Unto This Last

20 May 2010 – 25 Jul 2010

Raven Row

London, United Kingdom


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  • Liverpool Street

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With work by Thomas Bayrle, Sarah Browne, Andrea Buettner, Alice Channer, Isabelle Cornaro, Dewar and Gicquel, Pernille Kapper Williams and Bela Kolarova


'Unto This Last' takes its cue from John Ruskin's eponymous book to consider the complicated relationships between contemporary art and craft.

Written as a polemical manifesto against the prevailing economic theories of the mid-19th century, Unto This Last summons a series of moral arguments to denounce what its author perceived as the devastating social consequences of capitalism, echoing the nationwide upheaval of textile workers in reaction to the introduction of new industrial machinery at the turn of the century.

Ruskin's writings on economy and art inspired the Arts and Crafts movement, which advocated the primacy of handcraft and opposed the division of labour that lay at the heart of the capitalist model. A few decades onwards the very notion of craft would be widely seen as adverse to the imperatives of modernity and its definition of art, a misconception which has to some extent subsisted to this day.

The exhibition suggests that a number of contemporary artists simultaneously abide by the codes of conceptual practice - autonomy, dematerialisation, abstraction and lack of skills, among others - and to various degrees avail themselves of the critical potential of craft. By introducing presumably anti-conceptual notions such as artisanship, skill, or emotion, craft effectively provides them with an opportunity to take an unconventional and enlightening look at a variety of personal and collective concerns of contemporary society.

An essay by Glenn Adamson, author of Thinking Through Craft and Head of Graduate Studies at the Victoria and Albert Museum will accompany the exhibition, which has been curated by Alice Motard in collaboration with Alex Sainsbury.

"Under the term 'skill' I mean to include the united force of experience, intellect, and passion, in their operation on manual labour: and under the term 'passion' to include the entire range and agency of the moral feelings; from the simple patience and gentleness of mind [...] up to the qualities of character which renders science possible [...] and to the incommunicable emotion and imagination which are the first and mightiest sources of all value in art."
' John Ruskin, Unto This Last, 1860


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