DIALOQUE BETWEEN ART AND CRAFT

Pöllänen, S. & Ruotsalainen, K. (2017). Dialogue Between Art and Craft: Textile Materials and
Techniques in Contemporary Art. International Journal of Education & the Arts, 18(1), 1-17.

Dialogue between art and craft:

Textile Materials and Techniques in Contemporary Art

 DIALOQUE BETWEEN ART AND CRAFT

The aim of this study was to investigate the ways in which textile materials and techniques are

expressed in contemporary art in Finland. The first phase of data collection was to identify a population

of Finnish artists who use textile craft-based forms in their art and who produce their works

themselves. After that, six discretionary selected artists’ works were analyzed using essence analysis

based on photographs and artists’ statements. The analysis brought out the reciprocal and

complementary dialogue between art and craft, contributing to an ongoing debate about topical issues

and the valuation of everyday relationships and objects. Artists are viewing their work from an artistic

perspective but also basing their process in the appreciation of craft. The works of art portray mental

associations with the help of craft techniques and materials. This article argues that the dialogue

between art and craft helped these artists cross over borders and traditions.

Keywords: art, craft, essence analysis, mental pictures, textile art

Introduction

In the Western world, art and craft have historically been seen as distinct modes of production (Dormer

1997a; Auther 2008; Barrett, 2008). According to Ihatsu (2002, pp. 60–63) and Owen (2005, pp. 32–

33), art has been seen as expressive-based, creative and communicative, while crafts have been seen as

a traditional, skilled, and repetitive activity. Instead, craft has been seen as vernacular (Greenhalgh

1997, pp. 31–32), limited to the materials, techniques, and functional qualities of the object (Ihatsu,

2002, p. 60). As a consequence of this valuation, craft has automatically been denied art status (Risatti,

2007) and some media have had associations with certain processes and functions; for example, fiber

has been relegated to the domains of craft and female culture (Auther 2008, p. 28).
 DIALOQUE BETWEEN ART AND CRAFT

Veiteberg (2005, p. 87) has called the space between visual arts and crafts an ‘intervening space’; the

space between tradition and infringement as well as a space between craft-based art and idea-based art.

Ultimately, as both style and artistic expression have gradually become more and more complex, new

forms of expression have come alongside the traditional techniques and materials. Today, craft has

begun to break through the conventional boundaries of functionality and tradition and art reflects a

wide range of materials, media, and technologies, as well as opportunities to consider what art is and

how it is defined (Ihatsu, 2002, p. 204). Craft may play with traditions and cultural symbols, breaking

down common perceptions and creating metaphorical objects (Haveri, 2013, p. 3; Winge & Stalp,

2013, p. 84). In practice, new work in materials traditional to craft has blurred the boundaries between

art and craft, such as fibre art, soft sculpture, soft art, contemporary subversive craft and conceptual art

(Auther, 2008, p. 29; MacDonald, 2005; Winge & Stalp, 2013, p. 83).

According to Andrew (2013, p. 56), craft and textiles have their own language and vocabulary, not only

for the artists, but also for viewers. Textiles may bring a degree of three-dimensionality and tactility to

art, as well as the symbolic content of memories, narratives and cultural meanings from the previous

lives of materials and everyday living. With skillful work, crafted objects may construct an illusion of

being other than what they are, for example, creating the illusion of used material (Ihatsu, 2006, p. 26).

Andrew (2013, p. 47) notes that textiles are emotional materials, representing soft values, such as

humanity, coziness and familiarity. According to researchers (e.g., Andrew, 2008; Auther, 2008;

Bryan-Wilson, 2013; Pöllänen, 2015), textiles are entertaining, conveying a sense of playfulness,

humor, fun, relaxation and meditation (see e.g., Sōetsu, 1989). Craft is seen as slow and intentional

tactile making with ecological basis (Bryan-Wilson, 2013, pp. 9–10). However, textiles may be a form
 DIALOQUE BETWEEN ART AND CRAFT

of argumentation in an ongoing debate and take a point-of-view in socio-political and sociocultural

issues (Dormer, 1997b, p. 174; Bryan-Wilson, 2013, pp. 8–10; Winge & Stalp, 2013, p. 83).

