Journal of Modern Craft

Papers
(The TQCC of Journal of Modern Craft is 0. The table below lists those papers that are above that threshold based on CrossRef citation counts [max. 250 papers]. The publications cover those that have been published in the past four years, i.e., from 2022-05-01 to 2026-05-01.)
ArticleCitations
Beyond Craft: Textile Practices in the Art Museum13
Woody De Othello: Hope Omens4
Works in Thread and the Emergence of Israeli Fiber Art2
Crafting Freedom: The Life and Legacy of Free Black Potter Thomas W. Commeraw Crafting Freedom: The Life and Legacy of Free Black Potter Thomas W. Commeraw The New-York 2
Queer ThreadsThe San Jose Museum of Quilts and Textiles, May 12–August 20, 2023 Curated by John Chaich Queer Threads1
Faith Ringgold: American People1
Introduction1
Commentary1
Hear Me Now: The Black Potters of Old Edgefield, South Carolina1
Made for European Trade by Prisoners in Java: Batik Production in the Women’s Prisons of Semarang and Yogyakarta in the Early Twentieth Century1
Obscured Brilliance: Modern and Contemporary Vietnamese Lacquer0
Exhibiting Know-How: Curatorial Strategies for the Display of Artisanal Technical Gestures0
Indisposable: Tactics for Care and MourningFord Foundation Gallery, New York City, 1 October 1, 2022 - December 10, 2022 Indisposable: Tactics for Care and Mourning0
A Collective Fabric on a Cane Loom: a Weaving Workshop by Marta Palau in the 1986 Bienal de La Habana0
Gendered Work in Former Portuguese Colonial Africa: Mass Labor and Public Works0
Ceramics in the Expanded Field0
More Than a Marginal Man in a Marginal History: Craftsman Roj and Regionalist Architecture in Zakopane0
Commentary0
So Far and Yet So Near: The Artistic Residencies of Contextile Biennale Amidst a Pandemic0
“Weaving Workshop Proposal,” c.19860
Introduction: Disrupting Boundaries: The Politics of Craft Exhibitions0
No por natural es sostenible: Experiencias desde el arte popular (Not for natural is sustainable: Experiences from folk art)0
Commentary0
Extracts from “A Civilization of Technics” (1945)0
Objects of Contention: Art and Craft in the French Penal Colony of New Caledonia0
Craft Culture in Early Modern Japan: Materials, Makers, and Mastery0
The Exhibition as Critical Craft Practice: London’s Little Gallery in 19390
Material Intelligence0
Curating Work: A Series of Exhibitions at the Musée des arts et métiers (2017–2021)0
Craft, Crises and Colonialism: Reimagining Puerto Rico0
Redesigning Hereke Carpets: A Modernization Path Through Patterns and Compositions at Sümerbank in 1960s Turkiye0
Craft, Carcerality, Empire0
Simon Olding (1954–2022): a Reflection0
Soil and Life in the Field of Craft Studies0
Working the Fabric: Resourcefulness, Belonging and Island Life in Scotland’s Harris Tweed Industry0
Black Clay: Black Women, Ceramics and Contemporary Art0
The Nineteenth-Century Industrial Worker as Exhibition Visitor: Ways of Engaging with Making0
Cape Verdean Tapestry and the Artistic Renewal of a Nation: Don’t Let the Weaving Die0
Hear Me Now: The Black Potters of Old Edgefield, South CarolinaHear Me Now: The Black Potters of Old Edgefield, South CarolinaMetropolitan Museum of Art, New York City, NY, USA. September 9, 2022–Febr0
Studio CeramicsAlun Graves, Studio Ceramics . London: Thames & Hudson/V&A Museum, 2023. 415pp, 918 illustrations. ISBN 97805004808920
Selling Italy: Craft and Italianness in Italy at Work: Her Renaissance in Design Today (1950–53)0
Conversing in Clay: Ceramics from the LACMA Collection0
Tender Loving Care0
Strange Clay: Ceramics in Contemporary Art0
On Dullness: A Sensory Portrait0
Katie Schwab: small wares0
“Your Body is the Loom”: Weaving, Carceral Craft, and Filipino Diaspora with Artist Bhen Alan0
Sangre de Nopal/Blood of the Nopal: Tanya Aguiñiga & Porfirio Gutiérrez en Conversación/in Conversation0
Darkhouse Lighthouse Darkhouse Lighthouse Troy Hill Art Houses. Pittsburgh, PA. Permanent installation0
Traditional Women’s Arts (1978)0
