An acclaimed cultural historian takes readers on an intellectual thrill ride through the kaleidoscopic story of futurology, a surprisingly powerful force in the modern world.

For millennia, predicting the future was the province of priests and prophets, the realm of astrologers and seers. Then, in the twentieth century, futurologists emerged, claiming that data and design could make planning into a rational certainty. Over time, many of these technologists and trend forecasters amassed power as public intellectuals, even as their predictions proved less than reliable. Now, amid political and ecological crises of our own making, we drown in a cacophony of potential futures-including, possibly, no future at all.

A Century of Tomorrows offers an illuminating account of how the world was transformed by the science (or is it?) of futurecasting. Beneath the chaos of competing tomorrows, Adamson reveals a hidden order: six key themes that have structured visions of what's next. Helping him to tell this story are remarkable characters, including self-proclaimed futurologists such as Buckminster Fuller and Stewart Brand, as well as an eclectic array of other visionaries who have influenced our thinking about the world ahead: Octavia Butler and Ursula LeGuin, Shulamith Firestone and Sun Ra, Marcus Garvey and Timothy Leary, and more.

Arriving at a moment of collective anxiety and fragile hope, Adamson's extraordinary book shows how our projections for the future are, always and ultimately, debates about the present. For tomorrow is contained within the only thing we can ever truly know: today.

An expansive look at the multifaceted American artist Toshiko Takaezu within the history of postwar artmaking

Toshiko Takaezu (1922-2011) was an American artist whose multidisciplinary work in ceramics, painting, sculpture, weaving, and installation innovatively drew from the natural world, combining expressionist energies with influences from East Asia. The closed ceramic forms for which she is best known are effectively abstract paintings in the round. Her reputation as a ceramic artist, however, has obscured the breadth of her output in other mediums and her role within the larger art movements of the twentieth century. This book provides the first retrospective assessment of Takaezu's art and life, representing her diverse oeuvre, which spanned six decades, and her hybrid identity as an Asian American woman, artist, and teacher.

This ambitious volume features essays exploring Takaezu's biography, her background as a Hawai'i-born artist of Okinawan heritage, the relationship between her abstract work and that of her contemporaries, the role of cultural exchange in her art, her impact as an educator, and more. Beautifully illustrated with nearly 300 images of artworks and archival photographs, and including an updated chronology, exhibition history, and recollections from the artist's former apprentices, the book offers a compelling and comprehensive account of this singular artist's career.

Published in association with The Isamu Noguchi Foundation and Garden Museum

Exhibition Schedule:

The Isamu Noguchi Foundation and Garden Museum, New York
(March 20-July 28, 2024)

Cranbrook Art Museum, Bloomfield Hills, MI
(September 11, 2024-January 12, 2025)

Museum of Fine Arts, Houston
(March 2-May 18, 2025)

Chazen Museum of Art
(September 8-December 23, 2025)

Honolulu Museum of Art
(February 13-July 26, 2026)

The definitive volume on the late Gaetano Pesce's incomparable life and career, as told in the artist-designer's own words

In a category all his own, Gaetano Pesce (1939-2024) was widely considered one of the most important, and elusive, creative figures of the last half century. Bridging numerous key art and design movements, while never belonging to any of them, Pesce's singular practice was steadfastly provocative, defying convention, utility, and good taste.

Glenn Adamson, the acclaimed curator and writer, conducted the wide-ranging interview with Pesce on which this book is based, drawing out new stories and insights, as well as providing an introduction that thoroughly contextualizes Pesce's unique position in contemporary art and design. As postmodern design has become increasingly desirable, interest in Pesce has grown with renewed exhibition activity and critical attention, and his work has become even more valuable and collectible.

In this long overdue summary co-published with Salon 94, Pesce looks back at his incomparable and wildly inventive career, recounting his life and practice in his own words.

Co-published in Association with the Victoria and Albert Museum, London

This book is a timely and engaging introduction to the way that artists working in all media think about craft. Workmanship is key to today's visual arts, when high 'production values' are becoming increasingly commonplace. Yet craft's centrality to contemporary art has received little serious attention from critics and historians.

