What is Craft?
Collect 2020
“The Crafts Council has pioneered the public awareness of contemporary craft through Collect as well as its national collection and wider work. We’re incredibly proud of Collect as it continues to demonstrate its pioneering leadership and authority by championing craft in an art fair context and more recently challenging the contemporary art world to dip its toe and open-up minds. And it is extremely pleasing to see the influence Collect has had and how craft, particularly new, modern and contemporary craft is rightly taking centre-stage across so many other creative platforms from fine art to design to architecture and interiors.” — Isobel Dennis
Traditionally craft has been placed in polarity with art, the perception being that it is something “quaint”, something altogether so different from art that it must not be displayed alongside it, within the hallowed halls of heritage or institutional galleries. It stems from the eighteenth century distinction between high art (with a capital A) and utilitarian craft, which tends to mean that obviously functional items do not qualify as art. The distinction rests precariously on the proposition that fine art is valuable for its own sake — art pour l’art — while craft occupies a lower plain because of its utilitarian function. For simplicity’s sake, the world is often seen in terms of dialectics, binaries, polarities and opposites, but in the context of contemporary visual art and crafts such a reductive and simplistic outlook is at best unhelpful and at worst, simply not true. The definitions we have for art and for craft come mainly from art history, an area of academic study which from the mid-nineteenth century has been somewhat slow to advance; neglecting or even deliberately ignoring certain practices, such as craft and, to a lesser degree, design, decorative arts and architecture. Since the concept of artist-as-genius emerged in the Renaissance, through the Victorian Age, Modernism and the creation of art history as a discipline, those who produce high art attain a higher status than those who produce utilitarian objects or crafts. In many ways the art-craft dichotomy serves to promulgate an unequal hierarchy of status, for e.g. it creates and sustains class differences; one deeply embedded function of high art is the aggrandizement of power and privilege. Through the progressive institutionalization of art in museums, and its commodification in galleries, art has been taken away from its practitioners, the artists, and has now become the almost exclusive domain of academicians, historians, critics, curators, theoreticians and art bureaucrats.
This division between art and craft exists largely at the level of institutional academia and, traditionally, art practices and movements have been ever more inclusive in their approach. The Arts and Crafts Movement, the Bauhaus and most avant-garde manifestoes have been advocates of the bond between art and life; they sought to redefine those relationships, and in doing so, to challenge preconceived notions in art, and the way in which it is viewed. Early in the twentieth century, Marcel Duchamp (1887-1968) showed that any object can potentially be a work of art. Joseph Beuys (1921-1986) built on that theory, with his expanded concept of art, believing that any activity — breathing, walking, whispering sweet nothings into the ear of a dead hare — could be art. If one accepts this premise, anything and everything craft can also be art, insofar as craft is simply another category within art, like painting, sculpture, photography, design, architecture, etc. There was a time when what has been termed “primitive art” — a rather vague (and unavoidably ethnocentric) description which refers to the cultural artefacts of “primitive” peoples — was rarely seen in major museums; now it attracts the same exhibitions, academic studies and audiences as those works included in the so-called canon of great Western art (of course, with regards the latter, critics and curators are constantly changing the criteria of what should, and shouldn’t be, included). To an extent it’s these cultural brand names that determine what will be written in and out of art history. Even a simple prefix, judiciously placed, for e.g. “new” in front of “portraiture”, can reignite public interest in an ailing genre. Politically speaking, so as to resist marginalisation and to fend off the spectre of institutional neglect, craft must position itself so as to be part of art. In order to be considered part of the pantheon of high art, and to be taken seriously by museums, craft must explain itself better and to demonstrate its relevance to society and contemporary culture. Collect 2020, the Craft Council’s international art fair for “modern” craft seeks to do just that; amplifying the profile and sales of collectible craft alongside promoting the very best galleries and artists in the discipline. We spoke to Isobel Dennis, Collect Fair Director about craft and its place within the world of contemporary art and design.
Cabinet of Curiosities, blown and cast glass in a painted wooden frame (2019) by Steffen Dam
What was it that drew you to a career in the arts?
Isobel Dennis, Fair Director, Collect: I grew up in a creative household as both my parents were architects. (One doesn’t always appreciate the achievement of one’s parents until later in life. My mother qualifying as a chartered architect in the 1950s was far more impressive than my brothers and I ever gave credit to). My parents were both incredibly affable as people with the gentleness and intelligence that often comes with that profession. As a result, I was brought up to appreciate good design, creative practice, to look up when walking in cities, be sociable and be interested in people. They were very supportive of me applying for art school and in me pursuing a degree in 3D design at Camberwell School of Art, as it was called back then, and my love of clay. Following Camberwell, I ran my own ceramics business for about eight years before being introduced into the organising world of exhibitions and fairs when working with designer Kevin McCloud back in the late '90s. I got a real taste for working with other creatives in an exhibitions and fairs context and have been lucky enough to have been surrounded by and worked with creatives all my working life. I’ve always found my work highly rewarding and now working at the Crafts Council and as Fair Director of Collect, I continue to deepen my connection with craft and continue to work with talented, knowledgeable, intelligent people.
