A Theory of Craft: Function and Aesthetic Expression
What is craft? How is it different from fine art or design? In A Theory of Craft, Howard Risatti examines these issues by comparing handmade ceramics, glass, metalwork, weaving, and furniture to painting, sculpture, photography, and machine-made design from Bauhaus to the Memphis Group. He describes craft's unique qualities as functionality combined with an ability to express human values that transcend temporal, spatial, and social boundaries. Modern design today has taken over from craft the making of functional objects of daily use by employing machines to do work once done by hand. Understanding the aesthetic and social implications of this transformation forces us to see craft as well as design and fine art in a new perspective, Risatti argues. Without a way of understanding and valuing craft on its own terms, the field languishes aesthetically, being judged by fine art criteria that automatically deny art status to craft objects. Craft must articulate a role for itself in contemporary society, says Risatti; otherwise it will be absorbed by fine art or design and its singular approach to understanding the world will be lost. A Theory of Craft is a signal contribution to establishing a craft theory that recognizes, defines, and celebrates the unique blend of function and human aesthetic values embodied in the craft object.
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A theory of craft: function and aesthetic expressionUser Review - Not Available - Book Verdict
This scholarly work lays out reasons for the historical dichotomy in Western philosophy between fine art and craft. Risatti (art history, emeritus, Virginia Commonwealth Univ.; Postmodern Perspectives ... Read full review
PRACTICALFUNCTIONAL ARTS AND
NATURE AND THE ORIGIN OF CRAFT OBJECTS
AESTHETIC OBJECTS AND AESTHETIC IMAGES CHAPTER 20 A HISTORICAL PERSPECTIVE OF CRAFT AND 305 CHAPTER 19 HAND M...
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abstract actual aesthetic qualities appearance applied function applied objects argue art object art’s artists Barcelona Chair baskets beauty beholder century ceramic chair communicate concept container craft field craft objects craftsman craftsmanship creative critical culture decoration Duchamp example exist experience expressive FIGURE fine art fore-understanding formal functional objects Gadamer glass handmade Heidegger human body Husserl idea important intentionally jewelry Jun Kaneko Kant Kant’s look machine-made maker man-made things Marcel Duchamp matter modern Museum nature nonfunctional objecthood original Oxford English Dictionary painting Peter Voulkos philosophical physical form physical function physical objects physiological necessity practical purpose question Reader-Response Criticism realm referred reflected relation relationship Renwick Gallery Sam Maloof sculpture sense shape signified signs simply social specific status Studio Craft Susan Cooper technical knowledge technical manual skill technique theory tion understanding understood utilitarian vases viewer visual art word workmanship