Dispensing with clich d arguments that craft is art, Adamson persuasively makes a case for defining craft in a more nuanced fashion. The interesting thing about craft, he argues, is that it is perceived to be 'inferior' to art. The book consists of an overview of various aspects of this second-class identity - supplementarity, sensuality, skill, the pastoral, and the amateur. It also provides historical case studies analysing craft's role in a variety of disciplines, including architecture, design, contemporary art, and the crafts themselves. Thinking Through Craft will be essential reading for anyone interested in craft or the broader visual arts.

• The first comprehensive monograph on American jewelry artist William Harper
• Uncover the artist's various sources of inspiration - from medieval art to African sculptures and modernist dance
• Includes a full biography and various essays that provide an intimate look into Harper's life and work

Over the course of six decades, the American artist William Harper (b. 1944) has conjured a body of work unique in the realm of jewelry. Masterfully crafted in enamel and gold, his pieces explore multiple realms - from ancient mythology to personal iconography - and draw on influences such as African sculpture, medieval art, and modernist dance. Harper has nonetheless created an oeuvre that is instantly recognizable, branching into formats including paintings, ornamented casks, artist's books, and more. Bizarre Beauty, the definitive study of Harper and his work, includes a full biography by co-editor Glenn Adamson, as well as thematic essays and primary texts. A visual feast, the book provides an intimate look at this brilliantly imaginative artist.

A close look at the creative production of the United States Shaker communities and their influence on designers and artists past and present

Established in the 18th century, the Shakers were a free church that embraced principles of social equality, communal property and pacifism, viewing labor and design as expressions of their faith. The Shakers' radically simple, functional objects have had a profound influence on modern design, inspiring generations of artists, architects and designers up to the present day. The Shakers: A World in the Making accompanies the eponymous exhibition--designed by Milan-based studio Formafantasma--which will showcase a wide range of Shaker furniture, architecture, tools and commercial goods. Works by contemporary artists and designers, including Chris Halstr m, Christien Meindertsma and Kameelah Janan Rasheed, enter into dialogue with the historic exhibits, reflecting on the Shakers' enduring relevance. The publication includes a rich array of thematic essays contextualizing the Shakers within the wider design, architecture and art canon, detailed studies of selected exhibits as well as personal contributions by the contributing artist. Contemporary object and architectural photography offers a fresh perspective on one of the most compelling communal experiments of recent centuries.
The exhibition is organized by the Vitra Design Museum, the Milwaukee Art Museum and the Institute of Contemporary Art Philadelphia.

A groundbreaking and endlessly surprising history of how artisans created America, from the nation's origins to the present day.

At the center of the United States' economic and social development, according to conventional wisdom, are industry and technology-while craftspeople and handmade objects are relegated to a bygone past. Renowned historian Glenn Adamson turns that narrative on its head in this innovative account, revealing makers' central role in shaping America's identity. Examine any phase of the nation's struggle to define itself, and artisans are there-from the silversmith Paul Revere and the revolutionary carpenters and blacksmiths who hurled tea into Boston Harbor, to today's maker movement. From Mother Jones to Rosie the Riveter. From Betsy Ross to Rosa Parks. From suffrage banners to the AIDS Quilt.

Adamson shows that craft has long been implicated in debates around equality, education, and class. Artisanship has often been a site of resistance for oppressed people, such as enslaved African-Americans whose skilled labor might confer hard-won agency under bondage, or the Native American makers who adapted traditional arts into statements of modernity. Theirs are among the array of memorable portraits of Americans both celebrated and unfamiliar in this richly peopled book. As Adamson argues, these artisans' stories speak to our collective striving toward a more perfect union. From the beginning, America had to be-and still remains to be-crafted.

The first publication documenting the work of Brooks Stevens, one of America's most influential twentieth-century designers.

Industrial Strength Design: How Brooks Stevens Shaped Your World is a long overdue introduction to the work of visionary industrial designer Brooks Stevens (1911-1995). Believing that an industrial designer should be a businessman, an engineer, and a stylist, in that order, Stevens created thousands of ingenious and beautiful designs for industrial and household products--including a clothes dryer with a window in the front, a wide-mouthed peanut butter jar, and the Oscar Mayer Wienermobile. (There's nothing more aerodynamic than a wiener, he explained.) He invented a precursor to the SUV by turning a Jeep into a station wagon after World War II, and streamlined steam irons so that they resembled aircraft. It was Brooks Stevens who, in 1954, coined the phrase planned obsolescence, defining it as instilling in the buyer the desire to own something a little newer, a little better, a little sooner than is necessary. This concept has since been blamed for everything from toasters that stop working to today's throwaway culture, but Stevens was simply recognizing the intentionally ephemeral nature of a designer's work. Asked once to name his favorite design, he replied, none, because every one would have to be restudied for the tastes of tomorrow.