Buszek (2011, pp. 5–6) claims that today, content and subject are more important than art materials and

media; therefore, experimenting with the latter may, according to Nimkulrat (2010, p. 65), be needed to

convey the artist’s intended meaning. In this regard, Rantanen (2014) sees the transition from substance

to context and from representation to presentation as a synthesis of the site of the works of art,

communal space and discourse. Risatti (2007, p. 306) invites viewers to approach art and craft with an

open mind and to see what the objects have to say.

Categorizations and hierarchy genres of the arts and crafts have been open to question in a changing

society (Tiffany, 2004; Ketovuori, 2007, p. 32; Sennett, 2008, p. 65), but craft’s influence on

contemporary art has been obscure (Sōetsu, 1989, p. 116; Bryan-Wilson, 2013, p. 9). Especially in

Finland, craft has been mostly tradition-based making with materials but without artistic impression

(Ihatsu, 2006, p. 198). Nonetheless, many artists have been working with the craft medium with various

techniques and materials in a way that is original and creative (Barrett, 2008; Buzek, 2011). In the same

vein, craft education has been challenged to re-evaluate its traditional pedagogical aims and practices

and discover new orientations (Karppinen, 2008; Pöllänen, 2009). Starting in the autumn of 2016, the

new national core curriculum in crafts (Fnbe, 2014) will require accounting for self-expressive and

experimental ways of working and increasing cooperation with experts outside an educational context.

At school, an artistic approach in crafts may impart sensitivity toward different cultural or ecological

phenomena and help students reflect on culture and society and understand and accept their differences

(see Song, 2009; Upitis, 2009; Pöllänen, 2011). To give perspectives for the open discussion of art and

craft (see Veitebegr, 2005, pp. 9; Risatti, 2007, pp. 1, 12) as well for craft education (Karppinen, 2008;
 DIALOQUE BETWEEN ART AND CRAFT

Pöllänen, 2011), the main goal of this study is to investigate the ways in which textile materials and

techniques are expressed in contemporary art. This kind of artistic approach may serve as an example

of how to break down art and craft boundaries in education.

Method and Data Collection

This study is based on a qualitative investigation of Finnish contemporary art. The first phase of data

collection was to identify a population of Finnish artists whose textile craft-based forms of visual art

works had been displayed and who produce their work themselves. Nine artists were found by

searching websites, art museum pages, exhibition catalogs from 2013–2014 and the journals

Tekstiiliopettaja [Textile Teacher] and Taito [Skill]. Because the focus in this article is craft, the

purpose was to find art works that would best reflect textile materials and techniques.

After that phase, six works by non-random discretionary sampling process (see Creswell, 2014) from

artists who were most recognized, for example, by the media or by an award or a grant, were selected

for the final analysis. One work from each artist (see Table 1) was chosen to represent different

materials and techniques as examples of Finnish contemporary crafted textile-based art. Because, the

main purpose of this study is to focus on the ways textile materials and techniques are used in

contemporary art, the data collection concentrates on artists and not on artisans, in spite of that they

also may make art works. The artists in this study named themselves as a textile artist or a visual artist.

Because this study is implemented through the lenses of craft, the method of analysis takes advantage

of the methods and perspectives of craft science. The works of art were analyzed by using photographs

and artists’ descriptions of their art with the help of Luutonen’s (1997; 2008) essence analysis to

uncover the unstated information inherent in a crafted object. The general form of essence analysis is
 DIALOQUE BETWEEN ART AND CRAFT

based on Peirce’s (1958) semiotic theory of signs and phenomenological categories. Semiotics provides

tools for the study of meanings, while products convey ideas associated with cultural, psychological,

social and economic values.

Luutonen’s (1997) essence analysis begins with a first impression. This means intuitive examination

from the recipient’s point of view – a first impression made by the crafted item itself without any

contextual information. The second phase in the analysis is depth study, where the main idea is to find

any factual information about the product or phenomenon. The purpose is to specify the physical

properties of the product and to analyse their representation. As an aid for systematic review, the

essence analysis makes use of Papanek’s (1971; 1995) function complex in which the method, use,

need, consequences, association, and aesthetics of the product are specified. However, in this study, the

works are generally not intended for use. Thus, in this phase they will be viewed only from the

standpoint of method (i.e. materials and techniques), association and aesthetics. The depth study may

also contain, according to craft science, data about the construction process. The third and last stage of

the essence analysis is interpretation, which draws together the intuitive and factual analysis to form a

general understanding of the research results, constituting the researcher’s conclusions. In this study,

the main point in the analysis is to find the dialogue between art and craft, thus the works are not

categorized or analyzed according the concepts and distinctions of art. Still, it is worth noting that the

chosen method has some similarities with other methods of reading images (e.g., Panofsky, 1972;

Rose, 2001).

