah. (2005). Crafts Praxis as a Design Resource in Rodgers, Paul; Broadhurst, Libby and Hepburn, Duncan. Eds. (2005). Crossing Design Bounadries. Proceedings of the 3rd Engineeringg & product Design Education International Conference, Edinburgh, UK. 13 ñ 16 September 2005. London: Taylor Francis Group.

Laird, Ross. (2001). Grain of Truth: The Ancient Lessons of Craft. New York: Walker & Company.

Lakoff, George., & Johnson, Mark. (1980). Metaphors We Live By. Chigago: University of Chicago Press.

Lewes, G.H. (1863). The Life & Works of Goethe: With Sketches of his age and Contemporaries. London: J. M. Dent & Co.

Lucie-Smith, Edward. (1981). The Story of Craft: The Craftsmanís Role in Society. Oxford: Phaidon Press Limited.

McAuley, Andrew; Fillis, Ian. (2004). Making it in the 21st Century: A socio-economic survey of crafts activity in England and Wales, 2002 - 2003. London: The Crafts Council.

McAuley, Andrew & Fillis, Ian. (2004). Making it in the 21st Century: A Summary of the main Findings and Related Trends. London: The Crafts Council.

McAuley, Andrew; Fillis, Ian. (2002). Craft Businesses in Scotland: A Study. Edinburgh: Scottish Arts Council.

McLaughlin, Jean W. Ed. (2004). The Nature of Craft and the Penland Experience. New York: Lark Books.

Mishler, Elliot G. (1999). Storylines: Craftartistsí Narratives of Identity. Massachusetts: Harvard University Press.

Needleman, Carla. (1979). The Work of Craft: An Inquiry into the Nature of Crafts and Craftsmanship. London: Routledge & Kegan Paul.

Paz, Octavio. (1974). In Praise of Hands: Contemporary Crafts of the World. Connecticut: New York Graphic Society in association with the World Crafts Council.

Richards, Mary.Caroline. (1989). Centering: in Pottery, Poetry and the Person. Wesleyan University Press.

Robertson, Mairi Seonaid. (1961). Craft & Contemporary Culture. London: George G Harrap & Co Ltd.

Rowley, Sue. (1997). Craft and Contemporary Theory. St Leonards: Allen & Unwin.

Smith, Paul J.: Lucie-Smith, Edward. (1986. Craft Today: Poetry of the Physical. New York: Weidenfeld and Nicholson.

Smith, Paul. J. (2001). Objects for Use: Handmade by Design. New York: Harry N Abrams Inc. Publishers.

Sturt, George. (1923). The Wheelwrightís Shop. London: Cambridge University Press.

Yanagi, Soetsu. (1972). The Unknown Craftsman: A Japanese Insight into Beauty. Adapted by Bernard Leach. Tokyo: Kodansha International Ltd.

Journal Articles

Brewerton, Andrew. (2003). On Making: Towards a Glass Poetics. Crafts Arts International. No 59, 2003 pp102 - 104.

Carter, Sebastian. (1984). In the Name of Craft. Crafts, No.68, May/June pp.13 ñ 15.

Chiarappa, Michael J. (1997). Affirmed Objects in Affirmed Places: History, Geographic Sentiment and a Regionís Crafts. Journal of Design History. Vol 10. No 4, pp399 - 415.

Cochrane, Grace. (2004). Handmade at the Heart of Things. Object No44 pp20 - 25.

Frayling, Christopher. (1989). Tomorrowís World. A Personal Prognosis for Crafts in the 1990ís. Crafts, No. 96, Jan/Feb pp. 17 ñ 18.

Frayling, Christopher; Snowdon, Helen. (1982). The Myth of the Happy Artisan. Crafts, No.54, Jan/Feb pp.16 ñ17.

Frayling, Christopher; Snowdon, Helen. (1982). Crafts ñ with or Without Arts? Crafts, No. 55, March/April pp. 24 ñ 25.

Frayling, Christopher; Snowdon, Helen. (1982). Skill ñ A Word to Start an Argument. Crafts, No. 56, May/June pp. 19 ñ 21.

