Theory of Knowledge - Course Companion for Students Marija Uzunova Dang Arvin Singh Uzunov Dang
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
- Page 237 and 238: III. Methods and toolstheir presenc
- Page 239 and 240: III. Methods and toolstold Mahbub,
- Page 241 and 242: III. Methods and toolsY. Thinley, a
- Page 243 and 244: III. Methods and toolsis the scope
- Page 245 and 246: III. Methods and toolssignificant c
- Page 247 and 248: III. Methods and toolsIV. Ethics7 d
- Page 249 and 250: IV. Ethicschange … brings togethe
- Page 251 and 252: last example brings together ideas
- Page 253 and 254: to show it how it was.” This was
- Page 255 and 256: I. Scope7 raises the question of wh
- Page 257 and 258: I. Scopeis more than a matter of po
- Page 259 and 260: II. Perspectivesqustion w xplord in
- Page 261 and 262: was not alon in rflting dply aoutCa
- Page 263 and 264: II. Perspectiveshistorial ontxt, ut
- Page 265 and 266: of Yugoslavia and th Sovit Union;ra
- Page 267 and 268: II. Perspectivesor indpndnt shools
- Page 269 and 270: III. Methods and toolswith an intrs
- Page 271 and 272: III. Methods and toolshistorian, jo
- Page 273 and 274: III. Methods and toolsinstad of oth
- Page 275 and 276: III. Methods and toolsmonks and lrg
- Page 277 and 278: III. Methods and toolsh had n ordrd
- Page 279 and 280: III. Methods and toolswould naiv,
- Page 281 and 282: IV. Ethicsin Chaptr 5. Grgory Young
- Page 283 and 284: IV. Ethicsis filld with xtraordinar
- Page 285 and 286: 10chapter explores the human encoun
- Page 287: I. Scopethe historical development
- Page 291 and 292: I. ScopeTruth and knowledge in art:
- Page 293 and 294: I. Scopeterms: ElizabethSearchDesir
- Page 295 and 296: II. Perspectivesby Vermeer were rar
- Page 297 and 298: II. Perspectiveswas one thing van M
- Page 299 and 300: II. Perspectivesare found in the br
- Page 301 and 302: II. Perspectivesterms: CNN Business
- Page 303 and 304: II. Perspectivesof the time, to dra
- Page 305 and 306: II. Perspectivesthe last few hundre
- Page 307 and 308: II. Perspectivesafter that date, bu
- Page 309 and 310: II. Perspectiveshave been examples
- Page 311 and 312: II. PerspectivesIII. Methods and to
- Page 313 and 314: III. Methods and tools1. Is having
- Page 315 and 316: III. Methods and toolsThe rst thing
- Page 317 and 318: III. Methods and toolscan be deeply
- Page 319 and 320: IV. Ethicsmay notice that many know
- Page 321 and 322: IV. Ethicsartist’s intent to conf
- Page 323 and 324: IV. Ethicsor moral boundaries of th
- Page 325 and 326: IV. Ethicsfact that people far away
- Page 327 and 328: IV. Ethicsterms: NorthrupSearchtrue
- Page 329 and 330: I. Scopemathmatis arris an aura ofN
- Page 331 and 332: I. Scopeof th arly xampls of this
- Page 333 and 334: II. Perspectivesof mathmatial knowl
- Page 335 and 336: II. Perspectivesonpts an appar so s
- Page 337 and 338: II. Perspectivesdid th st minds of
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