Clearly, all studies have their limitations: in this study, the process was carried out from the

lenses of craft and the works of art were chosen as examples of textile-based art in Finland. This means

that the examples are not comprehensively representative of such art and it is possible that the results
 DIALOQUE BETWEEN ART AND CRAFT

are not transferable to other types of art and other contexts. Following common practices in qualitative

research, this study is carried out according to a particular perspective based on researchers’

conclusions and interpretations. However, bias has been minimized through a thorough, transparent

process (Darawsheh, 2014). Of course, interpreting art reflects an individual’s subjective experiences

and worldviews (Lim, 2013). As a counterbalance, it is hoped that the researchers’ deep involvement in

crafts will offer unique insight (see Flyvbjerg, 2006). As Mayring (2007) argued, in most cases, a

qualitative study’s conclusions may be more general than the results. Careful consideration will reveal

the contexts suitable for an application of the findings. An in-depth methodological description seeks to

facilitate a scrutiny of conclusions and results (Shenton, 2004). Moreover, the qualitative study

approach focuses strongly on validity, which was underpinned in the present study by having two

researchers work independently and challenge each other’s interpretations to avoid subjectivity and

bias toward verification (see Flyvbjerg, 2006).

Results

The main goal of this study was to investigate the ways in which textile materials and techniques are

expressed in Finnish contemporary art. To begin, the basic information of all the chosen works of art is

characterized with first impression. Next, the depth study gave more information about the physical

characteristics and properties of the art works and, thus, the artist’s comments of their source of

inspirations, the materials and techniques used will be described in detail. Finally, the interpretation of

the works elucidates some of the meanings of craft in these works.

First impression

In the first impression the works of art were analyzed from the outside observer’s point of view.

Attention was paid to the initial observations of the object. The table 1 with the Figures 1–6 give the
 DIALOQUE BETWEEN ART AND CRAFT

basic information of each artists’ work, for example, the technique used, the material and, and the most

distinctive features of the works.

Artist Figure No./ Technique Material General First impression

Name and year of information
the art work
Outi F 1. Cathedral sewing, insect net, 190x240 cms, tower silhouette,
Martikainen (2008) embroidery nylon, black and gray space driver, panel or
http://outi.in/art/14. colored curtain,
php light, transmittance,
like a transparent weave
Tarmo F 2. Perintö (2014) bobbin lace and flax yarn face size with image of a face,
Thorström [Heritage] variety of bobbin ribbons, white a white colored mask with
http:// techniques and red red effects,
www.thorstrom.co like a lacy work, variety of
m/2014/10/ lace patterns
nyplatty-
kolmiulotteinen-
pitsireliefi/
Sonja F 3. Julkitilataiteen tufted rug wool a rug size, tufted rug as a soft yarn
Salomäki ihailija (2008) colorful, soft work, a part of street view,
[The admirer of bright lights and a male
public space art] figure,
http://www.artists- like a rug
o.fi/sonja-salomaki/
Kaija F 4. PI541 (2012) crocheting wool, wood, a car size, a police car,
Papu http://www.kaijapa foam, blue and authentic-looking,
pu.com/english/e- plastic, white time-consuming
news.htm embroidery
and sewing
thread
Ulla F 5. Kynnyksellä cut-out pigment thread, 134x104 cms, a picture of mother-daughter
Jokisalo (2011-2012) print, embroidery, photograph, black, white relationship, cartoon-like,
[On the Threshold] thread and pins and gray tapestry
needles on fabric colored
(linen)
Anu F 6. Fleurs de sel crocheting salt shakers 14 salt red cover salt shakers and
Tuominen (2006) with red shakers, 14 white crocheted patterns,
http:// cap, thread little circles, an arrangement
www.anutuominen. white and red
fi/fi/teoksia/25/ colored
#prettyPhoto[galler
y2]/3/

Table 1. Artists and works of art in this study

Figure 1. Cathedral. Artist Outi Martikainen. Figure 2. Perintö. Artist Tarmo Thorström. Photo
Photo Juha Reunanen. Tarmo Thorström
 DIALOQUE BETWEEN ART AND CRAFT

Figure 3. Julkitilataiteen ihailija. Artist Sonja Figure 4. PI541. Artist Kaija Papu.
Salomäki. Photo Sonja Salomäki. Photo Jarkko Mikkonen.

