by Nicole Schouela The “is it art or craft” dialogue that seems to engage artists and craftspeople alike with predictable regularity is a question that can indeed be answered when considered within the context of contemporary art practice. It is clear that art and craft are “in relationship” for the long-term and that the two parties involved share each other’s characteristics as well as possessing qualities unique to themselves. Surely we can recognize that a successfully crafted object ‘embodies many of the formal qualities- form, composition, relationship to the viewer- that every art work considers. In fact, the artist and the craftsperson utilize the same tools and artistic conventions in the making of art pieces. Yet, I believe that there is a difference between art and craft that lies not in the making of the piece but in the intention of the artist. At one end of the by Derek Brunen Perhaps the differences between art and craft are less a question of ‘what’ we are working with and more a question of ‘how’ we are working. What may be problematic is the fact that we refer to art and craft as disciplines or ‘separate’ and prescribed modes of working. There are infinite overlaps that occur throughout the disciplines and ‘perhaps this is where we should look in describing differences and resolving inequities. In any discussions approaching the distinctions between art and craft, it is necessary to include an investigation into the implications of these roles. By reattaching the disciplines of art and craft to their strategies, or how they work, we may better understand the relationships between art and craft. When speaking of contemporary art, or the ‘avant-garde’, one must recognize the critical position it occupies in a society dedicated to control. Generally speaking, whether consciously or unconsciously, it moves to by Rebecca Robbins I was asked to write only one page on the art/craft argument which now feels like both a blessing and a curse. I have to admit that I am relatively new to this age old discussion but I am willing to risk being both redundant, and ignorantly opinionated on the subject. What is craft? What is art? Are the two forever to be separated? These are questions those of us working within the historically craft- laden medium of clay often ask ourselves. I believe what is most commonly understood as differentiating craft from art is that the craft object is more about utilitarianism and decorativeness whereas the art object focuses on ideas, reflectiveness, and personal expression. Or, as our ceramics predecessor suggested, craft can be “pissed in” and art can be “pissed on.” Along with this understanding seems to come a hierarchy of value. Social and political ideas are more highly valued in the elite art world than ideas about everyday activities and aesthetics which the craft disciplines revere. Ithough craft and craftsmanship have existed throughout time, the way we in the western world think about and use these two terms is still not entirely clear. The trouble with words is that their meanings are constantly in flux; while what we name a thing carries many ramifications. I believe the frustration of the ‘art vs. craft’? argument is routed in the ambiguity of each sides ontology. As artists continue to ask themselves; ‘What is art?’, similarly, craftspeople are searching for answers to another question; ‘What is craft?’ In response to these questions, there are various opinions in the academic world. Some people believe that by calling craft ‘art? we demean craft. Their rationale is that anything can be called ‘art’, regardless of how poorly made or thought out it is; whereas craft’s beauty comes from this functionality. Other people maintain that craft is currently considered less valuable than art and that craft should be elevated to the level of fine art. They argue that as a whole, criticism of craft tends to be less academic than criticism of fine art. Craft criticism uses prosaic language while fine art critics predominantly use academic jargon. These other people maintain that the prestige and value generated by this language is misplaced, and would prefer to see better criticism and more dollars being directed toward craft. For this article I assembled some student views on this issue. I have obtained these opinions by asking an equal number of students from each department to submit their views on the “art vs. craft” issue for Influx 9999. The following are the opinions that I received in response to my request. They are not changed from their original composition and all of the articles received have been included. The reader may notice that despite my efforts to make this a random sample, the responses tend toward a specific perspective. I will leave the reader to draw their own conclusions. Glazed Over Chipping away at the Art vs. Craft dialectic Edited by Cristina King with assistance from Demian Petryshyn spectrum is the craftsperson whose focus is on process with the intention of producing objects that are either functional or decorative, but whose reason for being is strongly attached to the process that went on in their making. Post- modernism art practice, on the other hand, has moved steadily towards the communication of a concept and it’s raison d’etre and in doing so, the actual crafting of the work is often de-emphasized in favour of communicating a larger idea that eclipses the sum of it’s