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.

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