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
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I. Scope
has the status of women artists and
How
feminine art forms changed
traditionally
the past century? Peaking in 1910 in
over
the Arts and Crafts movement was
Europe,
aesthetic and labour response to the
an
Revolution, spreading from the
Industrial
Kingdom to North America, Japan
United
Australia. It raised the question of the
and
of handmade versus mass-produced
quality
and the value of traditional artisanry
objects,
craftsmanship versus mechanical
and
It concerned objects of high
manufacturing.
value that were nonetheless functional,
artistic
drew attention to ideas of design and
and
movement valued the intimacy of work,
The
opposed to the alienation of people from
as
under industrialism, and elevated this
work
form of creative work to the dignity
particular
of this should have resulted in elevating
All
status of women creatives, but alas that
the
not to be. The role of women in the
was
and Crafts movement was ultimately a
Arts
on the one hand, it invited women
paradox;
produce and be paid for artistic handicrafts
to
homemade goods, but on the other, despite
and
significant involvement, women remained
their
and the most celebrated
underrecognized,
influential figures associated with the
and
“her-stories” of the Arts and Crafts
Several
have been published in the last
movement
decades to rectify the narrative of this
few
episode in art history. The Arts
particular
Craft movement had the potential to
and
women’s artistic work. But what do
elevate
know about the status and prominence
we
women in art today? In 1971, art historian
of
Nochlin wrote an essay posing the
Linda
“Why Have There Been No Great
question
Artists?” More than half a century
Women
the Arts and Crafts movement, this was
after
a valid question. Art historians argue that
still
was the Feminist Art movement, starting
it
the 1960s, that really began to elevate the
in
of women artists, women’s artwork,
status
creative knowledge and the female
their
in the art world.
perspective
10
Box 10.1: Artwork, artisanry and women creatives
movement are men.
aesthetics.
of fine art.
The feminist activist art collective, Guerilla Girls, periodically tallies the number of women artists and female nudes on
Figure 10.2
exhibition 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