Enhanced descriptions from Syndetics:

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.

Table of contents provided by Syndetics

• Introduction (p. 1)
• 1 The Artisan Republic (p. 4)
• 2 A Self-Made Nation (p. 40)
• 3 Learn Trades or Die (p. 77)
• 4 A More Perfect Union (p. 114)
• 5 Americana (p. 146)
• 6 Making War (p. 187)
• 7 Declarations of Independence (p. 225)
• 8 Cut and Paste (p. 265)
• 9 Can Craft Save America? (p. 300)
• Acknowledgments (p. 317)
• Notes (p. 319)
• Index (p. 369)

Reviews provided by Syndetics

Library Journal Review

Craft was there from the beginning. The first European settlers in the United States depended on craft skills to keep them alive, fed, and clothed. Adamson (Head of Graduate Studies, Victoria & Albert Museum; The Craft Reader) shows how, during the American Revolution, Paul Revere and Ben Franklin were "professional artisans" who practiced craft for the beautification of daily life. This narrative continues to the modern era, with an exploration of Martha Stewart's crafting empire. Whether traditional skills or modern iterations like 3D printing, crafting has defined identity, politics, and livelihood throughout American history. It has even courted controversy when utilized as a tool for the oppressed or to promote social reform. Adamson seeks to unite the disparate published works on American craft into one comprehensive volume. Starting with the first colonists to the present decade, he profiles people of note, significant movements, and museums that would come to hold craft collections. He also considers how craft has been used to uphold utopian communities, and their values of virtue and control. VERDICT The history of craft is framed as the history of America in a dense compendium. A comprehensive volume perfect for academic use or ambitious novice readers.--Jessica Bushore, Xenia, OH

Publishers Weekly Review

Curator Adamson (Fewer, Better Things) puts artisans and their craftworks at the center of the American story in this erudite and immersive account. Defining craft rather broadly ("whenever a skilled person makes something using their hands, that's craft"), Adamson covers roughly four centuries of history, from the German and Polish craftsmen sent to train unskilled colonists at Jamestown to contemporary "maker spaces" and 3D printers. He highlights the work of female, Black, Indigenous, Latinx, and Asian-American craftspeople, including Gullah basket weaver Lottie Moultrie Swinton and Dave the Potter, a South Carolina slave who etched short verses into the clay vessels he made, and argues that in today's atmosphere of deep polarization, craft can help bridge social divisions by providing common grounds for mutual respect. Adamson also notes links between craftmaking and the "utopian impulse" in America (Shaker furniture, Amish quilts), critiques the "top-down" structure of the Arts and Crafts movement in the U.S., and dissects Martha Stewart's "positioning craft achievement as an ever-receding horizon" to be sought but never attained. With lucid prose and exemplary research, Adamson brings intriguing new details and unusual perspectives to even the most familiar story lines. The result is an elegant, detailed, and functional history worthy of its subject. (Jan.)

CHOICE Review

Though Americans know Betsy Ross and Paul Revere, Adamson, a writer and curator, introduces readers to a host of less-well-known craftspeople, similar to this reviewer's Civil War reenactor neighbors who restore and build period cannon and clothing. Adamson connects iconic events such as the first Thanksgiving, the Boston Tea Party, the building of the atomic bomb, and the AIDS Memorial Quilt to the craftspeople who made them all possible. Craft is the anchor for the American identity, "a great humanizing force for the machine age" (p. 199). Eli Whitney's interchangeable parts and the industrial revolution effectively shifted power from the craftsperson to the machine. Still, the Knights of Labor, the American Federation of Labor, Hull-House, the Highlander Folk School, the Arts and Crafts movement, and hippies and macramé all saw to it that craft continued to shape American society. Indigenous people, slaves, and immigrants, along with Elizabeth Keckley, Henry Ford, Dale Chihuly, the Plimoth Patuxet Museums, Greenfield Village, and Williamsburg are among the people and organizations that represent the rich tapestry of craft. From silversmiths to needleworkers, quilters, stained glass artisans, and hot rod and chopper builders, craft thrives at all levels of society. Summing Up: Recommended. All levels. --Duncan R. Jamieson, Ashland University

Booklist Review

This is a history of America, narrated chronologically from colonization through the present day, told through the lens of craft. In some ways, it's a familiar story of individualism, ingenuity, and labor. Benjamin Franklin, Eli Whitney, and Frederick Douglass all make appearances. But so, too, do less well known figures like Shaker clockmaker Isaac Newton Youngs, Black furniture maker Henry Boyd, and Pueblo potters Maria and Julian Martinez. In long and roving chapters, Adamson (The Invention of Craft, 2013; Fewer, Better Things, 2018) uses their experiences to narrate plainly how America was built, who made it, and the stories the nation tells about itself. Adamson is a curator and some of the book's most lively moments come when he is describing an object--Gullah sweetgrass baskets, a silver punch bowl with inset diamond pattern made to imitate corrugated Puebloan pottery. From enslaved craftspeople inciting rebellion to the ubiquity of the postwar amateur craft craze, from wampum to studio pottery, this is a celebratory history of craft's potential to liberate America from its racism, xenophobia, and sexism.

Kirkus Book Review

A rich chronicle of craft in America from Jamestown to the present day. In his latest book on craft, historian and curator Adamson displays his vast knowledge of crafts, artisans, and political and business figures who have helped or hindered craft's advancement. He notes the evolution from craft-as-survival to its current status as a much smaller--but significant--part of our overall economy. He also sees its potential as a way to begin to reunite a divided country. (The author has a couple of harsh comments for Donald Trump, at one point calling him a "farcical blowhard.") Adamson leads us on a chronological journey through American history, pointing out along the way--sometimes in lush detail--the various craft movements and ideas that were prominent at certain times. The text swarms with interesting anecdotes and names--some well-known (Benjamin Franklin, Henry David Thoreau, Martha Stewart) and others who will be less familiar to most readers: James Pembroke, the first Black man to attend classes at Yale; Candace Wheeler, one of America's first interior designers, who "realized what many of her fellow craft reformers did not: that beauty and practicality did not always go together, and were often in conflict"; and Juliette Gordon Low, founder of the Girl Scouts. Throughout the narrative, the author displays a sensible sensitivity to various cultural, racial, and gender issues that remain with us--from the brutal treatment of Native peoples and African Americans to the denial of equal labor rights (and salaries) to women. Adamson also corrects some myths, noting that there's no real evidence that Betsy Ross sewed the first American flag: "The thing everyone knows about her…turns out to be uncertain at best, and perhaps an invention from whole cloth, put about by over-enthusiastic descendants." The author offers welcome details about such topics as repressive schools for American Indians (e.g., Carlisle Indian School) and Rosie the Riveter. Thoroughly researched and written with passion--and a bit of bite. Copyright (c) Kirkus Reviews, used with permission.

Author notes provided by Syndetics

Glenn Adamson 's books include Fewer, Better Things , The Invention of Craft , and The Craft Reader . His writings have also been published in museum catalogues and in Art in America , Antiques , frieze , and other periodicals. He was previously director of the Museum of Arts and Design, New York, and has held appointments as Senior Scholar at the Yale Center for British Art, and as Head of Research at the Victoria and Albert Museum, London. He lives in the Hudson Valley, New York.