{"id":5029,"date":"2017-05-09T21:44:11","date_gmt":"2017-05-09T18:44:11","guid":{"rendered":"https:\/\/trtr.ee\/?page_id=5029\/"},"modified":"2017-05-09T21:57:12","modified_gmt":"2017-05-09T18:57:12","slug":"sarah-gilbert","status":"publish","type":"page","link":"https:\/\/trtr.ee\/en\/seminar\/sarah-gilbert\/","title":{"rendered":"Sarah Gilbert"},"content":{"rendered":"
SEMINAR<\/div>

Abstract<\/span><\/h2><\/div><\/header><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>
SARAH GILBERT<\/div>

Materials Push Back: Cultivating Naivety at the Intersections of Art, Craft and Design<\/span><\/h2><\/div><\/header>
<\/div>

Art and design are often considered divergent even antithetical practices. Function, or utility, creates the primary division, defining the designer and excluding the artist. Taken further, this division appears in more blatantly ideological terms: the artist aims to question the dominant culture, while the designer aims to create it. Yet both disciplines share, not only the history of the modernist avantgardes, but also its primary legacy: precise forms, intertwining the visual and the conceptual. At stake in these forms, as much today as in the 1930s, are what theorist Jaques Rancie\u0300re calls \u201ccertain configurations of what can be seen and what can be thought, certain forms of inhabiting the material world.\u201d[1] To critically examine visual culture today, we must interrogate the binary concepts of art and design, and focus on what the spaces between them can nurture.<\/p>\n

Drawing on actor-network theory, object-oriented ontologies, and other vital materialisms, this paper explores craft \u00a0\u2013 labor undertaken in a communal context, learned through mimicry and repetition, often with pre-determined goals \u2013 as a studio ritual for cultivating what theorist Jane Bennett terms a \u201cmethodological naivete\u0301…the postponement of a genealogical critique of objects…(that) might render manifest a subsistent world of nonhuman vitality\u201d.[2] While recent craft \u00a0scholarship tends to advocate a concept of mastery based on overcoming an unthinking stage of repetitive automation to pass into more \u201cproblem-attuned deep thinking,\u201d[3] I argue instead for the continuing value of semi-automated reverie and the opportunities it opens for engaging with our material world.<\/p>\n

[1] Jacques Rancie\u0300re, The Future of the Image (London: Verso, 2007).<\/span>
\n [2] Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham: Duke University Press, 2010).<\/span>
\n [3] Richard Sennett, The Cra sman (New Haven: Yale University Press, 2009).<\/span><\/p>\n<\/div><\/div><\/div>

<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/section>
\"https:\/\/trtr.ee\/wp-content\/uploads\/2016\/03\/Sarah_Gilbert_600px.jpg\"<\/div><\/div><\/div><\/div>

Sarah Gilbert<\/span><\/h2><\/div>
Gilbert is an artist and educator based in Los Angeles, where she is Assistant Professor of Sculpture in the art field group at Pitzer College.<\/div><\/header><\/div><\/div><\/div><\/div><\/div><\/div>
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Materials Push Back: Cultivating Naivety at the Intersections of Art, Craft and Design - an abstract from the seminar "Modes of mediating applied art and design".\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/trtr.ee\/seminar\/sarah-gilbert\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Materials Push Back: Cultivating Naivety at the Intersections of Art, Craft and Design - Tallinn Appleid Art Triennial\" \/>\n<meta property=\"og:description\" content=\"Sarah Gilbert. Materials Push Back: Cultivating Naivety at the Intersections of Art, Craft and Design - an abstract from the seminar "Modes of mediating applied art and design".\" \/>\n<meta property=\"og:url\" content=\"https:\/\/trtr.ee\/seminar\/sarah-gilbert\/\" \/>\n<meta property=\"og:site_name\" content=\"Tallinna rakenduskunsti triennaal\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/TallinnAppliedArtTriennial\" \/>\n<meta property=\"article:modified_time\" content=\"2017-05-09T18:57:12+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/trtr.ee\/wp-content\/uploads\/2024\/10\/TRTR_webbg_1200-x-630px_5.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1200\" \/>\n\t<meta property=\"og:image:height\" content=\"630\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/trtr.ee\/seminar\/sarah-gilbert\/\",\"url\":\"https:\/\/trtr.ee\/seminar\/sarah-gilbert\/\",\"name\":\"Materials Push Back: Cultivating Naivety at the Intersections of Art, Craft and Design - Tallinn Appleid Art Triennial\",\"isPartOf\":{\"@id\":\"https:\/\/trtr.ee\/#website\"},\"datePublished\":\"2017-05-09T18:44:11+00:00\",\"dateModified\":\"2017-05-09T18:57:12+00:00\",\"description\":\"Sarah Gilbert. 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