Skip to content
Supporting the careers of Canadian craftspeople since 1931.
Supporting careers of Canadian craftspeople since 1931.


Digital Edition of Studio Magazine Vol. 4 No. 2

Original price $5.95 - Original price $5.95
Original price
$5.95 - $5.95
Current price $5.95


Bookbinders online; contemporary interpretations of Venetian glass; craft hot spots in Kootenay, Calgary and Montreal; award winners and craft council activity across the country.

Canada Outside the Box
Maegan Black introduces the 2009 Cheonqju International Craft Biennale.

Craft and Community
A jeweler uses history to build community – Kari Woo brings you to rural Alberta, where Simon Wroot introduces craft to a new generation.

Mentoring Forward
Exchange, inspiration and shared goals – Stephen Hogbin reflects on his first-hand experience as a mentor.

Compatible Creativity
Is artistic creativity straining against aesthetic conventions? Arno Verhoeven examines issues surrounding EU educational shifts.

Unifying Diversity through Craft Education
Are we finally in a position to create a unified field for craft? Sandra Alfoldy raises questions and traces the history of Canadian craft education, through an examination of the objects selected for the largest-ever international Canadian craft exhibition at the Cheongju Biennale in South Korea.

A Pervasive Craft Ethos
Martin Woolley argues for the use of a craft ethos to inspire other disciplines.

Meet passionate craft program administrators, educators and students from across Canada and find out what they think of the current state of Canadian craft education.

Apprenticeship of a Tactile Type
Gay Decker reveals possibilities for creativity and community in mentoring.

Le moment est-il venu pour un programme universitaire en métiers d’art au Quebec?
Louise Lemieux Berube indique qu’apres 20 ans, il est grand temps que nous fassions found sur nos forces pour offrir un programme universitaire.

Are We Ready for University? Calling for Change in Quebec Craft Education.
Louise Lemiuex Berube suggests that, after 20 years, it is high time for us to build on our strengths and offer craft education as a university program.

Exploring repetition, collection and the ordinary – Melanie Egan reviews Ken Nicol’s exhibition A Room Full of Stuff I Made (And Collected).