Frayling, Christopher; Snowdon, Helen. (1982). Crafts in the Market Place. Crafts, No. 57, July/August pp. 15 ñ 17.

Frayling, Christopher; Snowdon, Helen. (1982). Nostalgia isnít What it Used to be. Crafts, No. 58, Sept/Oct pp. 12 ñ 13.

Harrod, Tanya. (2004). Tanya Harrod on how craft can bolster self- esteem and a sense of achievement. Crafts May/June 2004 pp96.

Kikuchi, Yuko. (1994). The Myth of Yanagiís Originality: The Formation of Mingei Theory in its Social and Historical Context. Journal of Design History. Vol. 7. No 4, pp247 - 266.

Kikuchi, Yuko. (1997). Hybridity and the Oriental Orientalism of Mingei Theory. Journal of Design History. Vol.10. No 4, 343 - 354.

Koplos: Janet. (1993). What is this thing called craft? American Ceramics. Vol.II, No.1 pp12 ñ 13.

Lees-Maffei, Grace; Sandino, Linda. (2004). Dangerous Liaisons: Relationships between Design, Craft and Art. Journal of Design History. Vol.17 No.3 pp207 ñ 219.

Margetts, Martina. (2004). The Persistence of Craft: The Applied Arts Today. Book Review. Journal of Design History. Vol.17 No.3 pp307 ñ 309.

Metcalf, Bruce. (2002). Embodied Sympathy. Metalsmith. Vol. 22 Summer pp 35 ñ 39.

Metcalf, Bruce. (2000). The Hand at the Heart of Craft. American Craft. August/ September pp 54 ñ 66.

Metcalf, Bruce. (1993). Replacing the Myth of Modernism. American Craft. Vol.53, No 1. Feb/March pp 40 - 47.

Powers, Alan. (2005). Book Review. The Beauty of Craft : A Resurgence Anthology. Crafts. May/June, No.194, pp. 73 ñ 74.

Powers, Alan. (2002). Towards a new Vernacular. Crafts. March/April, pp. 22 - 25.

Powers, Alan. (2000). A Movement of Mind. Crafts. Vol 166, pp. 40 - 43.

Press, Mike. (1995). Itís Research Jim. The European Academy of Design. Design Interfaces Conference, April, 1995.

Press, Mike. (1996). All that is Solid melts into Craft: Crafting a sustainable future from today's rubbish. The Recycling Show, Crafts Council Exhibition Catalogue.

Press, Mike: Cusworth, Alison. (1997). A New Vision in the Making: exploring the value of craft education in the information age. The European Academy of Design Conference, Stockholm, April 1997.

Press, Mike: Cusworth, Alison. (1998). New Lives in the Making. The Value of Craft Education in the Information Age. Executive Summary. Comissioned by the Crafts Council as Part of the Learning through Making Research programme. Sheffield Hallam University.

Wainwright, Martin. (2005). Reaping the Reward. Crafts March/April.

Walker, Stuart. (2001). Beyond Aesthetics Identity, Religion and Design. The Design Journal, Vol. 4, Issue 2.

Thesis

Binns, Polly. (1995). Vision and Process in Textile Art. PhD Thesis: University of Teeside.

Fillis, Ian. (2000). An Examination of the Internationalisation Process of the Smaller Craft Firm in the UK and Republic of Ireland. PhD Thesis: University of Stirling.

Fish, Jonathan. (1996). How Sketches Work: A Cognitive Theory for Improved System Design. PhD Thesis: Loughborough University of Technology.

Flavell, Ray. (2001). The Development and Application of the use of Encased Voids within the Body of Glass Artefacts as a means of Drawing and Expression. PhD Thesis: Heriot-Watt University, Edinburgh.

Harris, Jane. (2000). Surface Tension - The Aesthetic Fabrication of Digital Textiles. PhD Thesis: Royal College of Art, London.

Izawa, Yuko. (2002). Ambiguity. Internalised expression in Japanese Culture. Masters Thesis: Royal College of Art, London.

Electronic Media

Crafts Council. (2003). The Making Process. A CD-Rom inspired by the Crafts Councilís exhibition Approaching Content.

