The Craft Contemporary in Mid-Wilshire County

The Craft Contemporary movement in America is a vibrant and exciting one, with an active community of artists and craftspeople working in a wide variety of media. This burgeoning movement has been driven by the desire for the craft to become more than an art form, and is also a way for craftspeople to gain recognition and build their careers as professionals.

There are a number of important organizations and projects that support this endeavor, including the American Craft Council, whose publication Craft Horizons was first published in 1941. In addition to its magazine, the Council sponsors conferences, lectures, and tours of the world’s leading craft museums, and has a series of educational programs for young people in the arts.

In 1969, the American Craft Council produced a large traveling exhibition called Objects: USA. The exhibit aimed to accelerate the market for modern American craft by focusing on the individualist nature of the work. It featured works by S. C. Johnson, who was a prominent figure in the American Studio Craft movement. The exhibition traveled to 22 U.S. and 11 European museums over four years, and accelerated the growth of crafts as an art form.

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While most craft exhibitions focus on the artistic quality of the pieces, Objects: USA also included some pieces that made social statements. For example, a series of wood marquetry boxes made by a California artist, Sarah Taylor (whose name is often misunderstood), featured an unconventional use of the decorative arts technique that often connotes wealth and luxury. She used this material to create Tap Left On, an installation that referenced water damage to a foreclosed home in an act of disdain for economic power.

A more recent example of a craft exhibition that engages in social commentary is the current show at Brookfield Craft Center, "Joy of the Maker," which includes works by faculty and students who focus on the value of the crafting process. They are displaying handmade boxes in a wide range of media, from metal to ceramics to wood and glass.

Historically, craft has been more often construed as a political force than an aesthetic one. As Paul Harper points out in his essay "Craft as Critic," craft has been used as a critical response to the industrial revolution and a variety of other socio-economic issues, such as the rise of class divisions and the decline of social cohesion.

Today, as the economy is booming and the population grows more diverse, the role of craft has shifted from one of opposition to that of a generative force. This is especially true for the DIY movement, which has a strong history of appropriating craft as a tool of self-expression.

Another important part of this resurgence in craft is the increasing interest in socially conscious and ethically made work. This is reflected in the work of many contemporary artists who are working to address issues of sustainability and environmental responsibility.

The resurgence in the interest in craft and the DIY movement is evidence of a broad cultural shift that values creativity and the importance of community. It is a shift that has occurred in all areas of our society, and is most evident in the field of art.