Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang

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there a difference between art and craft? ItIsnot unusual for an art show or exhibition tois“no craft or functional art”. Even if youspecifynot agree with this kind of cultural labelling,doblurring of this boundary requires activetheand one cannot simply ignore or wish thework,away. First, let’s consider the reasonsdistinctionthis distinction and its implications forbehindthis video, Laura Morelli traces the originsInthe distinction between art and craft in theofterms: Morelli art andSearchTEDEdcraftbig claim is that the distinction betweenMoreli’sand craft, more than anything essential orartis historically contingent. Culturalfundamental,art historians will evaluate the specificandthat led to elevating certain types ofconditionswork (and not others) to the dignity ofcreativeWhat is of special interest to us in TOK isart.defining art to the exclusion of craft, andhowpower to maintain this distinction, is a waytheremove artistic status from, or reward it to,tocommunities. This had the effect, still feltspecificof underpresented or absent perspectivestoday,the body of knowledge and practices offromFor example, calling one site of knowledgeart.a “workshop” and another site aproductionhas implications for the status and“studio”of the knowledge possessed by the peoplevaluethat space, and the knowledge resulting frominbetweenDistinguishingand craft across culturesarton the implications of applying aReflectbetween art and craft cross-distinctionSome cultures maintain thisculturally.in different places, while othersboundaryCan we understand what is art and what1.craft in different cultures?isWhat kind of knowledge is required to2.the distinction between art andapplyWhat kind of claims are made about other3.in the process of drawing thisculturesI. ScopeI. ScopeI.1 Artists and artisanstheir work.knowledge.For ref lectionWestern intellectual tradition.may not draw it at all.craft across cultures?boundary between art and craft?281

I. Scopehas the status of women artists andHowfeminine art forms changedtraditionallythe past century? Peaking in 1910 inoverthe Arts and Crafts movement wasEurope,aesthetic and labour response to theanRevolution, spreading from theIndustrialKingdom to North America, JapanUnitedAustralia. It raised the question of theandof handmade versus mass-producedqualityand the value of traditional artisanryobjects,craftsmanship versus mechanicalandIt concerned objects of highmanufacturing.value that were nonetheless functional,artisticdrew attention to ideas of design andandmovement valued the intimacy of work,Theopposed to the alienation of people fromasunder industrialism, and elevated thisworkform of creative work to the dignityparticularof this should have resulted in elevatingAllstatus of women creatives, but alas thatthenot to be. The role of women in thewasand Crafts movement was ultimately aArtson the one hand, it invited womenparadox;produce and be paid for artistic handicraftstohomemade goods, but on the other, despiteandsignificant involvement, women remainedtheirand the most celebratedunderrecognized,influential figures associated with theand“her-stories” of the Arts and CraftsSeveralhave been published in the lastmovementdecades to rectify the narrative of thisfewepisode in art history. The ArtsparticularCraft movement had the potential toandwomen’s artistic work. But what doelevateknow about the status and prominencewewomen in art today? In 1971, art historianofNochlin wrote an essay posing theLinda“Why Have There Been No GreatquestionArtists?” More than half a centuryWomenthe Arts and Crafts movement, this wasaftera valid question. Art historians argue thatstillwas the Feminist Art movement, startingitthe 1960s, that really began to elevate theinof women artists, women’s artwork,statuscreative knowledge and the femaletheirin the art world.perspective10Box 10.1: Artwork, artisanry and women creativesmovement are men.aesthetics.of fine art.The feminist activist art collective, Guerilla Girls, periodically tallies the number of women artists and female nudes onFigure 10.2exhibition at the Metropolitan Museum in New York. This poster, Do women have to be naked to get into the Met. Museum?, is from 2012.282

there a difference between art and craft? It

Is

not unusual for an art show or exhibition to

is

“no craft or functional art”. Even if you

specify

not agree with this kind of cultural labelling,

do

blurring of this boundary requires active

the

and one cannot simply ignore or wish the

work,

away. First, let’s consider the reasons

distinction

this distinction and its implications for

behind

this video, Laura Morelli traces the origins

In

the distinction between art and craft in the

of

terms: Morelli art and

Search

TEDEd

craft

big claim is that the distinction between

Moreli’s

and craft, more than anything essential or

art

is historically contingent. Cultural

fundamental,

art historians will evaluate the specific

and

that led to elevating certain types of

conditions

work (and not others) to the dignity of

creative

What is of special interest to us in TOK is

art.

defining art to the exclusion of craft, and

how

power to maintain this distinction, is a way

the

remove artistic status from, or reward it to,

to

communities. This had the effect, still felt

specific

of underpresented or absent perspectives

today,

the body of knowledge and practices of

from

For example, calling one site of knowledge

art.

a “workshop” and another site a

production

has implications for the status and

“studio”

of the knowledge possessed by the people

value

that space, and the knowledge resulting from

in

between

Distinguishing

and craft across cultures

art

on the implications of applying a

Reflect

between art and craft cross-

distinction

Some cultures maintain this

culturally.

in different places, while others

boundary

Can we understand what is art and what

1.

craft in different cultures?

is

What kind of knowledge is required to

2.

the distinction between art and

apply

What kind of claims are made about other

3.

in the process of drawing this

cultures

I. Scope

I. Scope

I.1 Artists and artisans

their work.

knowledge.

For ref lection

Western intellectual tradition.

may not draw it at all.

craft across cultures?

boundary between art and craft?

281

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