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The article presents updates concerning the American Craft Council (ACC) in Minneapolis, Minnesota. Topics include the success of ACC's first American Craft fest held at Union Depot in Saint Paul, Minnesota in June 2024, how ACC Fellow Karen Hampton became involved with the organization, and a schedule of ACC public events in 2024 and 2025.

The author describes her studio space at an apartment in Brooklyn, New York City and her practice of backstrap weaving. Topics include the origin of the ancient art of backstrap weaving and the complex operations involved in the practice, the advantage of her studio's dual role as both a workplace and a gallery, and the significant role of ceramics in her mixed-media creations alongside weaving.

This section features handcrafted glassware designed by various artists which include a wine decanter and lowball glasses from Jarrod Futscher, the River Rock lowball glasses from Danté Germain, and the Sphere Wine Glasses from Nate Cotterman.

This section offers information on the local arts and crafts scene in the cities of Minneapolis and Saint Paul in Minnesota. Topics explored include the support being allotted by the American Craft Council (ACC) to craft artists, the availability of various artists' spaces such as the Art Shanty Projects, Barebones Puppet Theater, and Hmong Cultural Center, and the Making It Public workshops being hosted by public art organization Forecast.

The article discusses the local craft scene and the artists that contribute to the arts and crafts trade in the cities of Minneapolis and Saint Paul in Minnesota. Topics explored include the hosting of the American Craft Fest by the American Craft Council (ACC), the budget being allotted for the arts by the Minnesota Arts and Cultural Heritage Fund acknowledged by visual artist Dyani White Hawk, and the works of artists Fred Kaemmer, Dom Venzant, and Marvin Freitas.

The article reviews several craft exhibitions, including "Take a Seat: Understanding the Modern Chair" at the Philadelphia Museum of Art in Pennsylvania from May 25-October 20, 2024 and "Bracelets, Bangles & Cuffs: 1948-2024" at the Metal Museum in Memphis, Tennessee from June 9-November 17, 2024.

The artist author shares her reflections about making craft which she considers as a voyage bounded by ritual and memory. Topics discussed include people's tendency to seek craft to heal, relate and communicate, the creation of craft as a living resource, and the view that the collective essence of human existence within their creative action is a ritual practice and a record of resiliency.

The article describes the handicraft scene in New Orleans, Louisiana according to several local artists. The city's deep traditions are said to have inspired artists to both create traditional craft with more experimental and interpretative expressions. According to designer Matthew Holdren, attending parties and festivals around Mardi Gras is a great way to experience the craft and art scene as everyone creates one-of-a-kind costumes.

The article shares five craft objects that spark memories and emotions according to the staff of the American Craft Council (ACC). These include Tamara Murphy's incandescent Plasma Lamp No.1, the interior and exterior views of Larissa Huff's Hurricane Cabinet, and untitled necklace by Wenjing Yang of A Nod to Design displayed at the ACC Baltimore, Oregon show.

The article features two complex works crafted by two artists from the vestiges of their migrant experience, such as Vivian Chiu's Tianqiuping Vase in Virginia, and a swimsuit top and a shirt collar weaved by Cassandra Mayela of New York City.

The article features several woven brooms crafted by artists such as Cynthia Main of Sunhouse Craft, husband-and-wife team Marlow and Diana Gates of North Carolina-based Friendswood Brooms, and Jamie Lea Bertsch of Port Washington, Wisconsin-based SWEVEN.

The article discusses the creation of various outdoor gear by several craft artists. Topics explored include the collaboration of Adam Lane-Olsen with Peter Limmer of Limmer Boots in designing leather boots, the distinct design of the backcountry packs being handsewn by Eric Hardee for Rivendell Mountain Works, and the use of various wood species by Rollin Thurlow for the wooden canoes being offered by his firm Northwoods Canoe Company.

A personal narrative is presented which explores the authors experience of Instagram and other digital media increasingly bringing faraway craftworks.

This section features the craft works of various artists. Topics discussed include the way Shari Mendelson reference ancient art in her works such as her 2023 sculpture "Winged Animal with Headdress," the employment of innovative art techniques by Natasha Khiev in her 2023 daily tapestries collection, and the statement earrings designed by Ashley Buchanan which aim to celebrate women's bodies.

The article announces the 2022 Lois Moran Award for Craft Writing winners including Anya Montiel, Shannon Stratton and Sebastian Grant from the American Craft Council and the periodical.

The article discusses craft works of women artisan Mattie Hinkley. Topics include Hinkley's sculptural rug Wedge, glazed ceramic Sex Pots and the traditional-looking domestic object and sculptural everyday art objects; MFA in studio arts at Maine College of Art & Design; Hinkley's MFA thesis work on benches-pieces of furniture that bring people together; and the MFA project where Hinkley hopes to build the benches in the gallery space.