parts. Contemporary art- while still considerate of formal artistic conventions- has broadened its scope to include art that is shown in “found” and manufactured spaces, as well as art that has temporality as its basis. Virtual art and theoretical art have rendered the actual physical object insignificant. The desire of the modern-day artist to push the question forms of dominance and privilege- forms of power. Art moves for a revolution, although for a revolution to be effective, it must first be conscious of evolution. In order to question forms of power, in order to resist, one must understand how these forms of power work and where their points of control lie. This, however, would not be possible without craft. Craft, as the conscious assemblance of the qualities and functions of an object, may prove most instructive in the revolution. Craft is about utilitarianism. It is about design and how something functions. It is about how something is controlled and how it may be used. It is about the methods imposed upon an object. These imposed methods or strategies are no different than the qualities and functions of the object. In other words, there is no difference between the way an object is made and its implications. So, an awareness of an objects’ qualities and functions also grants us an awareness of its’ potential uses. Thus, craft as an analysis of the Twentieth century artists such as DuChamps and Beuys showed us that the ready- made and everyday are art. And yet I don’t think there is an “artspeak” language around craft for the critics and historians to use. Maybe this is because the ideas are already understood and need no explaining. Perhaps craft’s value lies in a different arena, but if an object is given a new context, as DuChamps showed with the ceramic urinal, then a different value will be placed on it. Does this then mean that function ceramics in the context of an art school takes on different meaning than if it were in a craft school or an industrial design company? I believe that regardless of context or cost, a cup and a painting have the same value. However, as someone who had chosen to study here I have to consider whether this art construct is; 1) perfect and needs no change, 2) could use some challenging new ideas from brilliant students, or 3) is full of shit and needs avoiding at all cost. Working in clay has many possibilities in the craft and art world, but for those who conceptual rather than the material has freed him/her to use any material or media in any way possible, limited only by the imagination of the creator. The focus has shifted from merely engaging the viewer to confronting her in the hopes of provoking a strong reaction to the work. Of course, the line we draw to separate art from craft is rather artificial when we consider the vast number of works that seem to have a foot in both camps. One beautiful handthrown bowl may serve as an example of a superbly crafted object, but take that same bowl and place it in a particular context designed to provoke or promote an idea, and we now have the conceptual and the material working in tandem and commenting on one another. The material that one uses does not then determine whether a particular work is more craft-oriented than art- strategies of an object is integral in the construction of useful objects but it is also necessary in the construction of effective strategies of resistance. Capitalism is about utilitarian ideals, or rather it employs them. It functions through the strategic analysis of objects. This is not to say that craft is about capital but that with accelerating speed, Capitalism appropriates crafts modes of analysis and production. Unfortunately, Capitalism has also come to include people as objects, objects which are subject to their production and consumption. People as commodities and consumers. People as products to be controlled and used. This treatment of individuals as objects in contemporary society has become a contentious issue that requires effective would like to have their craft valued in the art world, they should probably learn to talk the talk or convince someone their vessel holds more _ than liquid. Until art Critics, and. =art historians include — ideas of everyday functionality and the intimate nature of touch, vessel- makers might as well piss in, or get off the pot. continued on next page. oriented. Although it is common practice to assume that persons working with certain materials, such as clay or glass, are producers of craft, this type of reasoning is limited and leads itself to a narrow kind of thinking that originates from the historical function of these materials rather than from their use today. There is a hierarchy that exists today which places art at the top and crafts at the bottom of the heap. With craft viewed as the poor second cousin to art, it is no wonder that the craft versus art dialogue is so often emotionally loaded and seemingly unsolvable. It would be a lot more productive to appreciate the differences between the two and to accept that each occupies a place of importance that deserves to be recognized for what it is rather than diminished for what it isn’t. ' strategies of resistance. Perhaps, instead of viewing objects as whole entities, we need to reconnect them to their strategies, we need to look at their context, their use. It would be my suggestion that maintaining art and craft as separate