Any names? — Noble Dust
Many restaurants and homes have what I consider to be badly designed forks. I was in an Italian restaurant yesterday and ordered tagliatelle, but was shocked (shocked!) to see that my fork had short tines. Some might say that it was beautiful to look at, but if a tool is not fit for purpose, any beauty it might have is empty. Its eye-pleasing shape was superficial; for any tool, an important element in its beauty must be its functionality (and how it feels in the hand etc). — Jamal
What it might say is that conceptual art is a mistaken or ill-conceived separation of the two, that it's the exemplar of a belief in the false equation, art = [craft, skill, and technique] + [vision, emotional investment, imagination]. And this belief could be the result of the inflated status of the artist as creator, which is an ecomonic and sociological phenomenon. — Jamal
I wouldn’t call this separation “ill-conceived”, I would simply tend to regard the result as commercial art, or art produced with the intent of making money, promoting some cause, or whatever. The ‘conceptual artist’ in this case is the capitalist or boss and in this way does hold a higher status position, and reaps the lion-share of profits. It’s not just artistic concepts though, like any business it’s having access to resources that the talent lacks. — praxis
Nice silverware and cups are not art, no. Craft appears to be judged more on it's use; art on it's aesthetic appeal. Again, I'm contending that skill is key to art, but skill doesn't just mean technical ability. — Noble Dust
Craft, as an activity separate from art, aims to produce useful objects, which are more or less fit for purpose and more or less beautiful. Art aims to produce objects solely for aesthetic appreciation (which are therefore more difficult to judge).
Craft, as a part of art, is the application of traditional skills that the artist has been trained in. Or more loosely, it is the skill or technique involved in making a work of art. How important is it? I'd say very important, but it's more complicated than a linear scale of skillfulness. — Jamal
Ultimately, in a grand sense, there are no rules in music, whereas something like writing has to adhere to or at least be aware of the rules of grammar. I guess you can argue that in music you need to adhere to or at least be aware of the rules of harmony and rhythm, but I would even call that into question, personally. Music has the potential for reinventing itself way outside of the lines of its usual definition, I think. — Noble Dust
Cool story. I like the idea of being willing to let good glassware go. The transience and it's relation to your aesthetic appreciation of it; your emotional tie to it...the transience of the emotional tie. Interesting. I need to think about it. — Noble Dust
It becomes apparent that craft, skill, and technique are not the same thing, or can at least encompass a range of different and overlapping kinds of abilities. — Jamal
I wouldn't want to say that art = [craft, skill, and technique] + [vision, emotional investment, imagination], because it seems simplistic and reductive, but it might be a way of looking at it. — Jamal
I sometimes stop to wonder why this is my favourite mug or t-shirt or sword. — Jamal
What it might say is that conceptual art is a mistaken or ill-conceived separation of the two, that it's the exemplar of a belief in the false equation, art = [craft, skill, and technique] + [vision, emotional investment, imagination]. And this belief could be the result of the inflated status of the artist as creator, which is an ecomonic and sociological phenomenon. — Jamal
Similarly, there have been many more technically able guitarists than Frank Zappa or Robert Fripp, but the music of, say, Yngwie Malmsteen and Steve Vai leaves me cold. Could this be because Zappa and Fripp had other skills, not particularly involved in guitar technique, that they brought to bear on their guitar playing (harmonic awareness, note choices, etc., that they got from being composers and having a natural all-round musical knowledge and musicality)? Or do we in this case want to reach for the arty stuff to explain it: conceptual vision, emotional investment, or imagination?
Some painters are terrible at painting hands but great at other things. Can we only say they are great once they've finally managed to master hands?
It becomes apparent that craft, skill, and technique are not the same thing, or can at least encompass a range of different and overlapping kinds of abilities. One answer is that craft (and possibly technique) is the set of traditional techniques that are handed down by training, whereas skill seems to be something wider or more general. — Jamal
...the picture, when seen by some one else or by the painter himself subsequently, produces in him (we need not ask how) sensuous-emotional or psychical experiences which, when raised from impressions to ideas by the activity of the spectator’s consciousness, are transmuted into a total imaginative experience identical with that of the painter. This experience of the spectator’s does not repeat the comparatively poor experience of a person who merely looks at the subject; it repeats the richer and more highly organized experience of a person who has not only looked at it but has painted it as well. — Collingwood, R. G.. The Principles of Art .
They say that Van Gogh was not as accomplished a painter as Picasso, but I don't think we can say that he was an inferior artist. I suppose we might say that because Picasso had mastered the traditional artistic skills, he was more able to revolutionize art in the way he did. Things seemed to come easy for him; was that because of technical mastery?
Similarly, there have been many more technically able guitarists than Frank Zappa or Robert Fripp, but the music of, say, Yngwie Malmsteen and Steve Vai leaves me cold. Could this be because Zappa and Fripp had other skills, not particularly involved in guitar technique, that they brought to bear on their guitar playing (harmonic awareness, note choices, etc., that they got from being composers and having a natural all-round musical knowledge and musicality)? Or do we in this case want to reach for the arty stuff to explain it: conceptual vision, emotional investment, or imagination? — Jamal
why don't you put your aesthetic musings to work and join in the short story contest as a commentator? — Noble Dust
I think at the heart of the craft/skill/art discussion is meaning. There isn’t, or at least doesn’t seem to be, much personal meaning in craft items like chairs or pencils, whereas artworks typically are designed with personal touches. Artists intentionally choose certain colors, sounds, shapes, etc. beyond strictly what is needed for the item to be functional/useful. These choices metaphorically instill a part of the person into the item. They create meaning beyond the item’s functionality. — Pinprick
But I take your point that art is lofty and craft seems quotidian. — Tom Storm
There’s also the possibility to have a mixture of both; a functional chair that also contains embellishments meant to please the eye. This is more of a gray area, and is probably determined by how it is marketed or used/displayed. — Pinprick
There isn’t, or at least doesn’t seem to be, much personal meaning in craft items like chairs or pencils, whereas artworks typically are designed with personal touches. — Pinprick
The chords/rhythms/textures I choose when I make music are in fact very personal to me, without me even trying to make them so. — Noble Dust
I think at the heart of the craft/skill/art discussion is meaning. There isn’t, or at least doesn’t seem to be, much personal meaning in craft items like chairs or pencils, whereas artworks typically are designed with personal touches. Artists intentionally choose certain colors, sounds, shapes, etc. beyond strictly what is needed for the item to be functional/useful. These choices metaphorically instill a part of the person into the item. They create meaning beyond the item’s functionality. — Pinprick
So, if you just make a wooden chair because wood is all you have available and size it so that it seats comfortably, and don’t add any decorative details, then it is a craft work. Now, that isn’t to say that others won’t find your chair aesthetically pleasing, but that isn’t what makes something an artwork. — Pinprick
There’s also the possibility to have a mixture of both; a functional chair that also contains embellishments meant to please the eye. This is more of a gray area, and is probably determined by how it is marketed or used/displayed. — Pinprick
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