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 2022-01-01 to 2026-01-01.)
ArticleCitations
Beyond Craft: Textile Practices in the Art Museum13
Woody De Othello: Hope Omens3
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
Works in Thread and the Emergence of Israeli Fiber Art2
Queer ThreadsThe San Jose Museum of Quilts and Textiles, May 12–August 20, 2023 Curated by John Chaich Queer Threads1
Made for European Trade by Prisoners in Java: Batik Production in the Women’s Prisons of Semarang and Yogyakarta in the Early Twentieth Century1
Hear Me Now: The Black Potters of Old Edgefield, South Carolina1
Faith Ringgold: American People1
Introduction1
Crafted Kinship: Inside the Creative Practices of Contemporary Black Caribbean Makers; New Women’s Work: Reimagining “Feminine” Craft in Contemporary Art0
Extracts from “A Civilization of Technics” (1945)0
Simon Olding (1954–2022): a Reflection0
Thread Control: The Future of Digital Weaving0
Commentary0
Redesigning Hereke Carpets: A Modernization Path Through Patterns and Compositions at Sümerbank in 1960s Turkiye0
To Know Every Part: Theorizing Craft Narratives Via Fae Myenne Ng’s Bone0
Making Trouble: Design and Material Activism0
Movers and Makers: Uncertainty, Resilience and Migrant Creativity in Worlds of Flux0
“Modern Stained Glass in France and Holland,” Art Notes (1940)0
Cape Verdean Tapestry and the Artistic Renewal of a Nation: Don’t Let the Weaving Die0
Crafting Disability: Re-envisioning Indian Textile Traditions0
Theaster Gates: A Clay Sermon0
Queering the Subversive Stitch: Men and the Culture of Needlework0
Magdalena Suarez Frimkess: The Finest Disregard0
Cannupa Hanska Luger: Sé’sh Shóto’sh Psí’sh0
So Far and Yet So Near: The Artistic Residencies of Contextile Biennale Amidst a Pandemic0
Identity Navigation and Self-Positioning in a Changing Craft World: Creativity and Cultures of Emerging Self-Employed Craft Workers in Jingdezhen0
Chinese Architecture Made by the Tushanwan Workshop in World Exhibitions, 1900–19450
Strange Clay: Ceramics in Contemporary Art0
Georgia Designer Craftsmen: A Better Understanding0
More Than a Marginal Man in a Marginal History: Craftsman Roj and Regionalist Architecture in Zakopane0
Katie Schwab: small wares0
Drystane Dyking: an Interview with Martin Tyler0
The Persian Carpet in Crisis: The Emergence of Modern Dyeing Education in Qajar Iran (1882–1922)0
Conversing in Clay: Ceramics from the LACMA Collection0
Franz West: Últimas décadas0
Editorial0
Radical Stitch0
Jacqueline Poncelet: In the Making0
Craft Production in a Socialist Planned Economy: The Case of Jingdezhen’s State-Owned Porcelain Factories in the Mid to Late Twentieth Century0
Introduction: Disrupting Boundaries: The Politics of Craft Exhibitions0
Commentary0
A Collective Fabric on a Cane Loom: a Weaving Workshop by Marta Palau in the 1986 Bienal de La Habana0
Precious Threads and Precarious Lives: Histories of Shawl and Silk Industries of Kashmir, 1846–19500
Equally Present Temporalities: Craft and the Contemporary at the Museo del Barro, Paraguay0
Reprising Craftsmanship: An Expressive Approach to Skill0
Craft Knowledge and Performance Through Fiber Arts at the John C. Campbell Folk School0
Textile Makerspace: Digital Humanities Meets Craft0
Sharing Honors and Burdens: Renwick Invitational 20230
Encountering Craft: Methodological Approaches from Anthropology, Art History, and Design0
Divine Legacies in Black Jewelry0
Working the Fabric: Resourcefulness, Belonging and Island Life in Scotland’s Harris Tweed Industry0
Black Clay: Black Women, Ceramics and Contemporary Art0
Editorial0
Editorial0
Sangre de Nopal/Blood of the Nopal: Tanya Aguiñiga & Porfirio Gutiérrez en Conversación/in Conversation0