Craft implies function, ritual, and domesticity. How would you define contemporary craft?
Craft is all of the above and it is also humble, honest and beautiful. All these qualities contemporary craft embraces to such a degree that pieces take on a quality whereby they are appreciated with the reverence, value and credibility they deserve for the quality of making, aesthetic and artistic merit they exude. Contemporary craft is also open and accessible and invites interaction with its scale, texture, material and form. One doesn’t ever feel like you need a degree in Art History to appreciate craft.
Traditionally there has been a division between art and craft at the level of institutional academia, with all its political implications. Is there a difference between contemporary art and craft?
I’m not an academic and I’m sure there may be articles written on the subject but from my personal experience the Crafts Council has pioneered the public awareness of contemporary craft through Collect as well as its national collection and wider work. We’re incredibly proud of Collect as it continues to demonstrate its pioneering leadership and authority by championing craft in an art fair context and more recently challenging the contemporary art world to dip its toe and open-up minds. And it is extremely pleasing to see the influence Collect has had and how craft, particularly new, modern and contemporary craft is rightly taking centre-stage across so many other creative platforms from fine art to design to architecture and interiors. The Craft Council embraces the blurring of boundaries in the use of materials and techniques and recognises that it is the artists and makers who are driving this as they explore and grow in their practices. So if there was a difference before, I believe the contemporary art world is now acknowledging the importance of contemporary craft —even if it’s our job to continue our work to introduce, encourage and inform those who want to learn as well as those who think they don’t understand it.
What is it about craft in particular that appeals to you?
I’m not sure where my love of clay came from but it is just the most wonderful material and whilst I don’t make ceramics any more, I nearly always have something in my hand, or a pebble in a pocket or can’t resist feeling the texture, warmth and shape of most things. The sheer joy of making something is one to be cherished as well as the sheer joy of appreciating the work of another. Craft is inclusive, craft is beautiful, craft is extraordinary and craft enriches our lives. From a child being introduced to making at an early age to artists whose work is now sold through the likes of Phillips’ and Christies auction houses, craft for me is the ultimate leveller in life.
“Fold XXV”, mixed media (2019) by Peter Monaghan
How did Collect come about?
The Crafts Council identified that there was a clear market growing for makers producing work that was of museum quality and commanding higher purchase prices. These artists were in turn being courted and represented by galleries in a more fine art context. In the launching of Collect in 2004, the Crafts Council saw an opportunity to provide a professional platform to promote this calibre of work and forge strong relationships with galleries and dealers who form such an important role in nurturing makers and artists in this context. It remains the only fair globally to champion craft in this context and has been pioneering in its cultivating of highly specialist galleries and their artists at this level.
What sets it apart from other fairs?
The first and foremost element that sets Collect apart from other international art fairs is that it’s run by the Crafts Council and not a commercial company. In 2021, the Crafts Council celebrates its 50th anniversary so this depth of knowledge and support of the sector over this time gives the fair gravitas, authority and integrity. The Crafts Council’s goals behind the fair each year are to select and support specialist craft and design galleries and dealers worldwide who represent highly talented artists, giving unparalleled access to view and buy their exceptional work. Held at the start of the international cultural calendar, Collect’s strength and reputation has grown considerably over its 16 years as it is required that 80% of the work for sale is made in the last five years by living artists and designers. Each gallery therefore, curates their own display and commissions new pieces or a body of work especially for the fair. This focus on the truly contemporary ensures Collect is introducing exciting work into the market on an annual basis. Therefore, Collect is about the new, the modern, the contemporary and places craft in a fine art context which it truly embraces and is often outstanding within. From those using centuries-old processes to those pioneering new techniques and merging disciplines, year on year the fair attracts galleries who represent the most prolific and respected artists. The Fair offers art consultants, interiors specialists, collectors, museum curators, design practitioners and the wider public an unrivalled opportunity to meet the artists, talk to the exceptionally knowledgeable galleries and discover and invest in contemporary craft
Why Somerset House?
After five years at the V&A and ten years at the Saatchi Gallery, moving to a new venue allows the fair to evolve and grow. We considered many different types of venue suitable for an art fair such as Collect, and after much consideration, Somerset House is the right cultural fit and environment. The Neoclassical 18th century architectural grandeur of Somerset House is the perfect backdrop against which to curate and display exciting contemporary work of this calibre. In addition, what sets the fair apart is the majority of the galleries taking part will have their own room in which to curate their artists’ work in a stunning interiors setting. The layout of the fair is important to ensure a visitor’s experience is as enjoyable and inspiring as possible therefore, Collect will be taking all three gallery wings that surround the Edmond J Safra fountain court allowing easy access to the gallery spaces throughout.
