STUDIO TIME: Glenn Adamson
Little did I know, growing up, that I was living through a period of decline. Born in 1972, I was too young to experience the height of the subcultural craft movement, in which hippie idealism on the one hand and crass commercialism were inexorably intertwining. Suffice to say that the popular enthusiasm that craft had enjoyed in the 1960s and ‘70s did not survive the harsher climate of the 80s, and by the time that I began working in the field of craft history and theory came round, my subject was distinctly unpopular.
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