 |
| William Morris in 1887 |
Whether
it is for business or leisure, the idea of creating something with a variety of supplies at one’s disposal is one that dates back
centuries. It was not until the mid-19th century that crafting would be able to take on new life in a
community-type setting. England’s Arts &Crafts Movement was centered around the expression
of one’s individuality outside of the barriers that had been set by the factories of the
Industrial Revolution. One of its leading advocates was the textile designer William Morris,
who strongly believed in a need to educate the public on observing the simplicity and beauty of
the world around us (a thought that may be shared by Evan Johnston and Merrill Gilfillan). An
emphasis on new artistic styles would soon develop, as would a number of artisan groups that
began to see crafting as more than a way of life. One of the goals of this project is to gain a
greater understanding of why this is. The idea that Morris and his colleagues possessed could be
tied into our discussions and writings for the course to date. It refers to the most basic forms of
creativity, particularly those that have rarely or never have been a part of our daily routines.
While
the movement primarily focused on architecture and textiles, scholar Alan Crawford states that there were three central ideas
behind it that might have been carried over to crafting practices as a whole. The “Unity of Art”
dictates that there should be no hierarchy in this area with every creative piece considered equal.
During this time period, the decorative works that Morris specialized in were considered one of
the lowest forms of creativity. A “Joy in Labor” was simply the belief that anyone could enjoy
what they did for a living or whatever creative process they chose. As the movement’s focal
point, “Design Reform” sought to improve existing designs, particularly when public
consumption was involved. One of the clearest explanations of how this might all relate to our
project is given by Crawford. “I see the Arts and Crafts movement as a late episode in the history of
Romanticism. It upholds the imagination over reason, feeling over intellect, and the organic over
the mechanical” (24).
Craft
fairs are much more fluid in their structure. Apart from the event organizers,
it is highly unlikely that there is a hierarchy of any
kind. There is a freedom to make, display and sell just about anything. Feedback from potential buyers
and fellow sellers becomes crucial, as it may determine one’s plans for future gatherings. In
addition to shows, the internet has opened an additional outlet for putting one’s creative work
out in the open. Online communities such as Craftster allow for the quick trading of tips and
the presentation of step-by-step tutorials. Etsy and other online marketplaces take this further, but
the interaction between individuals runs the risk of being strained. From the knowledge we
currently have on the subject, we see that some type of interaction is required, no matter how and
where the show is taking place.
Crawford, Alan. "Ideas and Objects: The Arts and Crafts Movement in Britain." Design Issues 13.1 (1997): 15-26. Print.
No comments:
Post a Comment