This post is by Luann Udell, regular contributing author for FineArtViews. She’s blogged since 2002 about the business side–and the spiritual inside–of art. She says, “I share my experiences so you won’t have to make ALL the same mistakes I did….” For ten years, Luann also wrote a column (“Craft Matters”) for The Crafts Report magazine (a monthly business resource for the crafts professional) where she explored the funnier side of her life in craft. She’s a double-juried member of the prestigious League of New Hampshire Craftsmen (fiber & art jewelry). Her work has appeared in books, magazines, and newspapers across the country and she is a published writer.
Times have changed. Have we?
(7 minute read)
If you want to start a flame war/troll fest on the internet, just ask the difference between art and craft. (PLEASE don’t do it here, though.) This is a collection of thoughts about why that line is so hard to define.
A reader recently sent me a story. On the urging of their collectors, they approached a local art organization in their area to see if it would be interested in displaying their work.
But the person who viewed their work said it was craft, not art. They implied the work would probably not be accepted for the more-prestigious art-and-sculpture section of the gallery.
Before we go into strategies about how to move forward with this, let me share my own experiences.
When I first took up my creative work, I thought for sure I knew the difference between art and craft. Pottery was obviously a craft, for example, while oil painting was true art.
Until a potter friend of mine, who made each pot they made by hand (not even a wheel), one at a time, fired in pit rather than a kiln, and each one was distinctive, shared this little insight with me:
If they make a beautiful clay piece, it’s craft.
If they take that same piece and have it cast in bronze, it’s art.
So that next step which is a commercial, industrial process outside the parameter of almost any artist, determines that category. (I am not saying it’s a simple process, or doesn’t involve creativity in its own right. I’m saying casting is beyond the purview of many folks such as silversmiths, or those who work with metal in any form. And for those who do, it’s a case where….um….size does matter. Casting a ring is vastly different from casting a large bronze sculpture.)
Another definition often depends on whether the product performs a function (say, bowls which hold food) or is strictly decorative (art!)
So what would you call a clay sculpture? Can’t be used to serve food, unless you can balance a dish on it. So can we really say that everything made with clay is craft?
A third definition is whether the work is one-of-a-kind, or done in a series. Prints are done in series, for example, while most 2-D work is a one-off. (A series might contain the same subject, or a related theme, but each one is different.)
I submitted prints made with my own hand-carved stamps to the print-making jury at a prestigious fine craft organization. I brought samples of different series I’d made.
But after I described my process, I was deferred. Because I used multiple stamps to create the piece. Three. Because I wasn’t carving “one plate”, and so capable of making multiples, it was determined my work was art, not craft. It was technically a “monoprint”, which is not “craft”. (A pretty nice rejection, but still.)
And yet many of the printmakers in this organization create multiple plates for multiple colors, one for each. One could argue that, if each color used in the series (which could be made in several print runs on different dates) were not exactly the same, would those not be monoprints, too? (I started to look up prints vs. monoprints, and monoprints vs. monotypes, but I got lost in the rabbit hole….) So the intent is craft, but the reality is, you can often tell the prints are dissimilar.
How about digital art? When digital art first appeared in the creative world, almost everyone (including me) did not consider it “real art”. It was made with the aid of a computer, which could, supposedly, be recreated easily by anyone else. Therefore, it was more like calling a coloring book “art”. Nope.
Until I talked with one of these early adaptor artists about their work. Turns out there was a huge amount of uncertainty, and serendipity, random factors involved but not controlled, even in this art medium. They would try for a certain effect, which could result in something unpredictably amazing, and difficult, if not impossible, to reproduce exactly.
And of course, computers are now used for many commercial, and artistic purposes. I’ve met a lot of graphic designers along the way, and despite the common knowledge and tools needed to do their work, each one has their own unique and distinctive style.
Sorta starting to look like art, doesn’t it?
Fiber arts is a whole nother ballgame, too. Yes, anyone can knit a sweater pattern, or make a quilt using templates. But then we come across this designer (following her own original sweater patterns) and find this.