This book, which accompanied an exhibit at the Milwaukee Art Museum (the repository for Stevens's papers), includes 250 illustrations of designs by Stevens and his firm, many in color. Glenn Adamson, exhibition curator, contributes detailed studies of individual designs. John Heskett, Kristina Wilson, and Jody Clowes contribute interpretive essays. Also included are a description of the Brooks Stevens Archive and several key writings by Brooks Stevens.

Peter Voulkos: The Breakthrough Years is the first monograph in over 20 years on the artist Peter Voulkos. Covering the most prolific span of Voulkos' career, from the early 1950s to the 1970s, this book includes both his well-known ceramic works as well as his largely overlooked paintings.

While Voulkos' work has most often been discussed in relation to the practice of ceramics, the writers in this book explore the artist's work through the scope of art history and in a contemporary light. In addition to engaging with the breakthrough years of Voulkos' practice, a focus is also put on his legacy today, as numerous artists explore the expressive language of clay that he helped to re-invent.

The book includes texts from writers Andrew Perchuk, Deputy Director at The Getty Research Institute; and Jenni Sorkin, Assistant Professor in Contemporary Art at UC Santa Barbara.

Published in collaboration with the Museum of Arts and Design, New York.

New York Times Book Review Editors' Choice

A groundbreaking and endlessly surprising history of how artisans created America, from the nation's origins to the present day.

At the center of the United States' economic and social development, according to conventional wisdom, are industry and technology-while craftspeople and handmade objects are relegated to a bygone past. Renowned historian Glenn Adamson turns that narrative on its head in this innovative account, revealing makers' central role in shaping America's identity. Examine any phase of the nation's struggle to define itself, and artisans are there-from the silversmith Paul Revere and the revolutionary carpenters and blacksmiths who hurled tea into Boston Harbor, to today's maker movement. From Mother Jones to Rosie the Riveter. From Betsy Ross to Rosa Parks. From suffrage banners to the AIDS Quilt.

Adamson shows that craft has long been implicated in debates around equality, education, and class. Artisanship has often been a site of resistance for oppressed people, such as enslaved African-Americans whose skilled labor might confer hard-won agency under bondage, or the Native American makers who adapted traditional arts into statements of modernity. Theirs are among the array of memorable portraits of Americans both celebrated and unfamiliar in this richly peopled book. As Adamson argues, these artisans' stories speak to our collective striving toward a more perfect union. From the beginning, America had to be-and still remains to be-crafted.

The most comprehensive monograph available on the greatest living glassblower, Lino Tagliapietra

Lino Tagliapietra has been described as the world's greatest glassblower, a figure born from the five-hundred-year-old culture of Venetian glass, but one who also revolutionized glass as a discipline, inventing new techniques to create his masterful works. Even more astonishing, as Tagliapietra hit his full stride, he has become a notable figure in the unfolding story of modern sculpture - an artist whose distinctive works are coveted by collectors of contemporary abstract art and whose vision makes us think about art history in new and profound ways.

This is the most comprehensive monograph available on his work and features insightful texts by Glenn Adamson and Henry Adams, as well as hundreds of new photographs, which showcase the impressive breadth and depth of Taglipietra's repertoire.

The world's most important contemporary designers showcase their work within the historic setting of Chatsworth House to shine light and spark conversation on the intriguing juxtaposition of the old and the new, the past and the future, and the evolution of design histories and practices.

