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This
article has arisen from the Alberta Craft Council exhibition, Craft
vs. Art: The Great Debate. The exhibition consisted of work and
writings by Alberta Craft Council members. It was on display throughout
August, 2002 in the Alberta Craft Gallery.
When I was asked
to submit work for consideration for the Alberta Craft Council exhibition,
Craft vs. Art: The Great Debate, my first
thought was, "Why are we having this discussion?" I struggled to write
a coherent essay and I made two surprising pieces as a part of my submission.
In the end it proved to be a stimulating assignment..
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"
A R T C A N ' T D E N Y
C R A F T , B U T R E F U S E S
T O A C K N O W L E D G E I T .
I N T H E E N D T H E Y A R E
S T I L L B R O T H E R S "
Christian Barr
"
I A R R I V E D I N G R A D E
O N E F O R A R T C L A S S
( N O T C R A F T C L A S S )
A N D M A D E A R T .
I H A V E M A D E A R T E V E R
S I N C E , S O M E G O O D ,
S O M E B A D , S O M E N O T
E V E N W O R T H T A L K I N G
A B O U T "
Carol Jane Campbell
"
I D O N ' T S E E C R A F T
A S S O M E T H I N G Y O U
M A K E , B U T R A T H E R
S O M E T H I N G Y O U N E E D ,
T O A C H I E V E G O O D
A R T "
Dawn Detarando
"
T H E L I N E B E T W E E N
A D E C O R A T I V E O B J E C T
A N D A W O R K O F A R T
I S A M A T T E R O F
C R I T I C A L J U D G E M E N T "
Marlene Fitzgerald-Moore
" W H A T ' S T H E F U
S S ? "
Gordon Galenza
"
A R T VS C R A F T -
E Y E C A N D Y VS
H A N D A N D E Y E C A N D Y
W I T H P U R P O S E "
Wayne
MacKenzie
"
A R T S T R I V E S T O
E X P R E S S ;
C R A F T S T R I V E S F O R
E X C E L L E N C E .
G O O D A R T H A S G O O D
C R A F T . G O O D C R A F T I S
A R T I S T I C .
W I T H I N E V E R Y C R A F T
T H E R E E X I S T S A R T I S T S . W I T H I N
E V E R Y A R T I S T
T H E R E I S C R A F T "
Ralph
Reichenbach
& Doug Madill
"
T H E " M A G I C " T H A T
M A K E S A R T , H A P P E N S
W H E N S K I L L A N D
I N S P I R A T I O N A R E
J O I N E D B Y A N E L U S I V E
A N D U N P R E D I C T A B L E
Q U A L I T Y B E Y O N D T H E
P O T T E R ' S K E N "
Bob
Rippon
"
F O R M E , T H E B E S T
W O R K I S P A S S I O N A T E ,
F R E S H , W E L L D E S I G N E D
A N D W E L L E X E C U T E D …
T H E P E R F E C T B A L A N C E
O F A R T A N D C R A F T "
Judy
Villett
"
T
H E B E S T A N S W E R I
H A V E S E E N W A S G I V E N
B Y H A R L A N H O U S E ,
A P O T T E R I N O N T A R I O .
H E S A I D , " C R A F T I S
W H A T I D O A L L D A Y ,
A R T I S W H A T I H A V E
A T T H E E N D O F I T" "
Jean
Weller
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I chose to focus on the power struggle that exists between art and craft.
I discussed the differences between competition and differentiation
and called for greater curiosity. Others approached the topic differently,
but in the end, there was a high level of consistency among the submissions.
I think there is an elitist view on the part of both art and craft people
that suggests a failure to be curious about differing perspectives.
Identifying with a single view is limiting. Most often we hold negative
judgements of other points of view when we cling too tightly to our
own. When we feel the need to defend our position, we most often diminish
others in the process.
The notion of a continuum more accurately reflects the reality. I do
see crafts people who work at preserving a traditional form using only
historically appropriate techniques, tools and materials. I also see
artists who produce work with little regard for tradition or craftsmanship.
There is value in honing ones skill just as there is value in carefree
experimentation without regard to quality or longevity.
Mostly I encounter artisans who invest themselves in developing their
skills and pushing beyond the status quo, always asking, "what if?"
In this daring realm there is much to be learned. Media and form have
little to do with the potential for learning and self-discovery.
The essence of my work resides in my personal learning. The product
is less important than the process. My work is an act of self-definition.
I hold an intention to do what Eric Maisel refers to as "deep" work.
It is through the daily practice of my work that I achieve the deep
learning or understanding I seek.
I notice that I am quick to judge the work of others when I am not curious
about their intention. But when I pause long enough to be curious, I
am often moved by what I see. I feel a resonance with people whose work
is very different than my own when I am able to see that we are more
similar than different.
I know that by choosing to work with fabrics, that I will not be universally
recognized as an "artist". I also know that by pushing the
edges of traditional textile work I will not be universally accepted
as a quilter. If recognition or acceptance is what I am seeking, then
I have set myself up for failure and a pretty unhappy life. But if my
goal is to learn about myself through the creative process, I cannot
fail. If I assume that others are trying to do the same, then I can
be generous and curious about them and their work.
I want to hold on to the "Big Picture" where I can acknowledge the perspectives
of others and be curious about them. I want to hold an intention to
learn about myself, to test my own limits.
If we are able to view craft and art as a part of a continuum, and if
we can allow self-placement on the continuum, then we will take ourselves
out of the power struggle. Staying curious will automatically create
opportunities for learning and for resonance with others. It will not
matter if we are artists or craftsmen. After all, our creativity comes
from the same source, doesn't it?
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