July 1st, 2011

Until recently, I don't think there has been a true national effort to define or promote "craft" to an audience outside of the craft world. With the recent and ongoing PBS "Craft in America" series, I feel craftsmen now have a national presence being defined and explored in an educational series. This is an important venue to spread awareness outside the confines of makers and collectors. Along with any venue outside of prescribed and limited "craft" fields, such as a greater presence in interior and architectural magazines and shows.
Within the craft community, well respected institutions that fund raise via craft shows , have been lax in defining boundaries regarding "wearable" craft, my field. Here we see more "ready to wear" clothing passing as craft and these institutions shunning "real" handmade...in their move to ready to wear . What do we do when those who are in charge of defining parameters exclude real craft as defined by real makers? How do we re- assert the boundaries in our field? Who is guiding these choices? Committees or jurors? Is it lack of knowledge or a specific goal driven effort? And why does it seem to be predominantly in the wearable field that we are seeing the parameters stretched to the limits ? More questions I guess! There seems to be little communication and less interest between those who are defining towards those who are being defined. This is a start and a help for makers to define themselves and the boundaries of what "hand-craft" is in each field. Where is that edge? How far should it be blurred before craft isn't craft anymore? Thanks!

Posted By Juanita Girardin

July 1st, 2011

"But has the craft community owned the identity and had a strategy to define the work and promote the value of craft in today's culture? On a small scale the answer is yes, but I have not seen this happen on a macro level and in a way that is genuinely owned by the craft community."

Mr Amundsen,
I think you have this exactly backwards! Craftspeople far and wide (macro) have fought to hold onto the legacy of "CRAFT" - both the word and its robust meaning. It is the powerful few (micro) in positions of influence who have all but banned the "C" word and its resonating strength from existence.

You may be trying to express how our community is the sum of broadly dispersed individuals who make up the world of Craftspeople. We are a hard bunch to quantify and corral. But we are here, we're strong and each of us is an example of the mighty strategy that defines us. Every Craftsperson who makes the best work he or she can is working to promote the value of Craft every single day. We make it. We promote it and we definitely own it. With your help we also share it generously with our audience.

Respectfully-
James Aarons

Posted By James Aarons

July 5th, 2011

In response to the article of clothing in the arts.\\r\\n The unfortunate facts I believe many craftsman have going to a production look is the lack of education in the arts . And the society of woman who wear clothes have gotten simple and dress a little less flamboyantly.\\r\\nIt is also hard to get a sale often in a dramatic design on an occasion.Unless in a certain parts of the country.And a very high end show.\\r\\nThere is also another factor that many jurying panels usually only jury in hard edge modern designs .\\r\\n\\r\\nI paint major designs on silk and get them quilted , I try to geometrics sometimes just for jury panels , but in reality my scenes are my best sellers . There highly stylized with iridescent paints in a tasteful fine art fashion and are sought after . But I often cant get into a high end show like Acc .\\r\\nI think they think a painting is not in demand or I am to different ,.\\r\\nWhen in actuality I appeal to a group of woman that are classy , and major owners of company\\\'s and woman who win awards and they want my things for there talks or awards.\\r\\n\\r\\n23 years in this business has taught me that many panels aren\\\'t educated in diversity , and actually stay in there comfort zones .\\r\\nAnd to introduce a new classic idea is actually fresher than one may think.\\r\\nAs when people get my booth they say oh you are different , we see the same thing in plain and geometric . So then they are happy to have me .\\r\\nAnother reason things are getting simpler is the prices we have o pay the american seamstresses to sew .\\r\\nThings made in America are expensive compared to other seamstress in our country.\\r\\nEven Amish quilts are being quilted in China now , as I know he company owner has them done for them.\\r\\nShe is from Kentucky originally and almost close her business own until she set them to china.\\r\\n\\r\\n\\r\\n

Posted By Jennifer Cauffman