NEWCOMB COLLEGE POTTERY, ARTS AND CRAFTS, AND THE NEW SOUTH

2018 ◽  
Vol 17 (1) ◽  
pp. 121-144
Author(s):  
Meghan Freeman
Keyword(s):  
New South ◽  
Cultural Development ◽  
Arts And Crafts ◽  
Deep South ◽  
Arts And Crafts Movement ◽  
Old South ◽  
Women's College ◽  
Educational Experiment ◽  
The Arts ◽  
History Of

In the history of the American Arts and Crafts Movement, New Orleans's Newcomb College Pottery (founded in 1894) is often singled out as distinctive by virtue of its genesis as an experimental educational venture, all the more remarkable for emerging out of a small women's college located in the Deep South. Scholarship on NCP frequently rehearses the regionalist character of its diverse handicrafts and its adherence to the central tenets of Arts and Crafts. This article explores how Newcomb College Pottery was neither so strictly regionalist nor so pure an embodiment of the Arts and Crafts spirit as is often averred. Situating Newcomb College Pottery within contemporary cultural debates concerning the formation of a “New South,” I demonstrate how the architects and advocates of Newcomb, inspired by the 1884 Cotton Centennial, sought to craft a largely aspirational identity that marketed NCP as a model industry that heralded commercial and cultural development in the region. It was only later, I argue, as the Pottery developed from an educational experiment into a widely known and respected handicraft enterprise, that it embraced the anti-industrial rhetoric that animated the broader Arts and Crafts movement and adopted the more sentimental form of regionalism that traded on romantic evocations of the Old South, in repudiation of the socially and economically progressive energies that gave it birth.

scholarly journals Between Art and Commerce: Women, Business Ownership, and the Arts and Crafts Movement*

2020 ◽  
Vol 247 (1) ◽  
pp. 151-196
Author(s):  
Zoë Thomas
Keyword(s):  
Lived Experience ◽  
Business Owners ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
Women Business Owners ◽  
Business Ownership ◽  
The Arts ◽  
History Of ◽  
Cultural Roles ◽  
Widespread Interest

Abstract In art-historical works and social and cultural histories the Arts and Crafts movement is portrayed as an anti-commercial design reform movement that revolved around the workshops of a cadre of elite male ‘craftsmen’. But a confluence of elements during this era — developments in print culture; urbanization; mass consumerism; the women’s movement; reactions against industrialization; widespread interest in medievalism and domestic crafts — created an environment in which many more people became involved in the movement than is traditionally recognized. This research offers the first history of the emergence of women’s ‘artistic’ businesses across England, c.1870–1939. The article argues that the persistent focus on institutional hierarchies in histories of skilled work has led to a failure to consider the importance of rhetorical self-fashioning and the built environment in the construction of new cultural roles. Engrained disciplinary divides have also led to discrete bodies of scholarship on the history of artistic culture, ‘professional society’ and business ownership, which belie the interwoven nature of these categories in lived experience. Tracing the gendered strategies implemented by women business owners ultimately reveals their democratization of the movement to incorporate greater reception of domestic consumerism, ‘popular’ culture, and a wider range of incomes and interests.

scholarly journals Formation of the architecture of Ukraine based on longstanding measurement standards

2020 ◽  
Vol 10 (2) ◽  
pp. 304-314
Author(s):  
Olena Khramova-Baranova
Keyword(s):  
Middle Ages ◽  
Cultural Development ◽  
The State ◽  
Arts And Crafts ◽  
Measuring Instruments ◽  
Fundamental Study ◽  
Measurement Standards ◽  
The Arts ◽  
Literary Sources ◽  
History Of

The article, on the basis of a fundamental study of literature and its thorough analysis, highlights the importance of measurements in the cultural aspect of the development of the country and types of art. The analysis of literary sources is carried out, which confirms the influence of the formation of measurement standards on the development of the main types of art. The relevance of the topic is to show the connection between the development of technical thought and the formation of art forms, which has become one of the foundations of the general development of the culture of the state. I. Babenko, M. Bieliaiev, D. Mendelieiev, E. Kamentseva, B. Rybakov and others made a great contribution to the formation and development of measurement standards that influenced the cultural development of the state. In their fundamental works one can find information on the influence of measurement on formation and development of architecture, arts and crafts. But these materials do not give a complete picture of the conceptual significance of the influence of technical thought on art and the cultural development of the state. The purpose of the article is to show the influence of the technical thought development, namely the metrological foundations, on the development of the arts. The centuries-old history of metrology is useful for the development of society, although its origin and development are covered only in scattered sources. One of the fundamental studies of the origin of measures was the works of I. Babenko “Metrology”, M. Bieliaiev “On ancient and modern Russian measures of extension and weight”, and B. Rybakov in his writings presented fathoms as geometric lines of the calculation table of architects (Babylon). The history of measurements is highlighted in the literature and is mainly devoted to the processes on the formation of metrological concepts among the Skifiia, Sarmatiia, the Zarubinets and Cherniakhiv cultures, the Northern Prychornomoria, of Kyivska Rus, Moskoviia and other. Neither in the ancient world, nor in the Middle Ages there was a metrological service, but there is information about the implementation of standards and storage of measures, as well as about the verification of measuring instruments. Accurate measurements and calculations allowed the architect to achieve harmony in the creation of architectural monuments.

