Papers by Jorunn Veiteberg
Craft Research, 2010
Caroline Slotte: Second-hand stories
Fagbokforlaget eBooks, Aug 18, 2022
The Journal of Modern Craft, 2021
Craft anthologies are ambitious projects. In the vast space of craft – one that expands temporall... more Craft anthologies are ambitious projects. In the vast space of craft – one that expands temporally, geographically as well as conceptually – the aim of collecting a variety of voices that represent the field demands an objective yet suggestive editorial stance. Two anthologies have been recently published as interventions in the making of craft cultures. To compare, contrast and evaluate the collective and individual contributions of these editorial projects, two key researchers in the field share their reviews below, in conversation with Livia Rezende and Sequoia Miller, The Journal of Modern Craft’s book review editors.
One of the preconceptions with which craft is encumbered is that it belongs in the domestic rathe... more One of the preconceptions with which craft is encumbered is that it belongs in the domestic rather than the artistic sphere. The establishment of the White Cube further emphasised the distinction between art and everyday life. It represents a sanctuary for fine art and is often referred to as the temple of art. The connotations of something elevated and solemn that follow from the temple metaphor are part of the heritage of modernism that still clings to the walls of most museums and galleries. The home, on the other hand, has been seen as a dangerous arena for art because it is a place where one does not have control over how art is presented. In the home, art is at risk of being trivialised and rendered ‘invisible’. This has led to greater ambivalence vis-a-vis craft in artistic contexts. Traditionally, craft has been produced for use and enjoyment in the private sphere. Even though it is joined nowadays by a great deal of contemporary art that also wishes to turn life practices –...
A key, a safety pin, a balloon, a propeller, a voltmeter - these unexpected objects in art jewell... more A key, a safety pin, a balloon, a propeller, a voltmeter - these unexpected objects in art jewellery rewrite the world of the Norwegian "jewellery engineer" Sigurd Bronger. He carries over his fascination for machines and instruments in humorously constructed jewellery pieces, and transforms natural materials and everyday objects into meticulously executed, complex and ingenious constructions. In his Oslo "Laboratorium Mechanum", Bronger works on his witty "carrying devices" - brooches, pendants, and rings with balloons, sponges, eggs, even his mother's gallstones, or with medical equipment, which have a greater positive effect on the mind than on the physical well-being. An established feature of his work, which symbolically marks the entrance into Bronger's world, is the key. This current publication offers such a key; a review of over thirty years of his creative work: from Bronger's experiments with materials and constructions in the str...
Lone Skov Madsen's work carries the trace of recapitulated action-patterns and propagates val... more Lone Skov Madsen's work carries the trace of recapitulated action-patterns and propagates values and qualities that inspire the material and mental worlds to merge. Her platters take the form of circular shapes and with their simple and neutral form represents as an expedient point of departure for conducting investigations of the clay as a plastic material. Madsen belongs to the core of ceramists presently operating as an exhibition cooperative under the name New Danish Ceramics.
Catalogue Introduction by Garth Clark (Group exhibition, 30 exhibitors). Torbjorn Kvasbo and Joru... more Catalogue Introduction by Garth Clark (Group exhibition, 30 exhibitors). Torbjorn Kvasbo and Jorunn Veiteberg (editors). Includes information on each artist with a colour image of ceramic work and biographical information.
"When I am working with colours, I feel like a painter. When I am working with metal, I feel... more "When I am working with colours, I feel like a painter. When I am working with metal, I feel like a constructor. And when I am working with toys, I feel like a child." (Felieke van der Leest). The work of Dutch jewellery and object artist Felieke van der Leest (born in 1968) expresses the very special affection that she has for animals. With unbridled fantasy she creates pieces that ostentatiously, colourfully and playfully revolve around her little friends. She combines techniques used in textile work, such as crochet, with valuable metals and plastic toy animals. Within the international art jewellery scene she has developed her own special language with which she narrates intelligent and witty stories with her animal protagonists; her pieces inevitably conjure a smile upon the faces of those who view them. Characteristic for Van der Leest is the joy in her work, which is ever present yet sometimes carried off into childhood. Serious themes in her work are also expressed, including environmental protection and human approaches to animals. The current publication comprises jewellery and objects by the renowned artist from 1996 to the present.
Very rarely does a jewellery artist manage to find new pictorial worlds of such a personal nature... more Very rarely does a jewellery artist manage to find new pictorial worlds of such a personal nature during the course of their creative work so freely and unencumbered as Daniel Kruger (born 1951, South Africa). His experiments with the most diverse materials, decoration, forms and structures testify to an exuberant creativity for which he was honoured with the renowned Herbert Hoffmann Award for Art Jewellery in 1987 and 2005. Daniel Kruger uses found objects of every kind, or quotes historical forms and decoration. The unusual combinations of materials as well as new interpretations of techniques used in handcraft and textile work unexpectedly, yet invariably, lend his jewellery pieces new perspectives and aesthetic pleasure as well as a decidedly erotic quality, as he himself says. The works illustrate Daniel Kruger's curiosity with unconventional techniques and materials; they are also an expression of his awareness of nature and artificiality, history and tales, tradition and...
The Journal of Modern Craft
level of language. And this is precisely what we are gathered here for. Translated by Rebecca Lan... more level of language. And this is precisely what we are gathered here for. Translated by Rebecca Landm er Love J€ onsson adds on rereading this piece: Fifteen years ago, the reclaiming of konsthantverk and sl€ojd as concepts fueled with references to contemporary culture rather than tradition and legacy was still fairly new in Sweden. Many of the makers I referred to, explicitly or implicitly, have since then become established and have had an influence on others. Anders Jakobsen, for instance, is still the leading profile within the genre he himself has coined radikalsl€ojd or radical sloyd, but the term is today often also used as a general concept denoting nontraditional craft by like-minded makers. A few years ago, Anders Jakobsen founded a pedagogical institution to spread his mission, called HIR (Hede Institute for Radicalsloyd; Hede being a small northern village where he partly lives). Rather than a serious attempt to institutionalize his working methods, this was perhaps more of a playful take on the tradition of distinguished furniture makers taking on apprentices or even the setting up of private schools, with Carl Malmsten and James 56 Primary Text Various Authors The Journal of Modern Craft Volume 12—Issue 1—March 2019, pp. 51–65 Krenov as standard twentieth-century examples in the Swedish context. When I wrote my paper in 2004, Betsy Greer in the United States had recently coined the term craftivism, which I did not know at the time. In the last ten years, hantverksaktivism has risen as a Swedish translation for craftivism, thus adding to the list of intertwined Swedish terms. In Swedish usage, hantverksaktivism seems more connected to sl€ojd than to konsthantverk, but the dividing lines are not rigid. In 2014, gerillasl€ojd (guerilla crafts) was launched as a new concept by the blogger Frida Arnqvist Engstr€ om.
... eit senter, og det var denne kimen som Kulturrådet ønskte å styrka. Kjernen var kunstnarane G... more ... eit senter, og det var denne kimen som Kulturrådet ønskte å styrka. Kjernen var kunstnarane Gisle Frøysland og Jørgen Larsson. Førstnemnde er framleis ein hjørnestein i verksemda med ansvar for visuelle uttrykk. BEK fekk ...
Kunst Og Kultur, Dec 19, 2011
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Papers by Jorunn Veiteberg