LEADER 00000cam  2200601 i 4500 
001    ocn878501797 
003    OCoLC 
005    20171107045316.0 
008    140512s2014    maua     b    000 0 eng   
010      2014017714 
019    889665761 
020    9780262027601|q(alk. paper) 
020    0262027607|q(alk. paper) 
024 3  9780262027601 
035    (OCoLC)878501797|z(OCoLC)889665761 
040    DLC|beng|erda|cDLC|dIG#|dYDXCP|dBTCTA|dBDX|dOCLCF|dCDX|dAU
       @|dCLE|dZCU|dDEBSZ|dVP@|dYUS|dOCLCQ|dOCL 
042    pcc 
043    n-us--- 
049    CKEA 
050 00 GV839.6|b.K48 2014 
082 00 797.3/2|223 
092    797.3200 
100 1  Kenvin, Richard. 
245 10 Surf craft :|bdesign and the culture of board riding /
       |cRichard Kenvin ; edited by Christine Knoke ; photographs
       by Ryan Field, Mingei International Museum, San Diego. 
264  1 Boston :|bMIT Press,|c[2014] 
300    192 pages :|bcolor illustrations ;|c29 cm 
336    text|btxt|2rdacontent 
337    unmediated|bn|2rdamedia 
338    volume|bnc|2rdacarrier 
504    Includes bibliographical references. 
520    Surfboards were once made of wood and shaped by hand, 
       objects of both cultural and recreational significance. 
       Today most surfboards are mass-produced with fiberglass 
       and a stew of petrochemicals, moving or floating 
       billboards for athletes and their brands, emphasizing the 
       commercial rather than the cultural. Surf Craft maps this 
       evolution, examining surfboard design and craft with 150 
       color images and an insightful text. From the ancient 
       Hawaiian alaia, the traditional board of the common people,
       to the unadorned boards designed with mathematical 
       precision but built by hand by Bob Simmons, to the store-
       bought longboards popularized by the 1959 surf-
       exploitation movie Gidget, board design reflects both 
       aesthetics and history. The decline of traditional alaia 
       board riding is not only an example of a lost art but also
       a metaphor for the disintegration of traditional culture 
       after the Republic of Hawaii was overthrown and annexed in
       the 1890s. In his text, Richard Kenvin looks at the craft 
       and design of surfboards from a historical and cultural 
       perspective. He views board design as an exemplary model 
       of mingei, or art of the people, and the craft philosophy 
       of Soetsu Yanagi. Yanagi believed that a design's true 
       beauty and purpose are revealed when it is put to its 
       intended use. In its purest form, the craft of board 
       building, along with the act of surfing itself, 
       exemplifies Mingei. 
650  0 Surfboards|zUnited States|xDesign and construction
       |xHistory. 
650  0 Surfing|zUnited States. 
650  0 Surfing|xSocial aspects|zUnited States. 
650  0 Subculture. 
650  7 Subculture.|2fast|0(OCoLC)fst01136426 
650  7 Surfboards|xDesign and construction.|2fast
       |0(OCoLC)fst01139317 
650  7 Surfing.|2fast|0(OCoLC)fst01139321 
650  7 Surfing|xSocial aspects.|2fast|0(OCoLC)fst01139327 
651  7 United States.|2fast|0(OCoLC)fst01204155 
655  7 History.|2fast|0(OCoLC)fst01411628 
994    92|bCKE