Collecting Black Studies: The Art of Material Culture at the University of Texas at Austin0
Craft on the Dirt Circuit: Commerce and Community at a Contemporary Renaissance Festival0
Craft, Crises and Colonialism: Reimagining Puerto Rico0
Exhibiting Know-How: Curatorial Strategies for the Display of Artisanal Technical Gestures0
Sabotage: The Conscious Withdrawal of the Workers’ Industrial Efficiency (1917)0
How a Town of Craft Might be Planned (2011)0
The Philippine Craftsman: Empire, Education, and the 1915 Panama-Pacific International Exposition0
Inadvertent Archives: Black Craftspeople in the American Index of Design0
Commentary0
No por natural es sostenible: Experiencias desde el arte popular (Not for natural is sustainable: Experiences from folk art)0
Ceramics in the Expanded Field0
Cultural Artefacts as the Transmission of Socio-Cultural Experience: Exploring the Role of the Pashmina Shawl as a Repository of Memory0
Craft Culture in Early Modern Japan: Materials, Makers, and Mastery0
Industrial Craft in Australia: Oral Histories of Creativity and Survival0
The Nineteenth-Century Industrial Worker as Exhibition Visitor: Ways of Engaging with Making0
“Weaving Workshop Proposal,” c.19860
Commentary: Gabriela Mistral on Craft0
Constructive Craft and Contested Regionalities0
The Meaning of Craft, On Craft, The Soul of Craftsmanship, 19270
Marcia Tucker’s Domestic Politics: Art and Craft in the 1990s0
Darkhouse Lighthouse Darkhouse Lighthouse Troy Hill Art Houses. Pittsburgh, PA. Permanent installation0
In Conversation with Bill Hooks0
Amazonian Indigenous Cultures in Art and Anthropological Exhibitions0
Introduction: Exhibiting Craft: Histories, Contexts, Practices Exhibiting Making: Gesture, Skill and Process0
Soil and Life in the Field of Craft Studies0
Between Conventional Borders: Excerpts from the {Queer} + {Metals} Project0
Where Craft Starts0
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
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
“Not From Their Culture”: The Influence of Artisanal Promotion Agents in the Production and Commercialization of Indigenous Crafts in Chaco, Argentina0
Skin Crafts: Affect, Violence, and Materiality in Global Contemporary Art Skin Crafts: Affect, Violence, and Materiality in Global Contemporary Art Julia Skelly, London:0
Selling Italy: Craft and Italianness in Italy at Work: Her Renaissance in Design Today (1950–53)0
Studio CeramicsAlun Graves, Studio Ceramics . London: Thames & Hudson/V&A Museum, 2023. 415pp, 918 illustrations. ISBN 97805004808920
Tender Loving Care0
Fabric of a Nation: American Quilt Stories0
On Dullness: A Sensory Portrait0
Obscured Brilliance: Modern and Contemporary Vietnamese Lacquer0
Commentary0
Indisposable: Tactics for Care and MourningFord Foundation Gallery, New York City, 1 October 1, 2022 - December 10, 2022 Indisposable: Tactics for Care and Mourning0
Christian Newby: The drum, the chime, the scrape, the splash, the jerk0
Body Vessel Clay: Black Women, Ceramics & Contemporary Art0
Gendered Work in Former Portuguese Colonial Africa: Mass Labor and Public Works0
Material Agency and Mutual Transformation: Found Objects as Materials for Making0
Lost Weavings of Atlanta: A Report0
“The Gesture Is Everything”: Interview with the Artisan Isabel Oliveira0
Performing Craft in Mexico: Artisans, Aesthetics, and the Power of Translation Performing Craft in Mexico: Artisans, Aesthetics, and the Power of Translation Michele Avi0
Editorial0
Traditional Women’s Arts (1978)0
The Exhibition as Critical Craft Practice: London’s Little Gallery in 19390
Curating Work: A Series of Exhibitions at the Musée des arts et métiers (2017–2021)0
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