Page 15 - Constructing Craft
P. 15

Women were the mainstay of the studio craft movement. Women however, had
                   many barriers placed in their way. Before the movement expanded dramatically

                   in the 1960s and 1970s craft was often defined in gender terms. Women
                   participated in craft in the home and formed craft groups. Men went to work and

                   belonged to unions. Craft was largely a leisure activity while the ‘real’ work took
                   place away from the home.  This form of classification suggested that while

                   crafts could be a pleasant pastime it could never be seriously considered as a

                   ‘real’ job by men. The craftspeople of the studio craft movement would prove this
                   notion wrong.



                   The formation of thousands of clubs and numerous national craft organisations
                   appeared to suggest that studio craft had united and formed a solid foundation

                   for the future. The peak of this period of ‘togetherness’ was the founding of the
                   New Zealand Chapter of the World Crafts Council (NZWCC) in 1965 followed by

                   its rebirth as the Crafts Council of New Zealand in 1977. However, the
                   foundations of the Crafts Council were insecure and craftspeople struggled to

                   feel an affinity with crafts outside their own field or with those craftspeople who

                   were knocking on the door of the art world. In 1992 the Crafts Council went into
                   liquidation amidst accusations of betrayal and incompetence. Craftspeople had

                   become hopelessly divided over what craft was and where its future lay. The
                   acrimony and despair surrounding this event showed how divided the craft world

                   had become. For many craftspeople the Crafts Council had become an elitist
                   organisation that had promoted only one form of craft – craft art. It was a sad

                   reminder that like all arts or crafts movements the studio craft movement had run

                   its course.



                   A Tribute to Peter Cape



                   Craft is rarely controversial in the eyes of the wider community and the literature

                   of craft has, by and large, not disturbed this perception. Many books have been
                   written about craft but most have either explained how craft is made – the ‘how

                   to’ books – or shown craft objects with brief biographies of the most well known

                                                                             Constructing Craft
   10   11   12   13   14   15   16   17   18   19   20