“Blurred Boundaries”? Rethinking the Concept of Craft and its Relation to Art and Design

Abstract

Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship to art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary (fine) art, despite its current “post‐studio” or “post‐disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non‐invidious sense.

Sustainability and Authenticity of Chinese Traditional Crafts in the Contexts of Luxury and Tourism

“…p-ISSN: 2541-0857 manifest, unfold and impact on our society in the coming years. And now, just as we did more than a century ago, we need to rethink craft and re-evaluate its strategic relations with art (Shiner 2012).…”

“…Greenhalgh's remark might sound harsh, but it indicates some important properties of crafts which help define and justify the identity of crafts and craftspeople, and being institutionally connected is one of them. Furthermore, both Thornton (2002) and Shiner (2012) contended that it is the multifaceted institutional nature of craft industry that has shaped the developing trajectory of 'craftworld' in the western culture, and it has certainly happened in China too, but often with more political interference. Asia (Graburn 1984, Parnwell 1993, Bruner, 2005, Wherry 2006, Chang et al 2008.…”

Special Issue: Making as Method: Reimagining Traditional and Indigenous Notions of “Craft” in Research Practice

“…In her autoethnographic project Julie Brien (The University of Auckland), in "Stitchery me, stitchery do" describes herself as having "always been a crafter, and a sometimes quilt maker." Working in collaboration with her participants to explore the practice of culturally responsive pedagogies she defines crafted as something that is created with care, time, diligence, skill, and technique, whereas the word mastery is associated with skill and technique (Shiner, 2012). Learning to listen to the land and sharing stories and poems from that listening, Margaret McKeon (University of British Columbia), in "Patterns repeat: Transformation through creativity in research about land and colonialism" describes her poetic "writing as her humble offering of reciprocity".…”

Stitchery Me, Stitchery Do

“…The word craft itself denotes something well made. Something that is crafted is created with care, time, diligence, skill and technique, whereas the word mastery is associated with skill and technique (Shiner, 2012) further elevating the perfection of craft work. I wanted to ensure that I not only honoured the tradition of quilting, for myself and this project and its participants, but executed it to the highest technical standard in order to honour my lineage and my connection to my Grama as my teacher.…”