The Adaptable Educator’s Book Review – Craft Perception and Practice: A Canadian Discourse, Vol. 2, edited by Paula Gustafson

Craft Perception and Practice: A Canadian Discourse, Vol. 2, edited by Paula Gustafson, represents a pivotal moment in the evolution of Canadian craft scholarship. Published by Ronsdale Press in 2005, this volume collects twenty-two essays and critical commentaries by nineteen independent critics, curators, professional artists, art historians, and studio art instructors. By bringing together voices from across the country, Gustafson and her contributors construct a multilayered conversation about craft’s role in shaping Canadian cultural identity and academic discourse. Barnes & NobleABC BookWorld

This volume emerges against a backdrop in which Canadian craftspeople—ceramists, weavers, metalworkers, and glass artists—have long been recognized internationally for technical excellence yet often marginalized within academic and museum settings. As Ronsdale Press notes, Canada’s craft industry comprises over 25,000 practitioners and generates more than $1 billion in annual sales, underscoring craft’s economic and cultural significance despite its subordinate status in mainstream art discourse. Ronsdale PressRonsdale Press

Editorial Vision and Context

Paula Gustafson (1941–2006) was a tireless advocate for recognizing craft as an autonomous and intellectually rigorous field. Her background as a potter and ceramics studio owner, combined with decades of experience publishing Artichokemagazine and consulting with craft organizations nationwide, positioned her uniquely to curate this anthology. As ABC BookWorld recounts, Gustafson’s career bridged practice and theory: she championed craft’s capacity for social engagement and conceptual innovation across disciplines. ABC BookWorldABC BookWorld

In assembling Vol. 2 of Craft Perception and Practice, Gustafson built on the foundation laid in Volume 1 (2002), expanding the conversation to include emerging theoretical frameworks—linguistic, dystopian, and cinematic—that challenge traditional boundaries between craft, fine art, and design. By 2005, Canadian craft scholarship was still nascent; this volume played a vital role in legitimizing craft studies in both art history and cultural studies programs. Ronsdale PressABC BookWorld

Structure and Contributors

The physical presentation of this volume—a 7½″ × 10″ trade paperback with 224 pages, indexed and illustrated with 40 full-page, full-colour photographs—reflects its dual commitment to scholarship and visual appreciation. The format allows readers to engage directly with images of works by leading Canadian craftspeople, providing context to the essays without relegating imagery to small reproductions. Barnes & NobleRonsdale Press

Contributors range from prominent art historians and curators (e.g., Sandra Alfoldy, Paul Mathieu) to practicing artists whose theoretical positions are grounded in studio experience (e.g., Gil McElroy). This interdisciplinarity is a particular strength of the volume: it balances rigorous academic frameworks with first-hand accounts of creative process. The editors’ decision to include both critical essays originally presented at conferences and texts from exhibition catalogues broadens the scope, demonstrating how discourse on craft functions across settings—academic, curatorial, and journalistic. Barnes & NobleRonsdale Press

Thematic Frameworks

One of the most striking aspects of Vol. 2 is its engagement with a diverse set of theoretical lenses. Contributors draw on linguistic theory to examine craft’s “grammar” of ornamentation; dystopian and mimetic frameworks to explore how craft objects reflect and critique contemporary social conditions; and cinematic theory to consider how narrative unfolds in three-dimensional form. Simultaneously, essays delve into the sensual and tacit dimensions of craft knowledge—focusing on the embodied, tactile qualities that distinguish hand-made objects from mass-produced goods. Barnes & NobleNNELS

By juxtaposing these approaches, the volume underscores craft’s multifaceted nature: it is at once an aesthetic practice, a form of cultural commentary, and a site of political and social engagement. For example, one essay considers how weaving can function as a form of community empowerment—a theme Gustafson herself explored in writing about the Stardale Women’s Group, a Cree weaving cooperative in Saskatchewan. ABC BookWorldEverand

Key Essays and Contributions

Although a thorough summary of all twenty-two essays is beyond the scope of this review, several stand out for their originality and impact:

