The Unending Tug-of-War: Is Craft Finally Ready for Art's Crown?
Marc Staples
For centuries, a persistent shadow has loomed over the world of craft, a shadow cast by the towering edifice of "fine art." The debate over whether an exquisitely woven textile, a perfectly thrown ceramic vase, or a meticulously carved piece of furniture can stand shoulder-to-shoulder with a canvas or a bronze sculpture has been a constant source of contention, fueling arguments about utility, technique, and ultimately, perceived value. While the lines have blurred considerably in recent decades, the core tension remains: why has craft, with its rich history and undeniable skill, been historically relegated to a secondary status, and what does this say about our ever-evolving definition of "art"?
The genesis of this divide can be traced back to historical hierarchical systems that valued intellectual pursuits over manual labor. "Fine art"—painting, sculpture, and drawing—was associated with conceptual thought, individual genius, and a detachment from everyday function. These were objects intended for contemplation, for expressing grand ideas or capturing beauty for its own sake. Craft, on the other hand, was born from necessity. A potter shaped clay to hold water, a weaver created cloth to provide warmth, a jeweler fashioned adornments for personal expression and status. This inherent utility, while vital to human existence, became its perceived Achilles' heel in the eyes of the art establishment.The industrial revolution further complicated matters. As mass production became dominant, the unique, handmade object was often seen as anachronistic or even less efficient. The Arts and Crafts movement, a powerful counter-current in the late 19th and early 20th centuries, championed the beauty of the handmade and the integrity of materials, attempting to elevate the status of skilled labor and design. Yet, even with these efforts, the "craft vs. art" battle persisted, often framing craft as merely decorative, functional, or less intellectually rigorous.
The Dilution of "Artist" and the Rise of the "Master Craftsman"
Adding another layer of complexity to this debate is the increasingly widespread, some might say indiscriminate, use of the term "artist." In an era where everyone from hobbyist bakers to content creators proudly declares themselves an "artist," the term itself has begun to feel diluted, its once lofty and precise meaning becoming vague and overused. This linguistic inflation has inadvertently chipped away at the perceived gravitas associated with truly masterful creative endeavors. (A prime example of this is "The Artist, Formerly Known as Prince". Not to take away from Prince's musical talents, but this marketing ploy became a flop of epic proportions.)
It's this very sentiment that resonates deeply with individuals like Marc Staples. A third-generation professional fine artist and craftsman with a background in painting and design, Staples consciously chooses to identify as a "Master Craftsman." For him, the term "artist" no longer carries the weight it once did. "When everyone's an artist," Staples muses, "the word loses its punch. It doesn't differentiate skill, discipline, or years of dedicated practice. For me, 'Master Craftsman' speaks to a deep understanding of materials, a mastery of technique honed over time, and a commitment to excellence in execution."
Staples' preference highlights a crucial distinction: while all craft can be art, not all art is necessarily craft in the traditional sense. The "Master Craftsman" title embodies a dedication to precision, material knowledge, and often, a lineage of learned skills that are passed down through generations. It emphasizes the journey of mastery—the thousands of hours spent perfecting a glaze, understanding the tensile strength of a fiber, or the nuanced cut of a chisel. This rigor and specialized knowledge often go unacknowledged when broadly applying the term "artist."
The Future of the Divide: A Blurring of Boundaries
Thankfully, the tide is turning. Contemporary art galleries increasingly feature textile art, ceramics, and even furniture, blurring the once rigid boundaries. Institutions dedicated to craft are gaining greater recognition, and art schools are fostering interdisciplinary approaches that encourage students to explore both conceptual ideas and material mastery.
However, the journey towards true equality is ongoing. The lingering perception that an object must be devoid of function to be considered "high art" still exists in some quarters. The challenge lies in appreciating the intrinsic value of both conceptual depth and material excellence, recognizing that a finely crafted object can embody profound artistic expression because of its utility and the skill invested in its creation, not despite it.
Perhaps Marc Staples and others who champion the "Master Craftsman" title are not just resisting a diluted term, but are actively redefining what true artistic mastery looks like—a mastery rooted in skill, dedication, and a deep, respectful relationship with materials, regardless of whether the final object holds water, adorns a body, or simply provokes thought. The "craft vs. art" debate may never fully vanish, but the conversation is certainly moving towards a more inclusive and nuanced understanding of creativity in all its forms.
For more information about our latest collections and unique metal art pieces, visit us at Lago Luna Originals.
About the author: Marc Staples is the founder of Lago Luna Metal Art Studio, and Marc Staples Sculpture. Marc is a third-generation professional artist and master craftsman based in Virginia.