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Past, present and future craft practice

The development of arts and humanities research brought to the fore a new generation of craft practitioners, methods and methodologies impacting on how craft will be perceived, valued, marketed and purchased. The book offers new directions and perspectives for contemporary craft and exemplifies the step change through a series of ten written works (2005-10). The book is designed to draw on craft knowledge in terms of cultural history, curatorial practice, handmade, marketing, social science and design theory. It offers understanding of the direction of craft research, its values and distinctiveness of approach, thereby underpinning craft’s intellectual integrity and securing its continued value in the lexicon of visual arts in British culture and society. The book title reflects its intentions by contextualising craft from three perspectives – past, present and future. The interconnectedness of these perspectives was the principle upon which the methodology was constructed, applied and tested. Contributing authors include historian Paul Greenhaugh, theorist Martin Woolley, curator Joruun Veiteburgh and arts marketing/craft policy development researcher Ian Fillis.

Valentine’s chapter is dedicated to the argument underpinning the book, focusing on the need for basic terminology (e.g. the word ‘practice’) to be revised so a progressive dialogue is undertaken. ‘Craft as a form of Mindful Inquiry’ is argued as a necessary methodological adaptation as it enables understanding of craft in the context of uncertainty. Historical understanding is presented (1850-2005) and linked to a hermeneutic viewpoint, giving understanding of how the past influences present thinking. Historical understanding is also linked to critical social theory and employed to support examination of the cultural, economic and political aspects of history in relation to development of contemporary craft (2005-10). It is used to understand how craft develops communication of its values and meaning. In closing a frame of reference for future craft practice is posited.