disciplines would do little to assist in a revolt but by becoming aware of how we are working and recognizing the connections between disciplines, we might effectively resist the status of objects. [apharete ~J hough craft and craftsmanship have existed throughout time, the way we in the western word think about and use these to tems stil not entirely clear. The wouble with words |S that ther meanings are constanly in ux; while what we name a thing caries many ramifications. T believe the frustration ofthe ‘art vs. caf? argument ie routed in the smbiguty of each sides ontology. As artists continue fo ask themselves; What is ar, snarl, cratspeople are searching for answers another questions “What i craft?” In response to these question, there are various opinions i dhe academic world. Some people belive tha by calling craft ‘art’ we demean erat Their rationale ts that anything canbe called art, regardless of bow pooly ‘made or thought out its; whereas craft's beauty comes from this fonctionaliy. (Other people maintain that crafts current considered les valuable than art and tha craft should be cevated to the level offine art They argue that aba whole, critcsm of craft tends tobe less academic than ericson offin art. Craft criticism uses prosaic language while fine at critics predominantly use academic jargon, “These other people maintain thatthe prestige and value generated by this language misplaced, and ‘would prefer to sce beter ertcsm and more dollars being directed toward cra Fr this article I assembled some student views on this iwue. Ihave obtained these opinions by asking an equal number of stadens from each department to submit their views on the “art Ye. Craftster Inf 9999. The following are the opinions that I recsived in response omy request ‘They ate not changed from dei eiginal composition and all ofthe articles recived have een included, The reader may notice that despite my efforts to make this a random sample, the responses tend toward a specie perspec. I wil eave the reader to draw their own coneluions by Nicole Schouela “The “is it art of craft” dialogue that seems to engage artists and craftpcople ake it predictable regularity i «question that can {need be answered sehen considered sithin the ‘onte of contemporary art practice. It is clear that art and craft are “in relationship” forthe long-term and thatthe wo partes involved share tach other's characteristic as well a possessing (qualies unique to themsches.- Surely we can fecogine that a successfully crafted object fmbodies many of the formal qualites- form, omposition, relationship to he viewer- that ery artwork considers Infact the att and the crafspeson utlize the same tools and arse norentions in the making of art pices. Yet, I Tlie tat there i a diffrence between art and rat that ies not in the making ofthe piece but {the intention ofthe artist At one end of the by Derek Brunen Pethaps the diferences berween art and craft are less a question of ‘what’ we are Working with and more a question of how” we are Working. What may be problematic is the fact that we refer to art and craft as disciplines or Separate and prescribed modes of ‘working ‘There ate infinite overlaps that occur throughout the disciplines and. pethaps this is where we should look in. describing. diferences and fesolving. inequities, In any discussions Approaching the distinctions between art and rat iis necessary 1 include an investigation {nto the implications of these roles, By reataching the discipline of art and craft to their Steps, or how they work, we may better luderstand the relationships berween art and caf When speaking of contemporary art or the ‘avant-garde’, one must recognize the ‘teal postion it occupies ina society dedicated to control. Generally speaking, whether oniciously or unconsciously, i moves to by Rebecca Robbins 1 was asked 10 write only one page on the arveraft argument which ow fess ke both = sing and a curse. Ihave to admit that Iam felatively new to this age ol discussion but Iam willing 10 risk being both redundant, and Fgnorandy opinionated on the subject. Whats craft? What i art? Are the 80 forever to be Separated? These are questions those of ws Working within the historically erat laden medium of clay often ask ourseles.. 1 Dele what is most commonly understood as erentating craft fom artis that the craft bject is more about utilitarianism and decoraveness whereas the art object focuses on eas, reflecveness, and. personal expression (0, as our ceramics predecessor suggested craft ‘an be pissed in” and art can be "pissed on.” ‘Along with this understanding seems to come a bierchy of value, Social and political ideas are ‘more highly valued in the elt art world than eas about everyday activities and aesthetics ‘which the craft discipline revere. Glazed Over Chipping away at the Art vs. Craft dialectic Edited by Cristina King with assistance from Demian Petryshyn spectrum isthe craftyperson whose focus is on proces with de intention of producing objects that are citer functional or decorative, but whose reavon for being i strongly attached t0 the process that went on ip their making. Post- ‘modernism art practice, on the other hand, has ‘moved steadily towards the communication of Concept and its raison dere and in doing so, the ‘ctl erating ofthe work soften de-emphaized in favour of communicating a larger idea that clipes the sum of t's parts. Contemporary art ‘while