Chatsworth is an extraordinary environment to experience design: a repository for great works of fine and decorative art commissioned by generations of the Cavendish family for over four centuries. Expanding on the eponymous 2023 exhibition at Chatsworth, Mirror Mirror features the works of sixteen contemporary artists through captivating in-situ photography with accompanying artist biographies and essays that unearth how historic artifacts and environments inform and inspire modern artists' practices today. This diverse group of artists includes Michael Anastassiades, Ini Archibong, Wendell Castle, Andile Dyalvane, Ndidi Ekubia, Najla El Zein, Formafantasma, Joris Laarman, Max Lamb, Fernando Laposse, Jae Sae Jung Oh, Samuel Ross, Chris Schanck, Ettore Sottsass, Faye Toogood, and Joseph Walsh. From lithe, LED lighting structures illuminating the halls of the Chatsworth library to a seating sculpture hand-carved in Iranian travertine in the grand estate's formal Rose Garden, these modern works create unexpected and timeless connections with the house's architecture, interiors, furniture, and ceramics.

From the former director of the Museum of Arts and Design in New York, a timely and passionate case for the role of the well-designed object in the digital age.

Curator and scholar Glenn Adamson opens Fewer, Better Things by contrasting his beloved childhood teddy bear to the smartphones and digital tablets children have today. He laments that many children and adults are losing touch with the material objects that have nurtured human development for thousands of years. The objects are still here, but we seem to care less and know less about them.

In his presentations to groups, he often asks an audience member what he or she knows about the chair the person is sitting in. Few people know much more than whether it's made of wood, plastic, or metal. If we know little about how things are made, it's hard to remain connected to the world around us.

Fewer, Better Things explores the history of craft in its many forms, explaining how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items. Whether describing the implements used in a traditional Japanese tea ceremony, the use of woodworking tools, or the use of new fabrication technologies, Adamson writes expertly and lovingly about the aesthetics of objects, and the care and attention that goes into producing them. Reading this wise and elegant book is a truly transformative experience.

Today, artists are able to create using multiple methods of production--from painting to digital technologies to crowdsourcing--some of which would have been unheard of just a few decades ago. Yet, even as our means of making art become more extraordinary and diverse, they are almost never addressed in their specificity. While critics and viewers tend to focus on the finished products we see in museums and galleries, authors Glenn Adamson and Julia Bryan-Wilson argue that the materials and processes behind the scenes used to make artworks are also vital to current considerations of authorship and to understanding the economic and social contexts from which art emerges.

This wide-ranging exploration of different methods and media in art since the 1950s includes nine chapters that focus on individual processes of making: Painting, Woodworking, Building, Performing, Tooling Up, Cashing In, Fabricating, Digitizing, and Crowdsourcing. Detailed examples are interwoven with the discussion, including visuals that reveal the intricacies of techniques and materials. Artists featured include Ai Weiwei, Alice Aycock, Isa Genzken, Los Carpinteros, Paul Pfeiffer, Doris Salcedo, Santiago Sierra, and Rachel Whiteread.

From the canonical texts of the Arts and Crafts Movement to the radical thinking of today's DIY movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from renowned practitioners, from feminist histories of textiles to descriptions of the innovation born of necessity in Soviet factories and African auto-repair shops...The Craft Reader presents the first comprehensive anthology of writings on modern craft.

Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth -- from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context.

Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design.

AUTHORS INCLUDE:
Theodor Adorno, Anni Albers, Amadou Hâmpaté Bâ, Charles Babbage, Roland Barthes, Andrea Branzi, Alison Britton, Rafael Cardoso, Johanna Drucker, Charles Eames, Salvatore Ferragamo, Kenneth Frampton, Alfred Gell, Walter Gropius, Tanya Harrod, Martin Heidegger, Patrick Heron, Bernard Leach, Esther Leslie, W. R. Lethaby, Lucy Lippard, Adolf Loos, Karl Marx, William Morris, Robert Morris, László Moholy-Nagy, Stefan Muthesius, George Nakashima, Octavio Paz, Grayson Perry, M. C. Richards, John Ruskin, Raphael Samuel, Ellen Gates Starr, Debbie Stoller, Alexis de Tocqueville, Lee Ufan, Frank Lloyd Wright

Founded in Portland, Oregon, in 1937, the Museum is one of the oldest organizations dedicated to craft in the United States. This book presents a selection of works from the collection of the Museum of Contemporary Craft. The first publication to document the Museum's collection and its connections to dramatic changes in artistic practice over the past 70 years, Unpacking the Collection introduces this vital regional center for craft through photographs of work, essays, texts, archival photographs, decade-by-decade accounts of the institution's links to modern craft history and an abbreviated exhibition chronology. The book also reveals connections between the collection and the Museum's exhibition history, links between craft and visual culture, and the importance of recognizing regional specificity and identity in the age of globalization.

