Danielle Carla Hogan (Canada).

Craft cultures and the creative histories of women.

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Danielle Carla Hogan is a maker, and the Lewis Fellowship PhD candidate in practice-led research at the University of New Brunswick in Atlantic Canada. She is the founding (‘midwife’) director of The Gynocratic Art Gallery, or The GAG, a non profit online gallery which exhibits artists internationally. She earned a diploma in fine craft from the New Brunswick College of Craft and Design (’95), her BFA from Emily Carr University in Vancouver (’00), and her MFA from the University of Victoria (’03), Canada.

Danielle is interested in craft cultures and the creative histories of women (those past & present) locally, nationally and internationally. While at JIWAR, she will be researching the local history of feminist art making in the area Gràcia, and the various ways in which those histories relates to the development of community and celebration – or “making special” (Ellen
Dissanayake term) – in Barcelona. During the second week of her residency she will create an installation of bunting made from materials gathered from in and around the neighbourhood of Gràcia. This installation will be on the residency property and is intended to coincide with the neighbourhood’s larger preparations for Festa Major de Gràcia celebrations.

From Hogan’s broader interdisciplinary-research dissertation. Craft has a problem with genderism. ‘Craft’ has been feminized; it is understood as a soft skill.
 As a soft skill, its value is difficult to quantify. The term ‘soft skill’ is understood to be ‘associated with a person “EQ”; (emotional intelligence quotient), which is the cluster of personality traits that characterize one’s relationships with other people. Soft skills contrast with hard skills, which are generally easily quantifiable and measurable (such as software knowledge or basic plumbing skills)’ii. Crafts are -like soft skills- often associated with ‘communication abilities’ (quilting, knitting, the creation of decorations for community, are events which regularly bring people together in group settings to share their ideas), personal habits, and emotional empathy (hand-sewn or knit objects are common gifts given to express caring and love).

The context of this particular aspect of craft’s problem, which Hogan aims to address in her work, is best challenged from within the interdisciplinary folds of visual arts, cultural theory, gender studies, linguistics, and community/art history.

Danielle Hogan is in Jiwar thanks to the support of:

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