stil considerate of formal artistic ‘conventions has broadened its scope to include fx that is shown in *Yound” and manufactured spaces, a well a at that has temporality a its basis.” Virtual art and theoretical art have rendered the actual physical object nsigniicant The deste ofthe modern-day artist to push the question forms of dominance and privlege- forms of power. Art moves for a revolion, although for revolution to be effective, i mort first be conscious of evolution. In order to Aveston forms of power, in order to resist, one must understand how these frm of power work and where theie points of control le. This, however, would not be posible without craft ‘Craft, a the conscious assemblance of the qualities and functions of an objet, may prove mort instructive in the revolution. Craft Shout uitaranim, Tes about design and how Something functions. Itis about how something is controled and how it may be used. Its about the methods imposed upon an objec. These imposed methods or steps are no diferent ‘than the quali and functions ofthe object. In other words there is no difeence between the ‘way an object made and it implications. So, fan awareness of an object’ qualities and functions als grants us an awareness of i potential uses. Thus, craft ab an analysis of dhe ‘Twentieth century artists such as DuChamps and Beuys showed us tat the reay- ‘made and everyday ae art. And yet I don think there isan “arspeak” language around craft for the erties and historians to use. Maybe this is because the ideas are already understood and ‘ed no explaining. Peshaps craft's val es in 8 diferent atena, but if an object given a new ‘contest as DuChamps showed withthe ceramic ‘rial, then a diferent value wil be placed oni ‘Docs this then mean that function ceramics in the context of an art school takes on diferent ‘meaning than i it were in a eraft school or an industrial design company? I believe that regardless of context or cot cup and painting have the same vale. However as someone who had chosen to study Bere I have to consider ‘whether tis art construct ss 1) perfct and needs ro change, 2) could use some’ challenging new eas from brine student, or 3) 6 fl of shit anid news avoiding 2 all com, ‘Working in clay as many possible in the erat and art world, but for those who ‘conceptual sither than the material has feed himfr to use any mater or media in any way possible, limited ony by the imagination of the freatoe,” The focus has shifted from merely ‘engaging the viewer to contonting her in the ‘hope of provoking a ston reaction tothe work ‘Of cours, the line we deaw to separate ar from craft rather artificial when we consider the vast numberof works that scem to have afoot fn both camps. One beautiful handthrown bom ‘may serve as an example of «superbly crafted ‘object But take that same bow and place iin & particular context designed t0 provoke oF promote an idea, and. we now have the conceptual andthe material working in tandem land commenting on one another. The material ‘hat one uses does not then determine whether a particular work is more craftorented than aft strategies of an object is integral inthe Construction of useful objects but it is ako necessary in the construction of effective etepies of rexinanes Capitalism is about uiitarian ideas, cor rather it employs them. If fnetions through the strategic analysis of objects. This snot say that craft’ about capital but that with accelerating. speed, Capitals appropriates rafts modes of anaes and_ production, Unfortunatly, Capitalism has alo come to include people as objects, objects which are subject «0 their production and consumption. People as commodities and_ consumers, People as. products to be controlled and used ‘This treatment of individuals as objects in contemporary society has become a contentious iste thar requires effective would like to. have their aft valued inthe art World, they should probably lar to alk the talk or convince fomeone their vessel holds more | than liquid, ~ Unul_ are cites and art historians. include leas. of everday functionality and he intimate ature of touch, vessel makers might 5 well pis in, or get off he pot ‘continued om nex page, fviented. Although itis common practice «9 Ssssume that persons working. with certain ‘material, suchas clay of as, are producers of raf this type of reasoning is Himited and leads itself to a narrow bind of thinking that originates fom the historical function of these materials tather than from dei se today “There isa hierarchy that exists today which places art at the top and crafts at the bottom ofthe heap. With craft viewed a the poor Second cousin to art, itis no wonder thatthe craft ‘ersus ar dialogue sso often emotionally loaded tnd seemingly unsolvable. It would be alo more productive to appreciate the dilfrences Between the ewo and 1 accept that each occupies a place of importance that deserves to be recognized for ‘what cis rather than diminished for wat its. strategies of resinance. Perhaps, instead of icwing objects as whole entities, we need 10 reconnect them {0 ther strategie, we need © Took at their context, thee se. Ie would be mi suggestion that maintaining art and craft as Separate disciplines would do litle to assist in 2 revolt but by becoming aware of how we are Working and recognizing the connections ‘berween disciplines, we might effectively reset the stan of objects, concrete 3 December 1998 © influx 26053