Objects: USA 2020 hails a new generation of artist-craftspeople by revisiting a groundbreaking event that redefined American art. In 1969, an exhibition opened at the Smithsonian Institution that redefined American art

Objects: USA 2020 united a cohort of artists inventing new approaches to art-making by way of craft media. Subsequently touring to twenty-two museums across the country, where it was viewed by over half a million Americans, and then to eleven cities in Europe, the exhibition canonized such artists as Anni Albers, Sheila Hicks, Wharton Esherick, Wendell Castle, and George Nakashima, and introduced others who would go on to achieve widespread art-world acclaim, including Dale Chihuly, Michele Oka Doner, J. B. Blunk, and Ron Nagle.

Objects: USA 2020 revisits this revolutionary exhibition and its accompanying catalog - which has become a bible of sorts to curators, gallerists, dealers, craftspeople, and artists - by pairing fifty participants from the original exhibition with fifty contemporary artists representing the next generation of practitioners to use - and upend - the traditional methods and materials of craft to create new forms of art.

Published to coincide with an exhibition of the same title at the renowned gallery R & Company, and featuring essays by some of the foremost authorities on craft at the intersection of art, including Glenn Adamson, curator and former director of the Museum of Arts & Design; James Zemaitis, curator and former head of twentieth-century design at Sotheby's; and Lena Vigna, curator of exhibitions at the Racine Art Musuem; an interview with Paul J. Smith, the cocurator of

Objects: USA 2020 is an essential art historical reference that traces how craft was elevated to the status of museum-quality art, and sets its trajectory forward.

• The Grotta House was designed by star architect Richard Meier
• Excellent private collection of ceramics, jewelry, wood and fiber
• An ambitious project fusing art and architecture

A 'vessel for living' - such were the words Glenn Adamson used to describe this remarkable residence. Richard Meier designed the Grotta home to house Sandra and Louis Grotta's collection of contemporary studio jewelry and significant works in wood, ceramic and fibre. The building was conceived around the collection, framing the objects within the open architecture, which comprises an equal blend of glass and concrete. Nature, visible from many vantage points, plays an essential supporting role. The Grotta Home by Richard Meier: A Marriage of Architecture and Craft is rich in photographs of the collection and provides impressive insights into this exceptionally personal project. The accompanying essays afford the reader a greater sense of how the Grottas have not simply acquired art, but have immersed themselves in it.

Explore one of America's most creative cities in a new way with the trailblazer for city-based studies of contemporary craft. For craft and history enthusiasts alike, this collection of essays from writers and curators connects Philadelphia's heritage to its current stature as a national craft capital. We discover how small workshops for fabric, wool, ceramics, and textile starting as early as 1751 grew into the still expanding craft world that Philadelphia has today. A useful example: the Liberty Bell cracked on the very first attempt to make it sound, and had to be recast twice and remolded with additional copper to improve its alloy. Today, it remains an unbeatable icon of Philadelphia craft. Contributions by Elisabeth Agro, Sarah Archer, Chad Curtis, Anthony Elms, Elizabeth Essner, Michelle Millar Fisher, Jessica Kourkounis, Don Miller, Jennifer-Navva Milliken, Heather Gibson Moqtaderi, Kelli Morgan, and Jennifer Zwilling.

Glenn Adamson's last book, Thinking Through Craft, offered an influential account of craft's position within modern and contemporary art. Now, in his engaging sequel, The Invention of Craft, his theoretical discussion of skilled work is extended back in time and across numerous disciplines.

Adamson searches out the origins of modern craft, locating its emergence in the period of the industrial revolution. He demonstrates how craft was invented as industry's other, a necessary counterpart to ideas of progress and upheaval. In the process, the magical and secretive culture of artisans was gradually dominated through division and explication. This left craft with an oppositional stance, a traditional or anti-modern position.

The Invention of Craft ranges widely across media, from lock-making, wood-carving and iron-casting to fashion, architecture and design. It also moves back and forth between periods, from the 18th century to the present day, demonstrating how contemporary practice can be informed through the study of modern craft in its moment of invention.