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  • 2017 Annual Benefit: Celebrating Stoney Lamar and Craft After Dark
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  • Spaces of Production | The Mend-Smith Project
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  • Back to the Drawing Board | Blue Mountain, Mark Reigelman (Brooklyn, NY)
  • Process vs Product: Shifting Values in Art, Craft, and Design
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  • Back to the Drawing Board | Performance Crafting: Hand in Hand, Tanya Aguiñiga (Los Angeles, CA)
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  • Gee’s Bend In Translation: A Symposium
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  • Paper Piecing: Printmaking and the Quilts of Gee’s Bend Session 1
  • Quiltmaking Workshop with Loretta Bennett
  • From Quilts to Prints: A Roundtable Discussion
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  • PBS “Craft in America: SERVICE” Sneak Preview
  • The Revolution is Now
  • 3-D Printing Week
  • REBIRTH – Ceramics 14.0 – Art + Design + Architecture | a lecture by Garth Clark
  • The Materiality of Sound: What Can Craft Learn from the Sound Industry?
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  • The Future of Traditional Pottery with Garth Clark
  • History in the Making: Maker’s Co-Authors Janet Koplos and Bruce Metcalf
  • An Evening with Matthew Crawford
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  • CCCD’s Windgate Fellowship Program: A Case for Funding Professional Development Opportunities for Graduating Seniors
  • Not the Straight and Narrow: Diverse Pathways to Bending Wood
  • Audio Archive
  • Process vs Product: Shifting Values in Art, Craft, and Design

    Friday, May 29, 2015 - 7:30 pm | Benchspace Gallery & Workshop at The Center for Craft, Creativity & Design
    Anne Wilson, to weave to wind to knot to knit to twist to push to pack to press 2010, 68 objects in glass, 40 x 72 x 18 inches

    Anne Wilson,
    to weave, to wind, to knot, to knit, to twist, to push, to pack, to press
    2010, 68 objects in glass

    This talk delves into the murky territory of process with the goal of coming to a better understanding of its significance as a value claim in the art world today. The concept of process has served many purposes in the history of art, from simple description of an artist’s method of making to arguments about the nature of artistic labor. Debates over the concept of process have also been central to the ways craft has been distinguished from art—both positively and negatively—and this presentation will conclude with a consideration of how these debates continue to affect the shape and identity of the field.

    elissaElissa Auther is the Windgate Research Curator, a joint appointment at the Museum of Arts and Design and the Bard Graduate Center, New York, in collaboration with The Center for Craft, Creativity, and Design. The post is generously funded by the Windgate Charitable Foundation and is intended to advance scholarly research and critical discourse in the fields of craft and design through research, exhibitions, publications, and public programming.

    Auther’s book, String, Felt, Thread: The Hierarchy of Art and Craft in American Art (Minnesota, 2010), focuses on the broad utilization of fiber in American art of the 1960s and 1970s and the changing hierarchical relationship between art and craft expressed by the medium’s new visibility. She is a coeditor with Adam Lerner of West of Center: Art and the Counterculture Experiment in America, 1965–1977 (Minnesota, 2012). Her retrospective exhibition of the painter and photographer Marilyn Minter titled Pretty Dirty will open in 2015 and will be accompanied by a catalogue. In addition, she co-directs “Feminism & Co.: Art, Sex, Politics,” a public program at the Museum of Contemporary Art Denver that focuses on issues of women and gender through creative practice.

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