• Linguistic Interpretations of Ornament: An essay by Arlene Oak (first published elsewhere but reprinted here) interrogates nineteenth-century critiques of ornament within Modernist discourse, arguing that ornament survives by relocating into the everyday objects we use—bringing semantic richness to domestic spaces. This intersection of linguistics and craft history reframes ornament not as a relic of the past but as a living, communicative system. EverandNNELS
• Dystopian and Mimetic Narratives: Another contributor employs dystopian theory to position craft objects as speculative artifacts pointing toward possible futures—objects that both mirror and critique the capitalist pressures of consumer culture. By drawing parallels between speculative fiction and craft practice, the essay invites readers to consider how material culture can function as a narrative space for alternative social visions. Barnes & NobleNNELS
• Sensuality and Tacit Knowledge: An essay by Mackenzie Frère meditates on the materiality of cloth and dye, referencing philosophers such as Gaston Bachelard and Hannah Arendt. Frère’s writing emphasizes how tactile engagement with fibres activates an aesthetic experience that transcends conceptual theory—anchoring intellectual discourse in embodied practice. This focus on the sensorial underlines craft’s capacity to communicate beyond language, tapping into affective registers that fine art discourse can sometimes overlook. EverandNNELS
• Political Dimensions of Craft: Though less prominent in Vol. 2 than in Volume 3, several essays foreground craft’s potential as a form of political activism. For instance, a text on contemporary textile practice examines how artists working with memorial banners and button blankets reveal hidden social histories—ranging from the “Missing Women” crisis in Vancouver to narratives of Chinese-Canadian immigration. This work illustrates craft’s ability to serve marginalized communities and catalyze public dialogue. EverandNNELS

Visual and Material Engagement

The volume is illustrated with forty colour photographs that showcase objects by some of Canada’s most accomplished craftspeople. These images are not mere embellishments; they function as critical reference points that allow readers to engage directly with surface textures, colour palettes, and forms discussed in the essays. By integrating images as full-page spreads, the editors reinforce the notion that craft must be experienced visually and haptically—especially relevant for readers who, at that time, might not have immediate access to these works in person. Barnes & NobleRonsdale Press

Moreover, the careful design and layout—described by reviewers as “crisp” and “mimicking some of the attributes of craft” (Vancouver Sun)—echo the volume’s content by embodying a craft-like attention to detail. The book’s typography and paper choice subtly align the physical reading experience with the material values of the works it discusses. Ronsdale PressRonsdale Press

Critical Reflections and Limitations

While Vol. 2 excels in presenting a broad disciplinary range, it reflects its moment in time—largely pre-digital and prior to the rise of makerspaces, 3D printing, and online craft communities. Consequently, the volume’s discourse occasionally feels rooted in a pre-Internet era when physical artifact was the primary site of scholarship. Later developments in digital-hybrid craft practices (e.g., CNC woodworking, digitally woven textiles) receive minimal attention, a gap that would be addressed in subsequent scholarship. Barnes & NobleABC BookWorld

Additionally, although the essays include a commendable diversity of theoretical frameworks, certain regions and First Nations perspectives remain underrepresented. Given Canada’s rich Indigenous craft traditions, a deeper sustained dialogue with Indigenous knowledge systems could have further enriched the volume’s conversation. While Volume 3 begins to address this shortcoming through essays like “Stardale: A Success Story,” Vol. 2 offers only glimpses of craft as a tool for decolonization and cultural resurgence. ABC BookWorldEverand

Finally, the academic density of some essays may pose a challenge to general readers or practising craftspeople who lack a grounding in critical theory. Though the volume is subtitled a “Canadian Discourse” and is intended for scholars, a portion of its readership—artists and curators—might have benefited from more accessible syntheses or introductory overviews. Nevertheless, this complexity also stands as one of the volume’s strengths, signalling that craft deserves the same intellectual rigour long accorded to painting or sculpture. Barnes & NobleNNELS

Craft Perception and Practice: A Canadian Discourse, Vol. 2 remains an essential text for anyone studying Canadian craft, art history, or cultural studies. Paula Gustafson’s editorial vision successfully bridges studio practice and critical theory, positioning craft as a vital participant in broader cultural conversations. The volume’s theoretical diversity, visual richness, and interdisciplinary authorship set a benchmark for future scholarship—paving the way for digital expansions, deeper engagement with Indigenous perspectives, and more explicit explorations of craft’s relationship to de-colonial politics. Barnes & NobleRonsdale Press

For scholars, practitioners, and students in Canadian universities and colleges, this volume provides not only a repository of critical essays but also a springboard for ongoing debate. Its enduring value lies in capturing a moment when craft was claiming its place alongside fine art and design—an endeavour that continues to shape Canadian cultural identity more than fifteen years after its publication.