Figure 5. Kynnyksellä. Artist Ulla Jokisalo. Photo Figure 6. Fleurs de sel. Artist Anu Tuominen.
Ulla Jokisalo. Photo Art-U room, Tokyo.

Depth study

Association and aesthetics

The information from the art works revealed that the inspiration for the art comes from the artist’s own

life, experimentation with the materials, and environmental effects. A few works present some kind of

argumentation in an ongoing debate, injustice or circumstances. Thus, the artists’ own lives, memories,

recollection, experiences and interests created the starting point for associations. As a result, artists

have done works related to themselves like the three-dimensional lace relief of artist’s faces as a picture

of identity (No. 2). Artists’ own environments and the contexts of the intended work provided

associations for the relationship between the human being and environment (e.g., No. 3). The art work

criticizes urban living environment which have forgotten the ideas of beauty showing how, despite

tight public space regulations, for example regarding to public art, all kind of advertisements are

permissible, making street views oppressive.

Sometimes the source of inspiration had been material-based. For example, salt shakers (No. 5) as

easily-discarded everyday objects as well as all kind of materials that can be recycled or bought from

flea market had been a starting point to installations for one artist. The material itself and the
 DIALOQUE BETWEEN ART AND CRAFT

explorations of its possibilities as well as colors and surfaces had also been a source of inspiration (No.

1, 2). As an example, the artist wanted to create something opaque and transparent as a play of material

and light, to evoke the fountain of Milano cathedral, and mosquito net served this purpose. Those art

works give associations of simplicity and minimalism. On the other hand, eighteenth century children’s

literature inspired one artist with its illustrations to make an art work to depict young girl’s departure

from home in an embroidery (No. 5). It includes a reference to the feminism of French philosopher

Lucre Irigaray and the story of Little Red Riding Hood.

While all of the works explore some environmental or human phenomenon, the main idea for the most

of the works is to take part in a topic of discussion. Two of the artists (art No. 2, 4) wanted to break

down gender boundaries and orthodoxy by using unusual materials and changing the standard type and

scale of craft making. One of them also wanted to modernize the feminine- and tradition-based lace

making technique. The life-sized crocheted police car (No. 4) was based also on the artist’s interest in

societal concerns. The artist wanted to link associations of masculinity to soft values.

Materials and techniques

In these works of art, different kinds of materials have been used, often typical for textile crafts. The

most typical material is yarn in some form, such as wool yarn, sewing thread, lace-making or

embroidery thread. The most commonly used fabrics are natural-based, such as cotton and wool, which

are typically used also in textile crafts. However, also recycled and industrial materials or objects were

used, such as mosquito net, which are less typical material for textiles. Objects from everyday life have

also been used in these works, such as salt shakers, needles and pins, and old photos. The police car, as

a sculptural work, had soft (polyurethane foam) and hard filler (wood) materials to give shape to the
 DIALOQUE BETWEEN ART AND CRAFT

life-size police car with a crochet cover (No. 4). Materials intended for other purposes seems to have

served the artist’s purposes.

The artists used skill-demanding traditional craft techniques as well as creative new forms of

application. The used techniques are crocheting (No. 4, 6) embroidery and sewing (No. 1, 5), bobbin

lace (No. 2), and tufting (No. 3). Typical uses of traditional craft techniques have often been combined

with atypical tools and materials, as needles on the fabric (No 5). In any case, usually either the

technique or the material is used in the traditional way. Some of the artists described that concentrating

on techniques, materials and the making process had given them time to express their motives and

intentions. The long-lasting, tactile and bodily component had been meditative and stress reducing.

