Enfilade

From the Call for Papers:

Journal18, Issue #18 (Fall 2024) — Craft
Issue edited by Jennifer Chuong and Sarah Grandin

Proposals due by 15 September 2023; finished articles will be due by 31 March 2024

When, where, and why does craft matter? Craft, by definition, is any activity involving manual skill. But in the modern western world, the term typically implies specific kinds of activities that produce specific kinds of objects: things like baskets, lace, and lacquerware. In a culture that has historically privileged rationality and innovation, craft’s commitment to tradition, reliance on haptic knowledge, and association with marginalized subjects have rendered it the minor counterpart to more ‘serious’ forms of material production. As a subsidiary to art and industry, craft has often occupied a circumscribed role in accounts of modern art and modernity’s origins in the eighteenth century. Recently, however, craft—as a more capacious category of material production—has become a crucial term in efforts to expand and diversify the study of eighteenth-century art.

Spouted bowl, stoneware with orange markings, Japan, Bizen kilns, 1700–1850, 20cm diameter (London: V&A, 199-1877). Possibly intended as a fresh water jar, of stoneware with streaks of glaze resulting from wrapping in saltwater-soaked straw.

This special issue builds on recent investigations while considering how craft’s ancillary role within the Anglo-European tradition has limited its capacity to transform the field. Drawing inspiration from the absence of an art/craft divide in many cultures, we are interested in exploring craft’s potential to radically reframe, reconceptualize, and globalize the history of art. By investigating craft, we also aim to shed new light on related questions of value, skill, and creativity in the making of different kinds of objects. We are inspired by recent scholarship that has asked, for example, how the repetitive nature of American schoolgirl samplers challenges celebrations of the individual maker, or how the meaningfully protracted time of wampum-making diverges from industry’s strict calculations of time and labor. Looking at the issue from a different angle, what would be the implications of discussing academic painting and sculpture as forms of craft?

By bringing together a range of studies that critically engage with handwork, we aim to highlight both the distinctive and shared concerns of craft in different making traditions. We welcome proposals for full-length articles as well as shorter pieces that explore new methods of studying craft. Taking advantage of Journal18’s online platform, the latter could take the form of photo essays, videos, interviews, or other formats that grapple with the complexities of documenting, understanding, and communicating craft-based knowledge.

To submit a proposal, send an abstract (250 words) and brief biography to editor@journal18.org and journal18craft@gmail.com by 15 September 2023. Articles should not exceed 6000 words (including footnotes) and will be due by 31 March 2024. For further details on submission and Journal18 house style, see Information for Authors.

Issue Editors
Jennifer Y. Chuong, Harvard University
Sarah Grandin, Clark Art Institute