How do you decide which galleries to work with and who to show?
Over its 16 year history, the Crafts Council has always engaged an advisory panel to ensure the quality and selection of galleries, and the artists they represent, is upheld. We endeavour to get a broad cross-section of knowledge, expertise and discipline on the panel and the panel changes each year. In addition to the making time frames we create as criteria for the fair as mentioned previously, there are additional criteria for the artists’ work which include: Artistic expression, originality and intellectual content; excellence in making, process and skill; deep knowledge and understanding of materials, scale, colour and texture; and a piece which demonstrates progression and recent ideas from the artist.
“Time”, porcelain casting slip (2019) by Mimi Joung
Photography, design and architecture have all been more readily accepted as art forms. Do you think Collect could change people’s preconceptions of craft?
It already has and continues to do so.
Who’s your favourite designer from the past 20 years?
Thomas Heatherwick for his incredible bravery to try anything and his love of materials. He continues to surprise and delight with his designs, so many of which have their origins firmly rooted in craft and making. A very good example would be the Olympic cauldron with its beautiful flaming petals, each one representing a competing nation, 204 for the Olympics and 164 new ones created for the Paralympics. Each 3mm thick petal was unique, designed individually, hand beaten from copper sheeting and polished by skilled craftspeople. The petals were inscribed with the name of the competing country and each nation received its own petal after the games were over. The execution was beautiful and poetic.
An object you would never part with?
Too many to mention. I have a lot of ceramics, some of which are from my old tutors from Camberwell such as Janice Tchalenko and Ewan Henderson as well as long-time friend Dan Kelly. I was the Group Director of New Designers, the graduate design event, for 14 years and always tried to buy a piece from the show each year. So, along the way, I’ve collected wonderful pieces of jewellery, ceramic, textiles and more and all because I had an emotional response to them as well as being able to meet and understand more about the maker.
The site that most inspires you?
With parents as architects I have a love of both the industrial and the traditional. I absolutely love concrete in its many forms, which is so often a disliked as a material. I think its warm and textured and can be highly sophisticated as well as edgy and new. I worked at the new Design Museum before moving to the Crafts Council and the hyperbolic paraboloid concrete roof is a marvel and defies gravity. I love the industrial home of Tate Modern but also adore the churches that pepper the city with their quiet reverence and dignity. One of my favourite is the Christopher Wren gem, St Brides church, tucked away behind Fleet Street in the City. We were married in another hidden gem which is Christ's Chapel of God's Gift at Dulwich — part of Dulwich Estate.
“Buncheong Square Bottle”, bunjang on red clay (2013) by Kang Hyo Lee
What’s your biggest indulgence?
My biggest indulgence is my family and food. Our two children are now at university and therefore are really engaging young adults who are witty and such great company. We laugh a lot and they continue to enrich our lives and challenge our thinking on a daily basis. My husband is a fantastic cook and ever since the children were tiny, we’ve taken them out every Saturday and Sunday lunchtime to enjoy and experience new food. We live in south London and are surrounded by wonderful interesting places to eat in East Dulwich, Peckham, Camberwell and Brixton.
What’s the best book you’ve read in the past year?
Alas, I read far less now than I used to but I am a big fan of Kate Atkinson and have just started to read Big Sky and read Life after Life last summer. What I have done more recently is become a real fan of podcasts, which I get huge pleasure from. One in particular is Material Matters by Grant Gibson which gives excellent snapshots of makers and their creative practices from Edmund de Waal to Tom Dixon. And for a more current affairs angle, I listen to Beyond Today on BBC Sounds.
What would you do if you weren’t working in the arts?
Gosh that is a tricky one. I’m a collaborator and an enabler and set myself high standards of delivery and professionalism. I truly thrive on the cyclical nature of fairs and in particular in the creative sector. So achieving visible results, building relationships with inspiring people as well as financial results is what drives me. Whatever it might be, I would need to feel I was contributing in a creative way and I never want to stop learning.
What’s next?
Well making the decision to move Collect to Somerset House this year has been the biggest new project that has occupied the small Collect team at the Crafts Council and will continue to as we seek out interesting galleries both here and internationally for the fair. From a Crafts Council perspective, the really exciting news is that we are transforming the entire ground floor of our magnificent building in London into a home for craft in late March this year. A programme of events, talks, workshops, and free exhibitions will explore craft and making. The inaugural exhibition, Maker’s Eye, opens late March.
Ben Weaver