NAKED CRAFT NETWORK
The Naked Craft Network (NCN), is an international collective of research academics, writers, curators and industry partners whose aim is to develop strategies for craft theory, future craft practice and dissemination of craft based work rooted in local places and spaces.
NCN brings together relevant community partners involved with local craft traditions into discussions to engage and exchange how the understanding of these practices, rooted in local communities and traditions evolves and are challenged, promoted and communicated on the post-colonial global stage.
NSCAD University, Canada
Dr. Sandra Alfoldy received her Ph.D. in craft history from Concordia University in 2001, and completed her post-doctoral fellowship at the University of Rochester in 2002. Her current research focuses on the relationship between craft and architecture in post-war Canada, and the historical tensions between Canadian studio craft and industrial design. She is the author of "Crafting Identity: the development of professional fine craft in Canada" (McGill Queen's University Press, 2005), editor of "Neocraft: Modernity and the Crafts" (NSCAD Press, 2007), and co-editor of "Craft, Space and Interior Design: 1855-2005" (Ashgate Press, 2008).
DR. JULIETTE MACDONALD
Edinburgh College of Arts, Scotland
Dr. Juliette MacDonald is Head of the School of Design, Edinburgh College of Art, University of Edinburgh. As a teacher Juliette enjoys trying to find ways to motivate students to engage with research as both a process and a reflective opportunity. Her research interests focus on both historical and contemporary craft and design with a particular emphasis on issues of cultural identity and nationalism. She is co-founder of the NCN research network, and currently Principal-Investigator of the AHRC Network Researching Grant “Naked Craft”, examining the postcolonial, geopolitical relationships between local identities and local modes of production across Nova Scotia, Canada and Scotland, UK. She writes on consumerism, craft and design theory and practice and has articles and reviews published in various Journals including the Journal of the British Society of Master Glass Painters, Journal of Design History, Journal of Culture and Cloth as well as chapters on ‘Design’ and ‘Craft’ in Exploring Visual Culture (ed) M Rampley, 2005, ‘craft in the expanded field’ in Parallax Views: interpreting ceramics, (ed) A Livingstone, 2011 and ‘Design, Context and Culture’ in The Design Student’s Handbook (eds) J Bartholomew and S Rutherford, 2013. She is also co-editor of Ideas of the Handmade, 2013.
Craft Ontario, Canada
Emma Quin is the CEO of Craft Ontario; where she is responsible for all aspects of the organization’s operations, including planning short and long term strategies that contribute to revenue generation, organizational awareness and positive relationships within the community. Recently Emma led Craft Ontario through a significant transitional period, enhancing the perception of craft in the community through a large-scale rebranding project. She has a wealth of valuable relationships with members, volunteers and patrons, and has been instrumental in ensuring for the financial health and revitalized engagement of Craft Ontario with the craft community. Emma has an intimate knowledge and appreciation of contemporary craft, an innate pragmatism, and an indefatigable spirit. As a passionate advocate for the craft sector she has facilitated many national partnership and collaborations, including playing a pivotal role in organizing the Canadian Pavilion for the 2009 Cheongju International Craft Biennale in South Korea, and more recently spearheading and leading the movement Citizens of Craft.
Edinburgh College of Arts, Scotland
Arno Verhoeven (1968) is a Dutch-born Canadian designer/maker based in the UK. His work investigates the boundaries of art, craft and design disciplines in an attempt to understand shifting values and perception in material culture and how relationships are formed between subject, object and the worlds of others. He holds a Masters degree from the Design Academy Eindhoven, and is currently a lecturer in Design at the Edinburgh College of Art. He is completing his PhD at the Open University in Milton Keynes, UK.
Burlington Art Centre, Canada
Denis Longchamps is the Chief Curator at the Art Gallery of Burlington, Ontario. He received his PhD in art history in 2009 from Concordia University where he was the administrator of the Jarislowsky Institute for Studies in Canadian Art from 2006 to 2011. Longchamps also taught art and craft history at Concordia University and at Dawson College. He has contributed essays, articles and reviews to magazines and journals such as Espace-Sculpture, Ceramics monthly, and Ceramics Art and perception. Recent curatorial projects include Quilts by John Willard: a 40 Year Retrospective (2014) and Lyndal Osborne: Of Water and Tides (2015) He is the publisher and managing editor of Cahiers métiers d’art : Craft Journal (craftjournal.ca).
Susan Surette (PhD Art History, Concordia University 2014) is a Postdoctoral Fellow at NSCAD University investigating the implications of the concept of the gift in architectural ceramics. Her research emerges from questions based upon her own experiences as a passionate professional crafter - ceramics (1987-present) and textiles (1976-1986). She has published journal articles and book chapters and delivered conference papers and is the co-editor (with Dr. Elaine Cheasley Paterson) of Sloppy Craft: Postdisciplinarity and the Crafts (Bloomsbury, June 2015). Surette teaches ceramic and textile histories, and her own ceramic work is found in North American public, corporate, and private collections.
Laura Hamilton MA (hons) studied Art History at St Andrews University and was Keeper of Fine and Decorative Arts and Exhibitions at Tullie House Museum & Art Gallery, Carlisle for 6 years before holding the post of Director of the Collins Gallery at the University of Strathclyde from 1988 until its closure in 2012. She now works as an independent curator and is based in Glasgow. Current projects include the origination and tour of exhibitions focusing on the sculpture of Tim Stead, Outsider Craft, and textile work by contemporary makers from Scotland and Japan. She has been involved in the Naked Craft project as an advisor, for 12 months and funding permitting, will organize a Scottish tour of the exhibition.
Heather Read is currently a postdoctoral fellow at Ryerson University. A broad, interdisciplinary writer and researcher, she holds a PhD from the University of Toronto in Adult Education and Community Development; there, her research explored ceramics education in Newfoundland and Southern New Zealand. Her Master's degree is in Folklore, from Memorial University. She has interviewed artists, craft makers, teachers, refugees and recent immigrants , urban youth, and elderly individuals among other groups in her varied research career, and published work in a variety of magazines and journals. Her craft related research explores the intersections between material culture, self identity, and place relationships, and often integrates artistic approaches to the expression and representation of ideas.