Royal Botanic Garden Edinburgh. (N.D.). Plant Weave: Modern stories ancient skills: Traditional and Contemporary Basket Making in Scotland. DVD: Edinburgh: Great Scot for Royal Botanic Garden.

Internet

Aitken, P; Bunnell K; Pirie, I. The Integration of New Media Technology in Craft Practice: Taking Crafts Into the Millennium.
"http://www.2.rgu.ac.uk/criad/tactics2.htm"
http://www.2.rgu.ac.uk/criad/tactics2.htm
accessed on 8th July 2003.

Attiwill, Susie. (2004). Whatís in a name? The role of language in defining practice.
HYPERLINK "http://craftaustralia.com/au/nationalforum/2004/papers/paper007.php"
http://craftaustralia.com/au/nationalforum/2004/papers/paper007.php
accessed on 16th December 2004.

Cochrane, Grace. (2004). Handmade at the heart of things.
HYPERLINK "http://craftaustralia.com/au/nationalforum/2004/papers/paper004.php"
http://craftaustralia.com/au/nationalforum/2004/papers/paper004.php
accessed on 16th December 2004.

Cook, Robert. (2004). Zero to one thousand to nothing.
HYPERLINK "http://craftaustralia.com/au/nationalforum/2004/papers/paper003.php"
http://craftaustralia.com/au/nationalforum/2004/papers/paper003.php
accessed on 16th December 2004.

Douglas, Anne. (2004). Positioning the Practitioner as Researcher.
HYPERLINK "http://www.herts.ac.uk/artdes1/research/papers/wpades/vol1/douglas2.html"
http://www.herts.ac.uk/artdes1/research/papers/wpades/vol1/douglas2.html
accessed on 5th April 2005.

Gibbons, Julie. The Vitual Hand. http://golum.riv.csu.edu.au/~jgibbons/hammers/words/virtualhand.html accessed on 30th April 2003.

Hughes, Peter. (2004). The argument against design.
HYPERLINK "http://craftaustralia.com/au/nationalforum/2004/papers/paper002.php"
http://craftaustralia.com/au/nationalforum/2004/papers/paper002.php
accessed on 16th December 2004.

King, Andrew, J. (1997). A Dream of Freedom. Material Culture and the Designer Maker. http://www.ajking.dircon.co.uk/craft/designer%20maker.htm Accessed on 11th March 2003.

King, Andrew, J. (1997). The Lost Continent of Craft, historical myth or vision of the future? http:///www.ajking.dircon.co.uk/craft/lost20%20cont%20craft.htm . Accessed on 11th March 2003.

Kino, Carol. (2005). The Art Form that Dares not Speak its Name. New York Times 30 March.
HYPERLINK "http://www.nytimes.com/2005/03/30/arts/artsspecial/30craft.html"
http://www.nytimes.com/2005/03/30/arts/artsspecial/30craft.html
accessed on 1st April 2005.

Lakes, Richard D. (1990). Doing Craft.
HYPERLINK "http://scholar.lib.vt.edu/ejournals/jte/v2n1/html/lakes.html"
http://scholar.lib.vt.edu/ejournals/jte/v2n1/html/lakes.html
accessed on 5th July 2003. Journal of Technology Education Vol 2 No 1.

Mazanti, Louise. (2003). Craft as avant-garde ñ between function, visual art and statement. http://www.iaspis.com/craft/en/mazanti.html accessed on 1st December 2004.

Rickert, Franz. (1948). Hephaistos and Athena or: The Meaning of Craft in Our Time. Translated by Mascha Moje, March 2000). http://golum.riv.csu.edu.au/~jgibbons/hammers/words/hephaistos.html accessed on 30th April 2003.

Riedelbauch, Gilbert. (2004). Whatís in a name?
HYPERLINK "http://craftaustralia.com/au/nationalforum/2004/papers/paper006.php"
http://craftaustralia.com/au/nationalforum/2004/papers/paper006.php
accessed on 16th December 2004.

