Titlebook: An Anthropology of Making in Santa Clara del Cobre; Presence of Absence Michele Avis Feder-Nadoff Book 2024 The Editor(s) (if applicable) a

Airtight

Person and Place: ,embellished with emotion and morality tales. Visitors would come to sit near him in the forge to listen to his life stories embroidered together with the history of Santa Clara and the development of popular arts and crafts in Mexico. These autobiographical stories form the radial core at the heart

gastritis

The Good Piece: An Aesthetics of Making, beauty. Maestro Jesús defined the good copper piece as one that is “well-made,” not “beautiful.” Sure, firm hammering and even strokes are required to create the “perfect” piece, free of blemishes, solidly formed, balanced, stable, symmetrical, and clearly articulated. This technical system require

vascular

Arboreal

Introvert

Aesthetics of Abduction and Fragmentation,changes, production chains, and other relationships are often purposefully made opaque, invisible. To trace this consumption and abduction of maker’s agency and copper things, several scenarios are presented here occurring between artisans, and between artisans and institutions, designers, collector

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Restoring Aura: Straight from the Heart,h to make space for the seedlings he had planted, giving them room to grow until harvest. Maestro Jesús’ life and work—his agency—is seen unfinished through the continuity provided by a homage exhibition of his work, the baptism of a new grandson and the taking up of his staff by his youngest son. T

expansive

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The Copper Fair,urists, investigators, Catholic priests, each asserting divergent concepts of authenticity, heritage, patrimony, tradition, nationalism, aesthetics, and social rank. These actors all mix to witness, define, interpret, and admire the coppersmiths’ physical “l(fā)abor” re-represented in transformative bal