The analysis revealed, that in many cases, there are a variety of different and often self-developed

techniques in the art works. The techniques and materials are usually symbolic; for example, crocheting

refers to the passage of time and slow work (No. 4) and old artefacts used in homes suggest a private

space on public view (No. 6). Unorthodox new applications of bobbin lace have been used to create

three-dimensional lace representing the artist’s own face (No. 2). Notably, artists have played with craft

techniques and orthodox standards of art and craft production.

The associations (see Papanek, 1995) that the works may evoke can be linked to the techniques or the

materials, forms and subjects that are used. For example, embroidery makes the work resemble visual

art techniques (No. 5). A common way to arouse associations is to use material to convey different

moods (No. 3) and expressions of opinion (e.g., No. 4). The forms in the works may lead to other

associations than the actual content of the work, making flowers of salt shakers (No. 6).

Interpretation
 DIALOQUE BETWEEN ART AND CRAFT

Interpretation of the analysis is built upon the first impression and depth study of the works of art. Its

purpose is to describe the dialogue between art and craft in the chosen art works. Ultimately, the

interpretation showed how craft traditions, materials and techniques were used in these works, as well

as what kind of meanings they were conveying.

The artists seem to have used traditional craft techniques and materials in a creative way to break out of

the traditions and conventions regarding both art and craft. They used techniques in new ways or a

mixture of several disparate techniques, combining both craft and art techniques in the same work.

Materials gave artists the possibility to create and strengthen contrasts and associations, such as heavy-

light, soft-hard or masculine-feminine. Atypical materials that are not associated with handicrafts, for

example salt shakers (No 6), were used to carry out the artists’ visions. Such new materials with

traditional textile craft techniques create new associations and contrariety with connotations and

sensory experiences as well as with arousing different moods and memories. Thus, everyday materials

or recycled materials with common known craft-related techniques may describe little discrete themes

in large scale art work (e.g.,1, 4). They evoked sometimes visual images of another material or optical

illusions, but in the same time reminded about ecological responsibility. Minor details in a larger

installation were experimented with new combinations of materials (e.g., No. 1, 4, 5, 6) or created a

light-playing element for an architectonic space (e.g., No. 2, 6).

On the other hand, the artist had used a common technique and material to evoke people to look and

reflect. This has led to an unusual handling of the topic, even though the technique and production

process were carried out traditionally, for example, the tufted rug from a legendary place in the

Helsinki capital with all variety and complexity of life (No. 3). With the choice of techniques and

materials, the artists had been able to stress their messages and the process of making art (e.g.,

associating trash as material, No. 6; contrasting values with crafting, No. 4; and gender equality with
 DIALOQUE BETWEEN ART AND CRAFT

lacemaking, No. 2). Atypical material, such as needles and pins on an embroidered work (No. 5), may

surprise with a topic depicting departure from home. As a result, this kind of materialization helps the

viewer to analyze the context in spite of the topic being private, but at the same time common to

anyone.

The artists’ technical skillfulness in craft making as well as their responsiveness to their raw materials

were other sources of inspiration. The works have been time- and labor-intensive, like the life-sized

police car made by crocheting (No. 4). In most of the works, craft was combined with art techniques to

confuse the viewer. This can be seen as a way to reform craft but also as a way to diversify art using

craft, for example sculpture (No. 4), pigment print as painting and graphics (No. 5), photography (No.

5), and conceptual art (No. 6). In all of these works, craft techniques have been used as a visual arts

medium. The breach of traditions have helped the artist to communicate with the audience telling

something from the artist’s construction process and position-taking. Many of the works have features

from everyday life but they intentionally disrupt traditions. All of the works show serious dexterity,

product quality, and respect for craft work. Craft in art making has brought warmth, humour and

human intimacy with soft materials and intensive hand work, investing the techniques and materials

with symbolic and metaphorical meanings and highlighting contrasts. In spite of that, the artists’

process has been self-conscious or self-referential, the precedence over traditional aesthetic and

material concerns is hoped to open the viewers’ eyes to see something hidden or easily forgettable.