Reviews are offered for hotels in the U.S. that provide a tangible connection to craft and place including the Heywood which has a seven-room hotel inside a 1925 Craftsman bungalow; the Tides Inn which has candle-making, crocheting and others; and the Alma hotel which has clay mugs and others.

The article discusses the resurgence of the craft auction market in the U.S. Topics explored include the sale of the 1987 glazed stoneware vessel "Popeye/Star Lite Drive in Vase," by artists Magalena and Michael Frimkess at a July 2022 Bonhams auction, the interest of buyers in American craft by artists such as George Nakashima and Wendell Castle, and the factors being considered in the valuation of crafts.

Separate interviews with artists like Jeannine Marchand, Charisse Pearlina Weston, and Janne Peltokangas are presented. They explain their strategies and techniques in making folds in their works like Weston's "i am moored along the soft shored unity of impatient ruin." They cite their reasons why they decided to practice the art of the fold.

The article discusses the trends and the future of craft collecting. Other topics include how craft works move from private collections to public museums, the role of the American Craft Council in the early development of the craft market, how Helen Drutt English opened the first craft gallery in Philadelphia, Pennsylvania in 1973, and the trends like increasing access to craft art and improving market transparency.

The article discusses the history of the American Craft Council's Craft-In program, a back-to-the land gathering which aims to put craftspeople and their families in touch with nature and to stimulate creativity, with the first Craft-In being event held in Colorado in July 1971.

The article offers a preview of handcrafted candleholders including Christopher Kerr-Ayer's glass and cubic zirconia Dripcastle Candelabra, clay candlesticks by Alejandra Rojas and brass candle blocks from Apparatus Studio.

The article features people and organizations that are addressing social issues, the needs of artists and inclusion of diverse artists in the craft marketplace. These include Indigo Arts Alliance founded by Marcia Minter and Daniel Minter, artist and educator Alison Kysia who crafted 99 clay vessels that represent the 99 Beautiful Names of God in Islam, the African American Craft Initiative (ACCI) developed by artist Diana Baird N'Diaye, and the Badass Cross Stitch program by Shannon Downey.

The article showcases a selection of American craft including a necklace by Julie Shaw Designs, metal sculpture by Earth Eagle Force LLC and glass table furniture by Derek Hennigar.

The article traces the history of the American Craft Council (ACC) in connecting artists and craft lovers since 1966. It looks back at the role of the Northeast Craft Fair 8 and other conferences and exhibitions in connecting diverse craft communities and traditions to advanced the impact of craft in modern American life. Also noted is the transition of ACC to online shows, business and conventions as a result of the financial crisis, rise of the Internet and the COVID-19 pandemic.

The article presents the discussion on handicrafts design including visual art media being represented, and traditional crafts such as pottery, jewelry, basketmaking, and weaving making a strong showing.

An essay is presented which the author describes how animism reshapes the way artists' design and make arts and crafts. Topics covered include the revival of animism, how animism translates the connected view of the world into a form of unnovation and the social obligations experienced when engaging with animated bodies. The author also points out the need to revisit the beginning of time and meditate on what the planet's original peoples knew.

The article reports on scholars and curators who are exploring how craft objects are shaped by the forces of history, culture, and society. They include contemporary craft expert Namita Gupta Wiggers, educator Tiffany Momon, glassblower Michael Hatch, and Mellanee Goodman, a graduate of Critical Craft Studies at Warren Wilson College.

The article presents insights from craftspeople about craft and care which can help people cope up with multiple compounding crises and create a culture of care. Atlantan Rachel Garceau describes the important role of the term care in her assemblages and installations using porcelain. Ceramic artist Wayne Perry cites the connection between quality and care. Glass artist Ben Wright claims that craft objects reflect the maker's care back to people.

The article presents personal significance of handcrafted gifts received by four contributors including designer and educator Lucille Tenazas, Edith Garcia, professor at University of California (UC) Berkeley and California College of the Arts, and sculptor Raven Halfmoon. Topics discussed include description of the triad of combs received by Tenazas, and information on a singular porcelain ceramic face shield gifted to Garcia by Portland, Oregon-based atelier owner Josh Hughes.

The article presents 2020 holiday gift guide including jewelry from Ilene Schwartz Jewelry, ceramic mugs from Rebecca Lowery Ceramics, and bag from Mary Pow Designs.

