ABSTRACT
The display of craft objects in the White Cube limits and challenges visitors' ability to experience the objects, notably, by depriving people of the haptic experience of touch. Despite the inclusion of didactics that may identify craft objects as being collectively produced, conventional displays tend to leave much of the collective making process to the viewer's imagination. By removing craft objects from the context of their everyday social use, the White Cube can also deprive them of their sociality, for example, by removing ceramic vessels from the context of their social use in collectively prepared and shared meals. Hands-on instruction in sewing, spinning, weaving, woodworking, beadwork, screen-printing, paper making, and other handicraft skills is being mobilized by artists to create crafted objects and works of art, but also to create 'community-based activity and relationships'. Sewing Rebellion has been presented and performed primarily outside the White Cube.