Cranbrook: The Invisible Landscape

1994 ◽  
Vol 53 (1) ◽  
pp. 30-60
Author(s):  
Diana Balmori
Keyword(s):  
Personal Experience ◽  
Critical Role ◽  
Integrated Design ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
Design Practice ◽  
Aesthetic Movement ◽  
The Arts ◽  
History Of ◽  
Art Colony

As a study of the landscape of the Cranbrook Academy of Art in Bloomfield Hills, Michigan, this essay has three objectives: to make visible a previously unacknowledged landscape, to define its relationship to the image of Cranbrook as a whole, and to begin an exploration of the ways in which a landscape draws us into a bond of affection with it. This study is the first to identify landscape designers at Cranbrook and to explore the importance of their design to the institution that was the most successful and long-lived of Arts and Crafts manifestations in America. It thus gives particular attention to the landscape ideas of the Arts and Crafts movement, as this was the last major aesthetic movement to value the art of landscape. Influenced by the principles of this movement, publisher George C. Booth founded Cranbrook in 1925, envisioning a combination school, studio, and art colony, where artists together could develop an integrated design practice. Under the influence of Arts and Crafts, landscape had a very early, critical role at Cranbrook and was part of the vision for the institution. But the later history of Cranbrook shows the decline of landscape as an art, a loss of scope and vision, especially as the Arts and Crafts aesthetic waned and that of the modern movement emerged. The study gives attention to this decline; the observation of how this happened at Cranbrook provides some clues as to the overall diminution of landscape in the twentieth century, a decline heretofore noted, but not explained. The essay begins with the recollection of a personal experience that is critical to the author's interest in the Cranbrook site and to an understanding of the exploration of our connections to landscape. Visits to the site and the use of the resources of the Cranbrook Archives (the papers of George Booth, designs, plans, photographs, and writings by the Cranbrook landscape practitioners) have made it possible to give visibility to the Cranbrook landscape and to allow an assessment of the landscape's relationship to the larger institution.

Women Artists of the Arts and Crafts Movement 1870-1914

Leonardo ◽  
1982 ◽  
Vol 15 (2) ◽  
pp. 164
Author(s):  
Naomi Boretz ◽  
Anthea Callen
Keyword(s):  
Women Artists ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
The Arts

M. H. Baillie Scott and the Arts and Crafts Movement; Pioneers of Modern Design

1973 ◽  
Vol 55 (2) ◽  
pp. 307
Author(s):  
Herwin Schaefer ◽  
James D. Kornwolf
Keyword(s):  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
Modern Design ◽  
The Arts

From Arroyo Culture to NELA Arts

2019 ◽  
pp. 92-123
Author(s):  
Jan Lin
Keyword(s):  
Los Angeles ◽  
Community Development ◽  
Cultural Policy ◽  
Local Politics ◽  
Arts And Crafts ◽  
Arts And Crafts Movement ◽  
The Arts ◽  
Art Scene ◽  
Art Collectives

Examines arts culture in the Arroyo Seco from the Arts and Crafts movement colony of the “Arroyo Culture” to the contemporary NELA art scene. It chronicles the major figures of this bohemia which waned with the decline of the region during decades of suburban outmovement and white flight. The significance of art collectives in the revival of the Northeast Los Angeles art scene is discussed, with Chicano(a)/Latino(a) art collectives emerging in the 1970s and white artists through the Arroyo Arts Collective in the 1980s. The central figures and themes of the Latino/a arts renaissance are explored in depth. The contributions of the arts to community development and cultural revitalization are identified. Finally the growing role of arts entrepreneurs in economic development is discussed, with reflections from arts leaders on the gentrification process and their growing role in local politics and cultural policy

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