The New York museum is looking to capture the zeitgeist of today’s contemporary craft revival by uncovering the historical artworks from the perpetual collection.
Open in recent gallery and museum exhibitions, and not to mention newly dedicated festivals, the craft is getting its perfect moment. Also, beyond the feeble marketing campaign that has co-opted the term ‘pre and post-industrial production approach,’ it has now reemerged on every level of the art and design world.
Besides, Patrons are becoming more concerned with how the products are designed, both in response to looming climate emergencies and growing awareness of long-term health outcomes of some chemicals and materials.
Some independent makers have also seized an occasion to implement the business models, which champion transparency and small-scale, closed-looped production. Such strong revival may not fulfil the dreams and hopes of the late 19th-century anti-industrialists such as William Morris and John Ruskin. However, this push for craft-led and straightforward design has gained traction.
Such systemic impetus is the rising desire for bespoke objects, reflecting an individual expression and setting stylistic dictums. Daily consumers are becoming interested in the products that reflect personality. This renewed interest is not entirely at the hands of collectors. The challenge that stays is an age-old dilemma on making handcrafted products available and affordable to a broader audience.
A new survey at New York’s MAD looks to ground such current flurry of activity in historical lineage. On view from 22nd May 2021 to 13th February 2022, the Craft Front and Center brings together the eclectic range of over 70 pieces that are sourced from the Midtown Manhattan museum’s collection. In addition, MAD can pinpoint a few common threads by presenting such great works that have defined the craft production earlier and are driving the present revival.