Art? Fine craft?? If my artifacts are in jewelry, probably fine craft. In a fiber collage? Anybody’s guess! Small sculpture? Maybe art. Oh, wait. It’s not cast in bronze!
If we consider that these fiber media have been labeled “women’s art” for years, not measuring up to “real art”, what can we say about “urinal art”? The only component showing a contribution by the actual artist is the signature. And it’s in a museum. In fact, the first sentence of this article is, “Fountain is one of Duchamp’s most famous works and is widely seen as an icon of twentieth-century art…..” It’s an unmodified urinal with a fake name on it.
My point here is not to define these two categories, and I refuse to argue about what is art and what isn’t. I am simply pointing out that the lines are wavering, the boundaries are fuzzy, and it’s simplistic to define “art” strictly by the gender of the artist, the medium they choose, nor even the subject matter. (Mary Cassatt’s work was dismissed as “domestic art” for years, because she painted actual mothers and their children. Now if only she’d painted Mary-and-baby Jesus…..)
Back to my friend’s setback. I went to the organization’s website. Yep, they’ve acknowledged that they accept fiber art. Good for them! I checked out the work my friend submitted, and compared it to the gallery images shown. Their work was comparable/compatible to several paintings in their collection: Color palette, check. Subject matter, check. Quality of design and composition, check. There was a colorful hand-dyed, handmade dress featured. So, functional work. Art? Craft? It’s in the art section. (My friend’s is purely decorative, not functional.)
In this case, I believe the person working that day simply had their own ideas about what is art, and what is craft. The actual work is supposed to be submitted and judged by a jury. (In some galleries, yeah, that could be one juror, usually, the owner. But an art organization? Usually a committee.)
I suggested they fill out the submission forms, following the rules and guidelines exactly. Then wait to see what happens.
If they are accepted, yippee!
If not, they can inquire about the reasons for the rejection, respectfully, to find out how they can “improve” their work to meet the standards. (It’s important to keep your cool here! Being angry or difficult will just strengthen their resolve to keep you out.)
I applied to three different media jury processes with that fine craft organization. If work was rejected or deferred, it was part of the jurying process to advise the artist exactly what they had to do to meet the standards.*
If the reasons are, as above, vague, inappropriate, or seem personal, then it’s time to request a presentation to the board of directors. Not as a fist fight, but to politely, calmly share some of the thoughts in this article. Where…and why…are they drawing that line? (Especially when it’s obvious this artist’s work is just as good, and unique, as their own current gallery artists.)
In a professional manner, they can cite the org’s mission statement, and inquire (again, calmly and politely, out of real curiosity) how they decided this artist’s work does not meet those standards.
If that doesn’t work, at least it will be clear that their actions do not really support their mission statement. And I hope there are other galleries and venues where this person can apply to with their work.
I hope when their passionate collectors take their business to that other venue, it might encourage that org to reconsider.
Again, please, no definitions, no troll wars or flaming swords. As I said, we are all entitled to our own opinions.
Just consider the many, many ways creativity can manifest itself in our modern world. You are entitled to your own opinions, and I truly respect that.
My intention was to share how I’ve changed my own opinionabout this. To suggest how to influence the attitude that the lines between art and craft are written in stone, and will never change.
And consider how many times the creative, innovative, beautiful, powerful work, the work of the heart by others, has been relegated to a back seat on the bus, instead given the chance to stand in the sun, too.
If you know someone who needs to read this, someone whose beautiful work has been rejected for shaky reasons, send this on to them.
And if you’d like to read more articles like this, sign up at Fine Art Views, or subscribe to my blog at https://luannudell.wordpress.com/
*And when at some point, that part of the process ‘disappeared’, too many jurors took advantage of the situation to willy-nilly reject anyone’s work with no reason besides “just because.” They are in the process of correcting that, after they found out many very talented people had been rejected for vague, inappropriate, or even personal reasons. They may also be considering ways to broaden their own definitions of what is “good enough” work. Yay!
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