Discussion

The main aim of this study was to investigate the ways in which textile materials and techniques are

expressed in contemporary art in Finland. The research results revealed the artists’ holistic way of

working, a materialisation of original and creative ideas, and a use of skills to translate the artist’s
 DIALOQUE BETWEEN ART AND CRAFT

expressions and intellectual curiousity in experimenting. In the same way as Tiffany (2004) described

about appropriation of traditions, the artists individually accommodated traditions in the fields of both

art and craft. Each artist emphasized his or her own craft-based techniques according to a personal

style. They were borrowing, adapting, and integrating art and craft elements. For example, woolen

crafts in Nordic countries are based in ancient history and invented traditions (Luutonen, 2008;

Helgadottir, 2011; Hayeur-Smith, 2012), but in this study, the artists improvised in their own ways. As

a result, the artists played with traditions by choosing textile-based techniques and materials to

represent an atypical subject for that kind of craft or by depicting common subjects using new

techniques and material applications.

The results show that textile materialization had been a form of argumentation in hidden aspects of

everyday things or in an ongoing debate (see Dormer, 1997b; Winge & Stalp, 2013). It may be

concluded that the works are conceptualizing, taking a position and telling stories. Thus, the art works

portray mental pictures and associations with symbolic and metaphorical techniques and materials. The

precedence over traditional aesthetic, technique and material concerns help the viewer to see things, for

example familiar environment and human relationships, from a new perspective (see Andrew, 2008;

2013; Winge & Stalp, 2013). Either the colors, surface, installation or the unorthodox size and shape

challenge the viewer to dialogue. As Tiffany (2004) concluded, once an object crosses the arts and

crafts border, it becomes mysterious and attractive, creating a meaningful story about the object.

In spite of the art works breaking down textile craft traditions, they serve as familiar signs into cultural

past and craft-based national identities (see Tiffany, 2004; Luutonen, 2008; Helgadottir, 2011; Hayeur-

Smith, 2012). They carry craftsman’s traditions, dexterity, product quality and human meanings, with

the making process (see Dormer, 1997c; Tiffany, 2004; Auther, 2008; Pöllänen, 2015). Altogether, the
 DIALOQUE BETWEEN ART AND CRAFT

results of this study show that through the lenses of craft, contemporary textile-based art can also be

defined as both material and process-based craft art or art craft (see Ihatsu, 2002, p. 77; Risatti, 2007, p.

8). This kind of intervening space (see Veiteberg, 2005) may have helped the artists to move freely

between art and craft. Craft seems to have eased the creation of contrast and inclusion of associations in

contemporary art, such as using soft or recycled materials to express messages or describe cultural

phenomena. The works are implementing a way of seeing things from an artistic perspective but also a

way of doing things based in the appreciation of craft. The dialogue between art and craft in Finnish

contemporary art is a reciprocal and complementary relationship helping artists transcend borders and

traditions.

The contemporary art in this study, are examples of the dialogue that comes into being as a result of the

synthesis of the site of the work, as well as communal space and discourse. The main ideas in the

works focused more on context than substance and more on presentation than representation (see

Rantanen, 2014). From society’s point of view, art works do not primarily highlight an individuals’

capabilities. Rather, they remind us about important global and local issues. Indeed, an art work moves

across social and cultural borders in a postindustrial commercial culture (see Tiffany, 2004). From an

individual’s point of view, art also highlights the artful and meaningful aspects of life (Sōetsu, 1989;

Sennett, 2008) and reflect the boundaries and hierarchies of social constructions (see Tiffany, 2004).

As the distinctions have blurred in many contexts, the need to re-evaluate the traditional practices in

craft education has become obvious. Crafts are not just about distinct subject areas, techniques or

aesthetics but may include functions which are integral to being human, transcend the individual (see

Garber, 2002; Sennett, 2008). Art-based learning processes and artistic sensibilities may incorporate a

reflection and awareness of the impact of one’s actions and practices in a larger context (e.g.,
 DIALOQUE BETWEEN ART AND CRAFT

Karppinen, 2008; Song, 2009; Upitis, 2009). Therefore, the findings of this study will hopefully

contribute to a broader recognition of the artistic potential inherent to self-expressive crafts. The

findings are also intended to increase teacher collaboration during optional lessons in arts and crafts in

basic education and the contexts where craft materials and processes are used as part of educational

programs in general. It is also hoped that, in practice and among the sciences, crafts will be seen as a

broader skill than manual labor or traditional handicrafts (Sennet, 2008).

