Crafts in Society: A Constant Evolution

The Ever-Changing Impact of Crafts on Society
by Dorothy Spencer Photos by Phil Kramer

During the late 19th century, the arts and crafts movement flourished. In the wake of the industrial revolution, it revived interest in hand craftsmanship in everyday objects.Once considered an essential part of American life, limited production and pride in craftsmanship continued well into the late 1930s. But with the coming of World War II and its prosperous aftermath, handcrafted items lost their glamour, and mass-produced "modern" furnishings and utilitarian objects became objects of desire and need.

Handcrafts were mostly relegated to rural communities where "modern" products were not as easily attainable. In many cases, the term "arts and crafts" became synonymous with hobbies -- crocheted dolls, small woven and/or quilted spreads, simple pottery, and the like. However, as early as the 1940s, fledgling organizations like the American Craftsmen's Cooperative Council were established in attempts to raise the level of perception of what crafts were really about, as well as to redevelop a market.

The Slow Move Forward

Although the next 25 years would see an ongoing movement to legitimize the work of artisans, it was still a small percentage of the population that took any notice. There were very few museum exhibitions that showed crafts made after the turn of the century, and even fewer institutions that purchased those objects for their permanent collections. By the mid-1960s the word "crafts" evoked yet another type of image -- that of the Woodstock generation, with macramé vests and plant hangers, tie-dyed apparel, and heavy earthenware objects that represented the counterculture and the rejection of the materialism of "the establishment."

It would take the next two decades before the notion of crafts would find a foothold that firmly established handmade and limited production objects as well as the people that created them, into a more mainstream art world. How did this come about? In many ways both the objects and their creators have changed -- as has the market.

Spurred by a new stream of support and recognition from forward-thinking curators, and from the formation of the National Endowment for the Arts, the idea of American craft as an art form began to be seen by the late 1970s, as comparable to that which was established by the 19th century Arts and Crafts movement -- a growing professionalism with a sophistication in both design and marketing. In addition, American artisans began receiving national and international recognition. The next two decades would see a mushrooming of craft fairs; museums were exhibiting the work of artisans such as Dale Chilhuly, Annie Albers and Beatrice Wood.

Moreover, numerous medium-specific periodicals began publication. Galleries that specialized in ceramics, handmade and limited production jewelry and furnishings began to open and flourish, thus causing the public's perception of the craftsperson and the objects themselves to change -- a change which was quickly reflected in the media. Craft was no longer relegated to an occasional article on a back page.

Hard-Won Attention

Museums like the American Craft Museum and the Cooper Hewitt, both in New York, held major exhibitions, which demanded major press coverage. And in 1993, the U.S. Senate designated that calendar year as the "Year of American Craft: A Celebration of the Creative Work of the Hand." Segments of the joint resolution included statements proclaiming: Whereas the 20th century has witnessed an outpouring of creative craftsmanship, and it is appropriate that we now pay tribute to excellence in craftsmanship; Whereas the value of creative work of the hand through craft remains clear even as the most industrialized century of our history draws to a close; Whereas peerless craftsmanship, once commonly associated with American industry, is now a theme of renewed importance and interest ... With this recognition came a landslide of exhibitions, articles, documentaries and demand.

What's In a Name?

However, with this recognition and acceptance, crafts have become controversial in yet another way. As Jeremy Adamson, a curator at the Smithsonian Institution's Renwick Gallery, pointed out, "The problem is the changing meaning of the word craft. In some circles, it still conjures up silk flower arrangements, calico dolls and country wreaths, while within the museum and gallery world, crafts are a very different thing."

This leads to an entirely new way of thinking about crafts and the people who create them. Adamson finds himself and many of his colleagues turning to a terminology to describe the work of today's artisans "that's new to the general public, but not to the art historical world."

According to Adamson, the term decorative arts is being used more in museum circles to describe items such as furniture, tapestries, vessels, and the like. It does not, however, make everyone happy. "There doesn't seem to be one umbrella that fits all things. There are still people who are basically potters, while there are others who are viewed as ceramic artists. These days it seems to be mostly a decision by the individual artist/artisan to establish what he or she wants to be called."

Contemporary Crafts Define Themselves

Crafts have moved center stage in the world of collecting. Those collectors who have in the past collected "decorative arts," only purchased furniture, vessels, quilts and jewelry that were usually made, at the latest, during the first two decades of this century. But that is rapidly changing. The cause for this change reflects the inevitable cycles of design -- the demand for high tech has changed to handmade. Where turn-of-the-century arts and crafts products were once ignored, they are now hot ticket items; and, in turn, they are causing the objects made with high-level craftsmanship by many contemporary artisans to be sought after as well. "It's become financially more acceptable to acquire objects by artisans. Prestigious auction houses such as Christie's have had sales of contemporary ceramics and glass, many of which have sold for highly unexpected prices," Adamson pointed out.

The Transition in Today's Venues for Selling Craft

Ruth Snyderman of Philadelphia's Works Gallery agreed with Adamson. Snyderman's gallery, which has existed on trendy South Street for nearly 26 years, moved this summer to another Philadelphia neighborhood, Old City -- increasingly recognized for its burgeoning arts community. Why the move? "I'm finding that the level of crafts that I sell are regarded in much the same way as paintings and sculpture. I have people who come in and purchase objects that are functional but also are seen as an investment, the way any painting or sculpture is an investment. So it makes sense that these one-of-a-kind and limited production pieces be sold in the same setting as any other work of art." The Works Gallery occupies one floor of the Snyderman Gallery, a space run by her husband, Rick Snyderman, which sells mainly paintings and sculpture.

"Craftspeople used to go from store to store to sell their products," Ruth Snyderman said. "When crafts shows first started, gallery and shop owners could just buy the pieces and take them back to their stores. Now, a lot of craftspeople sell out [of their merchandise]. That's how big the business has become. In fact, with both buyers and collectors coming to these shows, I believe that there's the possibility that the gallery as we know it may become obsolete," she added. "Small galleries cannot compete with the amount of viewers and buyers that come to these craft shows. And that's only the beginning."

The latest, and by far, the largest audience for craft buyers has become television. Crafts have become very popular with television home shopping audiences. After selling crafts on specific hourly shows, it became apparent that crafts items were "a hot category," according to Amy Ferracci, who is responsible for the promotion of QVC's home products division. This past September, QVC decided, based on the success of eight-hour segments devoted to crafts and hobbies, that the channel would try a 24-hour craft and hobby day. It was highly successful, with a great many items selling out completely. Because of the response, a second and equally successful crafts day aired Feb. 26, with other days already in the planning.

Kentucky crafts advocate Phyllis George has her own program on QVC where she sells the work of mountain artisans. Equally as popular, the products on her shows sell out regularly.

Will this trend continue or will it go the way of many other art and design cycles? Jeremy Adamson believes that the next five years will bring even more changes in the world of crafts. "I see decorative arts becoming more and more important because unlike painting or sculpture, these are objects that have use and functionality. This is an aging population where home is quickly becoming the main focus of people's lives. Historically, at the turn of this century, functional yet beautifully made things were in great demand.

Now, as another century is about to begin, there is a very strong trend once again for things that will fit into one's environment, which will provide both comfort and beauty. And that's definitely what crafts/decorative arts are all about."

Dorothy Spencer is a Philadelphia-based freelance writer.