Our long awaited Spring/Summer 2020 issue is here at last! You can download the digital version (17 MB PDF) by clicking the links below. We’ll keep you updated on whether a print copy will follow, and in the meantime, we hope you enjoy this issue! Let us know what you think, and get in touch by writing to us.
We’re incredibly proud to bring you the first issue of the 2020 year! Despite obstacles along the way, we remain committed to Studio magazine as a critical resource for craft and design in Canada.
This issue focuses on the theme of land, and brings you stories about our relationships to craft, belonging and culture. We hope that you connect with these meaningful insights into the ways that making and thinking are a crucial part of our social, cultural, political, geographical and economic realities.
The pandemic crisis and global anti-racist actions are creating change in ways we could not have anticipated. The stories that we will continue to tell now have a new and urgent importance as they document our histories, analyze our presents and imagine our futures. Studio, with its focus on Canadian craft and design, offers unique perspectives on our relationship with the world around us.
We want to hear from you and encourage cross-country discussion about craft and design today, and what it can be moving forward. Write to the editor, comment on stories, connect with us about what is happening in your community.
We look forward to continuing to tell stories with you.
-Nehal El-Hadi (Editor in Chief) and Janna Hiemstra (Publisher)
A new and on-going series providing a variety of perspectives on how the craft and design community is thinking about, responding and adapting to the current coronavirus pandemic and the ways in which it is reshaping our lives, activities and relationships.
Melanie Egan thinks about how the lack of access to studio and working space because of the coronavirus pandemic affects more than just the production of objects.
Nehal El-Hadi re-evaluates the human-object relationship, rediscovering the ways in which certain handmade items introduce joy at a time when anxiety seems to be the prevailing emotion.
Robyn Wilcox considers online exhibitions. She explores why even the well-executed ones, lack the appeal of a material experience? What is missing from an online exhibition?