In this study, the data did not provide answers as to why the artists took different approaches to their

art. Accordingly, further research is needed to take the artists’ perspectives more fully into account and

compare their intentions and different approaches against external critic interpretations. This would

provide applicable case-based examples for artists’ and educators’ co-operation and help develop

multi-artistic workshops for children.

References

Andrew, S. (2008). Textile semantics: considering a communication-based reading of textiles. Textile:

The Journal of Cloth & Culture, 6(1), 32–65.

Andrew, S. (2013). The medium carries the message? Perspectives on making and viewing textiles.

Journal of Visual Art Practice, 12(2), 195–221.

Auther, E. (2008). Fiber art and the hierarchy of art and craft 1980–80. The Journal of Modern Craft,

1(1), 13–34.

Barrett, T. (2008). Why is that art? Aesthetics and criticism of contemporary art. New York: Oxford

University Press.

Bryan-Wilson, J. (2013). Eleven Propositions in Response to the Question: What is Contemporary

about Craft? The Journal of Modern Craft, 6(1), 7–10.

 DIALOQUE BETWEEN ART AND CRAFT

Buszek, M. (2011). The ordinary made extra/ordinary’. In M. Buszek (Ed.), Extra/ordinary. Craft and

contemporary art (pp. 1–23). Durham: Duke University Press.

Creswell, J. (2014). Research design. Qualitative, quantitative & mixed methods approaches. Los

Angeles: Sage.

Darawsheh, W. (2014). Reflexivity in research: Promoting rigour, realiability and validity in qualitative

research. International Journal of Therapy and Rehabilitation, 21(12), 560–568.

Dormer, P. (1997a). The salon de refuse? In P. Dormer (Ed.), The culture of craft. Status and future

(pp. 2–16). Manchester, UK: Manchester University Press.

Dormer, P. (1997b). Textiles and technology. In P. Dormer (Ed.), The culture of craft. Status and

future (pp. 168–167). Manchester, UK: Manchester University Press.

Dormer, P. (Ed.) (1997c). The culture of craft. Status and future. Manchester, UK: Manchester

University Press.

Flyvbjerg, B. (2006). Five misunderstandings about case-study research. Qualitative Inquiry, 12(2),

219–245.

Fnbe. (2014). Perusopetuksen opetussuunnitelman perusteet [National core curriculum for basic

education]. The Finnish National Board of Education. Available from

http://www.oph.fi/download/163777_perusopetuksen_opetussuunnitelman_perusteet_2014.pdf

Garber, E. (2002). Craft education in Finland: definitions, rationales and the future. International

Journal of Art & Design Education, 21(2), 132–145.

Greenhalgh, P. (1997). The history of craft. In P. Dormer (Ed.), The culture of craft (pp. 20–52).

Manchester, UK: Manchester University Press.

Haveri, M. (2013). Urban knitting. The soft side of street art. Synnyt. Taiteen tiedonala, 2, 1–19.

Available from https://wiki.aalto.fi/download/attachments/79989026/Minna%20Haveri.pdf?

version=1&modificationDate=1369646570000&api=v2
 DIALOQUE BETWEEN ART AND CRAFT

Hayeur-Smith, M. (2012). Weaving Wealth: Cloth and Trade in Viking Age and Medieval Iceland.

SAXO Institute, Center for Textile Research, University of Copenhagen.

Helgadottir, G. (2011). Nation in a sheep’s goat: The Islandic sweater. Formakademisk, 4(2), 59–68.

Ihatsu, A-M. (2002). Making sense of contemporary American craft. Ph.D. thesis. Publications in

education No. 73, Joensuu, Finland: University of Joensuu.

Ihatsu, A-M. (2006). Käsityö – uusiutuva luonnonvara. [Craft – a renewable natural resource]. In L.

Kaukinen & M. Collanus (Eds.), Tekstejä ja kangastuksia. Puheenvuoroja käsityöstä ja sen

tulevaisuudesta. [Texts and dreams. Conversations about craft and about the future of craft] (pp.

19–30). Hamina, Finland: Akatiimi.

Karppinen, S. (2008). Craft-art as a basis for human activity. International Journal of Art & Design

Education, 7(1), 83–90.

