Now in paperback, this lavishly illustrated and extensively researched book is a major contribution to a wider understanding of Arts and Crafts and an invaluable visual record of an ever-popular era of design. Leading scholars explore the varied characteristics of the regional, national and international manifestations of Arts and Crafts, looking at the work of many of the movement's leading designers. Additional material on photography, architecture and gardens, and the inclusion of painting and sculpture as integral to the movement, as well as the focus on its later emergence in Japan, all contribute to enriching our understanding and appreciation of Arts and Crafts.

The core of the book consists of subject-by-subject surveys of the key areas in which the Arts and Crafts Movement made important contributions, including interiors and jewellery. An introduction sets the scene for these detailed analyses.

Robinson provides a general entry for each designer with a color photo of a sample of their work on the opposing page. Designs highlighted include textiles, furniture, houses, dishware and a wide variety of Arts and Crafts designs.

Adrian Tinniswood explains the Arts and Crafts movement's international influence by exploring the design, decoration, furnishings, and gardens of town and country houses the world over. Chapters cover themes such as: William Morris and his disciples; houses built by architects for themselves; the distinctive American response to the Arts and Crafts style; and the movement's relationship with the disappearing rural community. The book includes a broad range of houses, including the Red House in Kent, England, that Philip Webb built for William Morris in 1859 and Frank Lloyd Wright's Storer House in Los Angeles, completed in the 1930s. Within each chapter, the author considers, alongside the houses, Arts and Crafts themes such as literature, magazines, gardens, and furniture.

Devoted to the Arts and Crafts Movement past and present, this new magazine celebrates the revival of quality and craftsmanship. Each issue is a portfolio of the best work in new construction, restoration, and interpretive design, presented through intelligent writing and beautiful photographs. Offering hundreds of contemporary resources, it showcases the work not only of past masters, but also of those whose livelihoods are made in creating well-crafted homes and furnishings today. The emphasis is on today’s revival in architecture, furniture, and artisanry, informed by international Arts & Crafts and the early-20th-century movement in America: William Morris through the Bungalow era. Includes historic houses, essays and news, design details, how-to articles, gardens and landscape, kitchens and baths. Lots of expert advice and perspective for those building, renovating, or furnishing a home in the Arts & Crafts spirit. From the publisher of Old-House Interiors magazine and the Design Center Sourcebook. artsandcraftshomes.com

Crafting Identity goes far beyond folklore in its ethnographic exploration of mask making in central Mexico. In addition to examining larger theoretical issues about indigenous and mestizo identity and cultural citizenship as represented through masks and festivals, the book also examines how dominant institutions of cultural production (art, media, and tourism) mediate Mexican “arte popular,” which makes Mexican indigeneity “digestible” from the standpoint of elite and popular Mexican nationalism and American and global markets for folklore. The first ethnographic study of its kind, the book examines how indigenous and mestizo mask makers, both popular and elite, view and contest relations of power and inequality through their craft. Using data from his interviews with mask makers, collectors, museum curators, editors, and others, Pavel Shlossberg places the artisans within the larger context of their relationships with the nation-state and Mexican elites, as well as with the production cultures that inform international arts and crafts markets. In exploring the connection of mask making to capitalism, the book examines the symbolic and material pressures brought to bear on Mexican artisans to embody and enact self-racializing stereotypes and the performance of stigmatized indigenous identities. Shlossberg’s weaving of ethnographic data and cultural theory demystifies the way mask makers ascribe meaning to their practices and illuminates how these practices are influenced by state and cultural institutions. Demonstrating how the practice of mask making negotiates ethnoracial identity with regard to the Mexican state and the United States, Shlossberg shows how it derives meaning, value, and economic worth in the eyes of the state and cultural institutions that mediate between the mask maker and the market.