Sunday, 10 January 2016

The watery business of art and craft

This picture came from Megan Fizell's Twitterstream and got me thinking about the difference between art and craft and how it diminishes craft when I'm not sure that's entirely fair. I've asked a few people this past week their thoughts of the difference. On a thread in the Facebook group 'Handmade Books and Artist Books'  I was told 'The philosopher and art historian Arthur Danto wrote a whole book on the subject, and his conclusion was that there is no consistent set of criteria that would enable you to distinguish art from not-art, so the question is not really worth asking.' 

Surely everything is worth asking? Over and over? The same premise (as in the need to repeating yourself in your art) about people not listening the first time, surely applies?

Someone else mentioned 'manufacturing'. Craft, to me, seems rooted in the practical nature of something coming into being. And I do like art executed by the artist. There is an implicit, perhaps invisible, integrity to the unification of idea and execution that enables the final piece to have that transcendent quality (a little like the fifth taste, umami? I heard a discussion around this taste on the radio and it seemed no one, from this western panel, could really describe it satisfactorily). 

The same person suggested this transcendent element perhaps came from the motivation: ''art' is not just about the doing and making, but about why its done, made with feeling, born from an emotion or experience, not from a skill alone.' And perhaps others are right, art does not need an object at all. It is an idea that attaches itself to the made, crafted, manufactured thing.

Does this emotion or skill, this intention, or idea, mean the finished object, a book in my case, become something more than a book? And if so, what does it become? I think A Dock is not a Solid Thing is also a puzzle, a game, an experience of precariousness as well as a sequence of poems.

What has also been suggested to me is the importance of time - which perhaps evokes scarcity. Does a woven cushion cover, once it is over several centuries over, tip into being an object of art - rather than one for use? GP has interesting things to say on time, in a reverse sense, in this gem. I like the idea of painting becoming a craft, even if I'm not convinced I agree with him.

I didn't hear the talk that accompanied the slide, although his 2013 Reith Lectures are still online, I am interested that he used the image of water for the slide - a fluid thing if ever there was one - to set the comparison upon. Again on the FB thread was 'art and craft are part of a continuing scale and it's very hard to place anything completely in one or the other.' It seems the metaphor of water sets this up perfectly. 

Contributors to this post:
Paul Garcia
Eleanor Hynd
Chris Hardy
David Judd
Annie Lee
Catherine Sadler

Thank you, all.

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