Schmedling, Olga. (2003). The question of identity again & craft in an expanded field.
HYPERLINK "http://iaspis.com/craft/en/schmedling.html"
http://iaspis.com/craft/en/schmedling.html
accessed on 1st December 2004.

Veiteberg, Jorunn. (2003). Craft art ñ A third space.
HYPERLINK "http://www.iaspis.com/craft/en/veiteberg.html"
http://www.iaspis.com/craft/en/veiteberg.html
accessed on 1st December 2004.

Exhibition Catalogues

Butler, Louise. Ed. (2000). Scotlandís Crafts. Edinburgh: National Museums of Scotland.

Crafts Council. (1995). Out of this World: The Influence of Nature in Craft and Design 1880 - 1995. London: Crafts Council.

Moncreiff, Elspeth. (2004). Creation: An Insight into the Mind of the Modern Silversmith. London: Goldsmiths Company.

Museum of Decorative Arts in Gwent. (1995). Japanese Contemporary Jewellery. (Published on the occasion of the exhibition held on 24 March - 7 May 1995). Gwent: Snoeck-Ducaju & Zoon.

Osborne, Margot. (2002). Wild Nature in Contemporary Art & Craft. Adelaide: Jam Factory Contemporary Craft and Design.

Parsons, Jonathan. (2003). Approaching Content. Crafts Council, London.

Scott, Joanna. (2003). What is Craft? Sleaford, The Hub. The Centre for Craft, Design and Making.

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Craft Blog

Craft Research is the blog for the Craft Research team at Duncan of Jordanstone College of Art & Design, University of Dundee, UK, led by the Principal Investigator Prof Georgina Follett and Research Fellow Dr Louise Valentine.

The Blog provides references to craft research issues and is a forum for discussion on a variety of themes. The Blog has already generated spirited debate and is home to many considered comment from international practitioners and researchers. We look forward to more in the future.

Go to blog site >

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Funding

Arts and Humanities Reserach Council
In May 2005, the AHRC awarded 442,306 British pounds to The Past Present and Future Craft Practice Research Project. Headed by Professor Georgina Follett OBE and managed by Dr Louise Valentine, is the largest research grant (to date) awarded to the Crafts by the AHRC.

The AHRC was established on 1 April 2005, and replaced the Arts and Humanities Research Board. The decision to create an AHRC underlines the importance of high-quality research in the arts and humanities for the cultural, creative and economic life of the nation. As with the other research councils the AHRC is an independent Non-Departmental Public Body (NDPB), established by Royal Charter and accountable to Parliament through the DTI’s Office of Science and Innovation.

The Arts and Humanities Research Council supports research within a huge subject domain from traditional humanities subjects, such as history, modern languages and English literature, to the creative and performing arts.

www.ahrc.ac.uk

Glover
The Glover Trade is one of the nine incorporate Trades of Dundee. The Glover Trade, through the Glover Trust, has been awarding scholarships to master design students from the University of Dundee, pursuing textile design-related study at Duncan of Jordanstone College of Art and Design since 2003.

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Steering Group

Terms of Reference
A Steering Group comprising of experts and policy makers to advise the Past, Present and Future Craft Practice (PPFCP) on the development and management of the AHRC 5-year research project

Roles and responsibilities
To advise on the aims, objectives and planning of the research
To assist with the specific development and management of the Crafts research
To assist with monitoring and evaluation of the Craft research
To advise on other aspects as referred by the Research Director, funding bodies, and/or associated Boards

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Steering Group >

Prof Jeremy Peat
Professor Georgina Follett OBE
Professor William Nixon
Dr Louise Valentine
Professor Mike Press
Professor Murdo MacDonald
Dr Sandra Wilson
Mr Richard Carr
Dr Helen Bennett MBE
Ninian C. Stuart
Rosy Greenlees
Professor Stuart W. MacDonald OBE
Rose Watban

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Professor Georgina Follett OBE
Principal Investigator
Georgina is a craftsperson with over 40 years experience, in the field of ‘plique a jour’ enamelling. Producing pieces of high aesthetic value, Georgina’s work has been exhibited widely including, at the Jewellery Gallery of the Victoria and Albert Museum where examples of her work is held in their museum collection.

