Elaine Cheasley Paterson is Associate Professor of Craft History at Concordia University, Montreal, Canada.
Susan Surette is a Postdoctoral Fellow in the Department of Art History and Critical Studies at Nova Scotia College of Art and Design University, Halifax, Canada and a professional artist.

Foreword: Anne Wilson, School of the Art Institute of Chicago, USA
Introduction: Elaine C. Paterson and Susan Surette, Concordia University, Canada
Section One - Explorations of Postdisciplinarity through 'Sloppy Craft'
Introduction
'Male Trouble': Sewing, Amateurism and Gender, Joseph McBrinn, University of Ulster, Ireland
Sloppy Craft as Temporal Drag, Elissa Auther and Elyse Speaks, University of Colorado, USA
An Impression of Déjà vu: Craft, the Visual Arts and the Need to get Sloppy, Denis Longchamps, Concordia University, Canada
Section Two - The Implications of 'Sloppy Craft'
Introduction
Doomed to Failure, Sandra Alfoldy, NSCAD University, USA
The Value of 'Sloppy Craft': Creativity and Community, Juliette MacDonald, Edinburgh College of Art, UK
Why is Sloppy and Postdisciplinary Craft Significant and What are its Historical Precedents?, Gloria Hickey, curator and writer, USA
From Maria Martinez to Kent Monkman: Performing Sloppy Craft in Native America, Elizabeth Kalbfleisch, Concordia University, Canada
Section Three - 'Sloppy Craft' in Practice and Pedagogy: A Conversation
Introduction
Eliza Au, Ceramist, Emily Carr University of Art and Design, British Columbia, Canada
Jean-Pierre Larocque, Ceramist, Concordia University, Montreal, Canada
Kelly Thompson, Fibres, Concordia University, Montreal, Canada
Conor Wilson, Ceramist, Royal College of Art, London, UK
Peter Wilson, Ceramist, Charles Sturt University in Bathurst, Australia
Postscript - Reprint of Glenn Adamson's text 'When Craft gets Sloppy,' from Crafts No 211 (March/April, 2008), 36-40
Index

Sloppy Craft: Postdisciplinarity and the Crafts brings together leading international artists and critics to explore the possibilities and limitations of the idea of 'sloppy craft' - craft that is messy or unfinished looking in its execution or appearance, or both. The contributors address 'sloppiness' in contemporary art and craft practices including painting, weaving, sewing and ceramics, consider the importance of traditional concepts of skill, and the implications of sloppiness for a new 21st century emphasis on inter- and postdisciplinarity, as well as for activist, performance, queer and Aboriginal practices.
In addition to critical essays, the book includes a 'conversation' section in which contemporary artists and practitioners discuss challenges and opportunities of 'sloppy craft' in their practice and teaching, and an afterword by Glenn Adamson.