Ketovuori, M. (2007). Two cultures of arts education, Finland and Canada. An integrated view. Ph.D.

thesis. Publications of University of Turku No. B 301. Turku, Finland: University of Turku.

Lim, K. (2013). Asian immigrant women’s emotional reflection on artworks. Journal of Cultural

Research in Art Education, 30(2012-2013). Available from

http://search.proquest.com/docview/1492990960?accountid=14407

Luutonen, M. (1997). Kansanomainen tuote merkityksenkantajana. Tutkimus suomalaisesta

villapaidasta. [Rustic products as a conveyor of meaning. A study of Finnish pullovers]. Ph.D.

thesis. Helsinki, Finland: Akatiimi.

Luutonen, M. (2008). Handmade memories. Trames: A Journal of the Humanities & Social Sciences,

12(3), 331–341.

MacDonald, S. (2005). A century of art and design education: From arts and crafts to conceptual art.

Cambridge, UK: Lutterworth Press.

 DIALOQUE BETWEEN ART AND CRAFT

Mayring, P. (2007). On generalization in qualitative oriented research. Qualitative Social Research

FQS, 3. Available from http://www.qualitative-research.net/index.php/fqs/article/view/291/641

Nimkulrat, N. (2010). Material inspiration: From practice-led research to art education. Craft Research,

1(1), 63–84.

Owen, P. (2005). Labels, lingo, and legacy: crafts at a crossroads. In M. A. Fariello & P. Owen (Eds.),

Objects & meaning: New perspectives on art and craft (pp. 24–34). Lanham: The Scarecrow

Press.

Panofsky, E. (1972). Studies of iconology. New York: Harper Row.

Papanek, V. (1971). Design for the real world; Human ecology and social change. 2nd edition. New

York: Pantheon.

Papanek, V. (1995). The green imperative. Ecology, ethics in design and architecture. London, UK:

Thames and Hudson Ltd.

Peirce, C. S. (1958). Collected papers of Charles Sanders Peirce. A. W. Burks (Ed.), Science and

philosophy and Reviews, correspondence, and bibliography. Vol. 7-8. Cambridge: Harvard

University Press.

Pöllänen S. (2009). Contextualizing craft: Pedagogical models for craft education. International

Journal of Art & Design Education, 28(3), 249–260.

Pöllänen, S. (2011). Beyond craft and art: a pedagogical model for craft as self-expression.

International Journal of Education through Art, 7(3), 111–125.

Pöllänen, S. (2015). Elements of crafts that enhance well-being: Textile craft makers’ descriptions of

their leisure activity. Journal of Leisure Research, 47(1), 58–78.

Rantanen, S. (2014). Ulos sulkeista. Nykytaiteen teosmuotojen tulkintaa. [Out of traditions.

Interpretation of the work modes of contemporary art]. Ph.D. thesis. Helsinki, Finland:

Taideyliopiston Kuvataideakatemia.
 DIALOQUE BETWEEN ART AND CRAFT

Risatti, H. (2007). A theory of craft: Function and aesthetic expression. Chapel Hill: University of

North Carolina Press.

Rose, G. (2001). Visual methodologies. An introduction to the interpretation of visual materials.

London, UK: Sage.

Sennett, R. (2008). Craftsman. New Haven, US: Yale University Press.

Shenton, A. K. (2004). Strategies for ensuring trustworthiness in qualitative research projects.

Education for Information, 22(2), 63–75.

Song, Y. I. K. (2009). Community participatory ecological art and education. International Journal of

Art & Design Education, 28(1), 4–13.

Sōetsu, Y. (1989). The unknown craftsman: A Japanese insight to beauty. Tokyo: Kodansha

International.

Tiffany, S. (2004). Frame that rug: Narratives of Zapotec textiles as art and ethnic commodity in the

global marketplace. Visual Anthroplogy, 17(3–4), 293–318.

Upitis, R. (2009). Developing ecological habits of minds through arts. International Journal of

Education & the Arts, 10(26), 1–31.

Veiteberg, J. (2005). Craft in Transition. Konsthögskolan. Bergen, Norway: Pax Förlag.

Winge, T. M. & Stalp. M. C. (2013). Nothing says love like a skull and crossbones tea cozy. Crafting

contemporary subversive handcrafts. Craft Research, 4(1), 73–86.