She was a member of the Scottish Higher Education Funding Council, is Chair of SHEFC’s Learning and Teaching Committee, Quality Assessment Committee and the Quality Working Group, and recently a member of the Roberts Group on the review of the Research Assessment Exercise (RAE). Previously the Head of School of Design at Duncan of Jordanstone College of Art and Design, Professor Follett now holds the post of Dean of Faculty and Deputy Principle of the University of Dundee. She was awarded an OBE in 2007 for services to design and higher education.
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Prior to returning to Higher Education Louise worked within the SQA holding the remit to develop a knowledge management programme for a new advisory board.
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Professor Mike Press
Professor Mike Press is Chair of Design Policy and Head of the Design School within Duncan of Jordanstone College of Art and Design at the University of Dundee. Prior to this he was Head of Gray’s School of Art, The Robert Gordon University, Aberdeen. He has written and researched widely on design, innovation, contemporary craft and the management of creativity, speaking at conferences worldwide. An extensive publishing record includes authorship of three books, including “The Design Agenda: a guide to successful design management” and “The Design Experience”. He is also a contributor to BBC television and radio programmes on design.

He was joint director of the Home Office funded Design Against Crime research project from 1999. In January 2005 was the subject of a profile in The Guardian regarding his views on how design can contribute to crime prevention.

He was a member of the selection panel for the Design Council’s Millennium Products, and has been short listed for the Sir Misha Black Medal for Innovation in Design Education. He is a former Chair of the European Academy of Design, and a member of the editorial board of The Design Journal. Most recently he has been the initiator and Creative Director for Look – Aberdeen’s first visual arts festival.

His research on craft has continued for over a decade, including being commissioned by the Crafts Council to undertake research for the Learning through Making project, which examined the value of craft in an information society. He has published more recently on craft and digital process, and was joint director of the Pixel Raiders conference. As Chair of the Challenging Craft conference in 2004, he has also supervised and examined a number of PhDs in craft disciplines including textiles, jewellery, metalwork and ceramics.
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Professor Murdo MacDonald
MA PhD, LCAD, FSA Scot.
Murdo Macdonald is professor of History of Scottish Art in the School of Fine Art, and research professor at the Visual Research Centre. He was appointed to the University of Dundee in 1997, working closely with both Fine Art and History. With Arthur Watson and Will Maclean he developed the practice-led PhD programme in the School of Fine Art. He is author of Scottish Art in Thames and Hudson’s World of Art series.

Also with strong research interest in the ideas of Patrick Geddes, his current main research focus is as principal investigator of an AHRC funded collaboration of the School of Fine Art and the Visual Research Centre with Sabhal Mòr Ostaig, the Gaelic College in the Isle of Skye, (from September 2005 for five years).
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Dr Sandra Wilson
Sandra is a Contemporary Jewellery Designer/maker and lecturer in jewellery design at the College of Art, Science and Engineering, University of Dundee. She recently completed her PhD thesis titled – The Organics of Craft: The Influence of Goethe’s Holism. Sandra’s work has won awards from the Audi Foundation, the British European Designers Group, and the Scottish Arts Council. Her work is also in the collection of HRH Princess Anne. She is a member of the Association for Contemporary Jewellery and her skills include computer-aided design and computer-aided manufacture e.g. rapid prototyping.
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Mr Richard Carr
Richard is Hon Reader in Design History, Theory & Practice at Dundee University and a member of the Past, Present & Future Craft Practice Research Steering Group. Related to the PPFCP is his role as advisor to PhD researchers on craft history, specifically practitioners in Scotland at the end of the 19th Century and across the 20th Century. His research looks at the role played by patronage in Scottish crafts.

Carr’s interest in the crafts stems from his journalism, which began when he covered craft exhibitions for the Oxford Mail and Design Magazine, London in the 1960s, and continued when he was Design Correspondent for The Guardian from 1970-76. Besides covering exhibitions, he also wrote profiles of craft practitioners for both The Guardian and the Central Office of Information in London and contributed occasionally to specialist magazines such as Craft Horizons in the US.
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Dr Helen Bennett MBE
Originally trained as a museum curator since 1987, Helen has been concerned with creating opportunities for artistic and economic development for today’s craftspeople. She has worked with a range of agencies in the UK and internationally, joining the Scottish Arts Council as Head of Crafts in 1993.