The article looks at how Tiny WPA, nonprofit design studio, maker space, and fabrication workshop, transformed a community in Philadelphia, Pennsylvania by placing radical trust in emerging makers and leaders. Topics discussed include Tiny WPA's founding in 2014 by Alex Gilliam and Renee Schacht, its Building Heroes program, and its commitment to connecting clients' design and fabrication needs with Building Heroes.

The article looks at the role of handicraft in two idealistic societies, the Shakers and the Oneida Community. Topics discussed include spiritual practice and aesthetics in Shaker craft and design, silverware as the Oneida Community's best-known material legacy, and crafts and the emergence of utopian communities.

An interview with curator and writer Glenn Adamson is presented. Topics discussed include his book "Craft: An American History," divided and divisive culture in the U.S., and on how craft has been shared across a wide section of the American population. Also mentioned are the heyday of American craft, the symbolic potency of craft, and past craft movements.

The author reflects on her craft as a shoemaker and the value of bespoke footwear in the modern world. She describes the environment and the various tools that can be found in a shoemaker's workshop, the complexity of making a pair of shoes, and on how the craft can be labor-intensive and can be used and repaired for years.

The article discusses the methods and philosophies of conservation, restoration and visible mending. Topics covered include the many ways to describe the act of repairing something, conservation and restoration in a museum context, and the works of conservator Drew Anderson, and antiquarian horologist Brittany Nicole Cox. It also reports on Japan Society's presentation of the exhibition "Boro Textiles: Sustainable Aesthetics" which featured mended and re-mended quilts and clothing.

In the article, the author discusses the role of craft in his family to analyze its importance to humanity. Also cited are how his family's craft traditions kept them together after experiences of exile, starvation, and massacre during the Armenian genocide in the early 20th century, as well as the artists he met like Richard Pousette-Dart of New York, Nishan Kazazian, and Anita Toutikian.

The article features several craft and culinary communities members like handicraft makers Anna Metcalfe, Jim Hamann, and Carson Terry, as well as the story behind their collections of kitchen and dining utensils. Also cited are how chef Michael Twitty purchased his grinding bowl with mortar heirloom in Ghana, Margaret Carney's wedding china heirloom, and Terry's fork heirlooms.

An interview with food writer Korsha Wilson is presented. She explains why she considers culinary arts as a form of craft. She discusses how she aims to explain the brilliancy of cooks in cooking food in her writings. She cites some of her projects that promote culinary arts and the people behind it, including her podcast "A Hungry Society."

An interview with builder-designer Yvonne Mouser is presented about the inspiration behind her creations. She discusses whether she considers craft and design to be two separate fields, or whether she sees the relationship between them, how handwork inform design, and ideas for her broom and bucket stool projects.

The article features military veteran and basket maker Tenisha Dotstry and her studio Ten Dots Textiles. Also cited are the constant relocation of Dotstry and husband, U.S. Navy officer Thomas Dotstry, the design of Tenisha's baskets made from thin cotton rope, and Tenisha's brief life history including her growing up years in rural southern Maryland.

An interview with appraiser Jason Preston is presented. He explains how he became an appraiser after graduating from college. Preston describes his experience with the television program "Antiques Roadshow." He also discusses the process of appraising handmade jewelry and the most interesting craft appraisal he has ever done.

An introduction is presented in which the editor discusses articles in the issue on topics including sculptural light houses, the story of wool, as well as craft in New Orleans, Louisiana according to several artists who live and work there.

An essay about designing, with photographs by Josef Albers, which was originally published in the 1943 issue of "Craft Horizons" is presented. Topics covered include how artists venture to follow nature in art work, the beauty of the form of an object and dealing with mass production of crafts. It also discusses the craftsman's roles and responsibilities.

The article features ceramic artist Dina Nur Satti of Nur Ceramics. Topics covered include Satti's education and career background, how threads from Nubian traditions abound in her clay designs and her development of the Acacia vessels, named for the trees common in African savannas. It also describes how Satti's incense burners best capture the ethos of her practice.

The article features several emerging American artists who were recognized by the American Craft Council (ACC) with its 2019 Emerging Voices Awards. Among them are Diedrick Brackens, who received the Emerging Artist award, Emerging Scholar awardee Sarah Darro, and short-listed artist Marisa Finos. Also presented are interviews of the artists, in which they talk about such topics as their inspiration, their art process, and the challenges they face in their professions.

The article reviews the exhibitions, "Objects: Redux--How 50 Years Made Craft Contemporary" at Houston Center for Contemporary Art in Texas and "Objects Redux: 50 Years After 'Objects: USA' Defined American Art" at the Racine Art Museum in Wisconsin, both until January 5, 2020.