There is a distinct sense of playfulness and ingenuity in many of the works in the Dubuque Museum of Art’s 2nd Craft Invitational. Hand-in-hand with this goes a penchant for the unexpected. What one thinks an object is made of may not be necessarily true - ceramic resembles metal, metal looks like ceramic, and metal, on closer inspection, is found to be wood. Inspired and imaginative, these delightfully deceptive works take on such diverse forms as glass fruit, walking teapots, sardine spoons, mushroom books, paper kimonos, metal bird nests, and an elegant necklace of seed vials. These are just a few of the fanciful objects that will entice, divert, and amaze your senses.

The 2nd DUMA Craft Invitational maintains its focus on original works that are pushing the boundaries of skill, sophistication, and artistic concept. In 2018 the focus was on the functionality of the object. For 2020, we are focusing on materials - ceramic, glass, wood, paper, and metal. From these basic, familiar materials comes insight and complexity. The artists in this exhibition are transforming raw materials into innovative, meaningful works of art. In the process, they are not only keeping traditional craft techniques alive, they are blazing new technical and creative paths for future craft artists.

This regional survey of contemporary craft, is intended to bring greater recognition to craftspeople at a time when there is continued interest in skill and craftsmanship in the creative arts. The exhibition offers a deeper understanding and experience of craft for visitors. Craft objects are traditionally made for some type of physical use - a vessel, an adornment, a utensil - and often this single distinction is how craft is perceived. In a museum setting, by removing the experience of the physical use of the craft object, and instead emphasizing contemplation of the object, use of materials, perception of forms, and comparison of characteristics, we are providing a critical and theoretical framework not typically associated with craft. We hope by definition and example to turn the tables on the notion that took root in the Renaissance when the “fine arts” were assigned preeminence over items made by the skilled hands of craftspeople.