She holds a doctorate from Edinburgh University for a study of the Scottish hand knitting industry, was a Governor of Edinburgh College of Art for 9 years, and served as a member of the Board of World Crafts Council and Vice-President of World Crafts Council-Europe 2000-2006. She was appointed MBE in 2004 for services to the arts.
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Ninian C. Stuart
Ninian is founding Trustee and Stewardship Director of Falkland Centre for Stewardship. He is the Hereditary Keeper of Falkland Palace and laird of a rural estate in Fife. Since 1994, he has developed a reputation as a successful innovator of social enterprises including Fife Employment Access Trust (a supported employment agency), WECAN! (an environmental action network), FEAT Enterprises (employing disabled people and others in a number of recycling and landscaping businesses in Fife and Grangemouth) as well as Falkland Heritage Trust. He now combines his role as Steward of Falkland Estate with that of Stewardship Director.

The House of Falkland, an integral part of the Falkland Estate is a central focus of the AHRC funded Past, Present and Future of Craft Practice research project.
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Rosy Greenlees
The first fifteen years of Rosy's career were spent in the contemporary visual arts, curating exhibitions and public art projects in galleries and arts centres across the country. Since then she has worked as a senior manager in a variety of settings first as Director of Visual and Media Arts and Deputy Chief Executive for Eastern Arts Board; then moving to the Greater London Authority to lead on the production of the Mayor's Culture Strategy for London and development of strategic projects and partnerships.

From 2004 to 2006 she set up the London Centre for Arts and Cultural Enterprise (LCACE) a HEIF funded partnership of seven Higher Education institutions in London supporting and co-ordinating links with the cultural industries. Since July 2006 she has been Executive Director of the Crafts Council with a remit to lead the organisation, implementing its new agenda to promote contemporary craft.
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Professor Stuart W. MacDonald OBE
Stuart is Head of Gray’s School of Art, The Robert Gordon University, Aberdeen. Previously, he was Director of The Lighthouse, Scotland's National Centre for Architecture and Design, which was a case-study exemplar as an international innovation centre in the recent Cox Review of Creativity in Business commissioned by HM Treasury. He led the £13million development and opening of The Lighthouse during Glasgow's reign as UK City of Architecture and Design 1999.

He is a trustee of the UK Design Council, a director of the Creative and Cultural Industries Sector Skills Council, sits on the UK Creative Apprenticeships Taskforce and NESTA’s Creative Pioneer Programme Committee. He was a member of the British Council’s Design Review Group and a member of the Ministerial Working Group on the Creative Industries in Scotland. He studied fine art at Grays School of Art, Aberdeen and later completed a PhD at the Architecture School of the University of Liverpool. As Director of the Lighthouse he was a key figure in the promotion of Scotland’s architecture & creative industries policies as well as the newly initiated Six Cities Design Festival.
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Rose Watban
Rose Watban has worked with contemporary collections at the National Museums of Scotland (NMS) as Curator of Modern Ceramics & Glass from 1995-2004 and presently as Curator of Applied Art & Design where part of her remit is to develop the contemporary craft collection. Rose has curated and co-curated a number of NMS temporary exhibitions and permanent galleries and has sat on selection panels for both internal and external exhibitions. She is currently the NMS representative for The Cutting Edge, a partnership project to create a touring exhibition of the best of Scotland’s contemporary makers which is part funded by a Scottish Arts Council Lottery Grant, a panel member for craft focus, the craft Scotland online exhibitions, a member of the SAC Own Art selection panel and a member of the Modern Materials in Collections: Scotland (MMiC: S) Network working group.
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Contact

Past Present Future Craft Practice
Duncan of Jordanstone College of Art & Design
University of Dundee,
22 Springfield
Dundee, Scotland
DD1 4JE

Tel: +44 (0) 1382 388966 or 388861
Fax: +44 (0) 1382 386967

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