Industrial Craft in Australia: Oral Histories of Creativity and Survival0
The Philippine Craftsman: Empire, Education, and the 1915 Panama-Pacific International Exposition0
Sabotage: The Conscious Withdrawal of the Workers’ Industrial Efficiency (1917)0
Craft Knowledge and Performance Through Fiber Arts at the John C. Campbell Folk School0
The Carrier Bag Theory of Convict Craft: The Sullivan Bay Tea Caddy, Port Phillip District, ca. 18030
Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers; New Women’s Work: Reimagining “Feminine” Craft in Contemporary Art0
Reprising Craftsmanship: An Expressive Approach to Skill0
“Modern Stained Glass in France and Holland,” Art Notes (1940)0
“Freedom is Our Medicine”: An Interview with Joël Tjibaou0
Marcia Tucker’s Domestic Politics: Art and Craft in the 1990s0
Encountering Craft: Methodological Approaches from Anthropology, Art History, and Design0
Fabric of a Nation: American Quilt Stories0
Equally Present Temporalities: Craft and the Contemporary at the Museo del Barro, Paraguay0
Sharing Honors and Burdens: Renwick Invitational 20230
Introduction: Exhibiting Craft: Histories, Contexts, Practices Exhibiting Making: Gesture, Skill and Process0
Objects of Confinement: A Roundtable on Convict and Prisoner of War Craft from the Late Eighteenth to the Mid-Twentieth Century0
Making Trouble: Design and Material Activism0
Chinese Architecture Made by the Tushanwan Workshop in World Exhibitions, 1900–19450
Editorial0
Crafting Disability: Re-envisioning Indian Textile Traditions0
Anne Dangar0
Magdalena Suarez Frimkess: The Finest Disregard0
Craft on the Dirt Circuit: Commerce and Community at a Contemporary Renaissance Festival0
Identity Navigation and Self-Positioning in a Changing Craft World: Creativity and Cultures of Emerging Self-Employed Craft Workers in Jingdezhen0
How a Town of Craft Might be Planned (2011)0
Lost Weavings of Atlanta: A Report0
Commentary0
The Persian Carpet in Crisis: The Emergence of Modern Dyeing Education in Qajar Iran (1882–1922)0
Cannupa Hanska Luger: Sé’sh Shóto’sh Psí’sh0
Islamicate Textiles. Fashion, Fabric and Ritual0
Body Vessel Clay: Black Women, Ceramics & Contemporary Art0
Editorial0
Drystane Dyking: an Interview with Martin Tyler0
“The Gesture Is Everything”: Interview with the Artisan Isabel Oliveira0
Inadvertent Archives: Black Craftspeople in the American Index of Design0
Thread Control: The Future of Digital Weaving0
Material Agency and Mutual Transformation: Found Objects as Materials for Making0
Cultural Artefacts as the Transmission of Socio-Cultural Experience: Exploring the Role of the Pashmina Shawl as a Repository of Memory0
Amazonian Indigenous Cultures in Art and Anthropological Exhibitions0
Theaster Gates: A Clay Sermon0
Constructive Craft and Contested Regionalities0
Jacqueline Poncelet: In the Making0
To Know Every Part: Theorizing Craft Narratives Via Fae Myenne Ng’s Bone0
Precious Threads and Precarious Lives: Histories of Shawl and Silk Industries of Kashmir, 1846–19500
Textile Makerspace: Digital Humanities Meets Craft0
Between Conventional Borders: Excerpts from the {Queer} + {Metals} Project0
Where Craft Starts0
Radical Stitch0
Teresa Lanceta: Weaving as Open SourceMuseu d’Art Contemporani de Barcelona, April 8–September 11, 2022; Instituto Valenciano de Arte Moderno, October 6, 2022–April 16, 2023. Curated by Nuria Enguita 0
Would You Like a Sealskin Suitcase? Convict Craft and Carceral Labor on Sakhalin Island0
Skin Crafts: Affect, Violence, and Materiality in Global Contemporary Art Skin Crafts: Affect, Violence, and Materiality in Global Contemporary Art Julia Skelly, London:0
Editorial0
Performing Craft in Mexico: Artisans, Aesthetics, and the Power of Translation Performing Craft in Mexico: Artisans, Aesthetics, and the Power of Translation Michele Avi0
Collecting Black Studies: The Art of Material Culture at the University of Texas at Austin0
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