Following her appointment as Director for the Crafts Council in June 2002, Louise Taylor set about championing a new vision for the organisation: principally to make the work of the Crafts Council continue to be relevant and appropriate to the needs of crafts in the 21st century
1970-1990 was a period of renaissance for the crafts in the UK and North America. The creation of na...
The output is a curatorial project exhibiting the work of Ann O’Donnell (1933 – 2019), a jewellery a...
This is the author accepted manuscript. The final version is available from Routledge via the ISBN i...
This paper originates from PhD research which I am currently undertaking on craft in the 1970s, a ti...
This article critically reviews the concept of 'revival' in relation to making in contemporary cultu...
In November 2014, the Department of Fashion and Textiles at the University of Huddersfield hosted th...
This essay balanced similar contributions based on archive research by companion authors (Muriel Wil...
The Maakin Lab project was developed in partnership with the Shetland College Department of Textiles...
Crafted Futures is a craft/technology visual response to William Gott’s Dyehouse Pattern Book produc...
This open access book explores the experience of working as a craftsperson or designer maker in the ...
Putting the Art into Craft: The Craftsman’s Art exhibition, 1973 The 1970s were a unique period for...
What is the new business of design and by default the responsibility of being a designer? How can de...
Rebecca's work is part of the exhibition 20:20 Visions. To celebrate the 20th anniversary of the As...
Investigation and discussion of the magazine 'Craft' 1973-88. Focusing on the identity crisis of the...
How does an art gallery make its collection more accessible and meaningful to students of design and...
1970-1990 was a period of renaissance for the crafts in the UK and North America. The creation of na...
The output is a curatorial project exhibiting the work of Ann O’Donnell (1933 – 2019), a jewellery a...
This is the author accepted manuscript. The final version is available from Routledge via the ISBN i...
This paper originates from PhD research which I am currently undertaking on craft in the 1970s, a ti...
This article critically reviews the concept of 'revival' in relation to making in contemporary cultu...
In November 2014, the Department of Fashion and Textiles at the University of Huddersfield hosted th...
This essay balanced similar contributions based on archive research by companion authors (Muriel Wil...
The Maakin Lab project was developed in partnership with the Shetland College Department of Textiles...
Crafted Futures is a craft/technology visual response to William Gott’s Dyehouse Pattern Book produc...
This open access book explores the experience of working as a craftsperson or designer maker in the ...
Putting the Art into Craft: The Craftsman’s Art exhibition, 1973 The 1970s were a unique period for...
What is the new business of design and by default the responsibility of being a designer? How can de...
Rebecca's work is part of the exhibition 20:20 Visions. To celebrate the 20th anniversary of the As...
Investigation and discussion of the magazine 'Craft' 1973-88. Focusing on the identity crisis of the...
How does an art gallery make its collection more accessible and meaningful to students of design and...
1970-1990 was a period of renaissance for the crafts in the UK and North America. The creation of na...
The output is a curatorial project exhibiting the work of Ann O’Donnell (1933 – 2019), a jewellery a...
This is the author accepted manuscript. The final version is available from Routledge via the ISBN i...
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