Learning to Love Useless Objects


I have been listening to some Ted Talks here at the end of the semester as I wait for clay to dry. Recently I listened to Luke Syson speak about some of the more whimsical craft he was encountering back in 2013. He had been a curator of Italian Renaissance paintings (which were the epitome of an icon in his opinion at the time) but accepted a position at the Metropolitan Museum of Art, and when he toured the Met to get to know his new work place he ran across this 18th century vase.


He explained how very repulsed he immediately was; he could not see a connection between these art forms. This vase seemed so alien in comparison to Da Vinci’s Mona Lisa for example. He described the elephant vase as “so nouveau riche,” so gold, flowery, pink, and flouncy. The “tutu” base reminded him of his niece’s princess birthday party. “This was an elephant that had absolutely nothing to do with a majestic march across the Serengeti; it was a dumbo nightmare.” He figured this summed up a uselessness of aristocracy in the 18th century. “No wonder there was a revolution!” he exclaimed, as he recommended that the ownership of this vase deserved the guillotine. But like a car accident, he couldn’t look away.

That is when he broke down what he was actually seeing, and it was only then that he started to warm up to the object. The vase does in fact have a use, as a candelabra. The candlelight glinting off the surface would have surely been a lovely sight. It would have been fired four times–four chances for an accident to happen (that’s a lot of chances). He goes on to explain that the word “fancy” (a term quite fitting for this piece) stems from “fantasy,” and “this object is a portal to somewhere else.” That’s very true; you don’t see elephants in France very often. So this vase is all about escapism. Through the process of getting to know this piece of art, Syson came to love it and other trinkets like it.

This is precisely how I operate when I look at new (or old) art. It may be shameful, but I either love or hate a piece in the first moment that I meet it. If I hate it, there is something about the work that bothers me. I really question its purpose and if it should be art (as if I made those decisions). For example, I hated Rothko at first–that’s right, Rothko! I went to the Museum of Contemporary Art in Chicago one year early in my undergrad and BOY, did things bother me there. I walked around so frustrated for most of the day. My friend encouraged me to stand in front of the Rothko painting and just soak it in. There had to be something there that would speak to me; people had cried in front of these, after all! That changed everything for me once I really considered the painting.

It takes me a while to warm up to pieces of art that I don’t understand, but when I give them a chance they usually change my world. So if you ever catch me frowning about a work, don’t get upset and try to convince me that I am wrong. Sometimes it takes years, but I usually get there. 

All of this information was taken from Luke Syson’s Ted Talk:  “How I learned to stop worrying and love “useless” art.” See the full video here.


Craft is dead, long live Craft.


I think this is the first reading I have encountered that I have actually understood from “cover to cover.” It is also the first reading I have been able to read without thinking some parts if not all of it was, pardon my strong opinion, complete bull crap. Garth Clark unapologetically rips craft apart. Some of it is embarrassing, but I see it as completely unavoidable. 

Finally! an essay that explains to me what al this ART vs. CRAFT hubbub is about. I have been wondering why we are still arguing about the rankings of craft for a long time, and I have been hesitant to take any of these writers at their word because most of these readings seem to be decades old. I paid a lot closer attention to How Envy Killed the Crafts because Clark wrote this in 2008.

I still wonder why craft has to be the same as art, or why it is so necessary that we put ourselves on the same playing field with the same worth and meaning. Now for once I don’t feel ashamed for being okay with craft being a different thing entirely from art, because someone who has experienced the recent history of craft with his own hands and witnessed it with his own eyes can show me that craft just never got to that level.

I am completely content to keep craft in a separate realm. As Clark says in his essay, “Design, as long as it kept to its own identity and purpose, was a welcome part of the art club so it had nothing to prove.” If only Craft had the gumption to do the same! He proves to me in this essay that Craft has an identity crisis and is not comfortable in its own skin, desperately longing to be the airbrushed cover girl, Art (which is not to say that art is fake, but that it represents the image that we think we are supposed to look just like).  

Most of these essays I have read and the arguments I have pondered over have left me wondering, “Is what I do as a craftsperson not enough? Do I need more content, more pizzaz, more historical or political references?” I feel like the adolescent girl looking at the front covers of beauty magazines, wondering how to be like the woman before me. In reality, I have different skin, different hair, and a different wallet. Craft is that girl looking in on Art, practically perfect in every way. In reality, Art just wants their style to stop being copied, pinched, pilfered, in a way of speaking.

All this is just to say that I am very much okay with the short list of possibilities that Garth Clark presents at the end of his essay:  “Let go of New York…encourage craft into the 21st century aesthetically…post a definition of craft that is accurate and unambiguous…make the new entity an unwelcoming place for failed sculptors to live…” I would encourage it even if it meant my sculptural work had to be classified in a different place entirely. I would rather Craft became what it could be than stay where it is, and I imagine that when this starts to really come about that it will be a great day for Craft.