Page 226 - Constructing Craft

Therefore, in the 1980s, when business patronage of craft increased there was

some unease within the art world. The intersection of business and art (and now
craft) suggested a commercial intention by business and raised concerns that art

would be compromised by the association with business. Craftspeople had even
more reason to be suspicious. The new relationships often required intermediaries

and invariably these people came from the art world rather than craft. The new
corporations wished to be seen as patrons of the arts and, following the advice of

‘experts’, built up collections of paintings and craft art. Conveniently, the work was

also thought to be a good investment with the added advantage that it was seen as
a physical symbol of corporate ‘social responsibility’ ‒ a contemporary mantra in the

business world.

Craft on a Grand Scale and in the Public Domain

Some forms of craftwork were ideally suited to the new environment. Larger pieces
were more in demand for the public spaces and craftspeople who produced works

that were displayed on the wall found there was a surge of interest in their work –
encouraged, in part, by a $4,000 tax concession offered to public companies for

purchasing artworks. However, craftspeople encountered the new ‘gatekeepers’ –
their work had to be validated by the ‘experts’. They were advised by those closely

associated with the corporate world, such as architects, to take a new approach to

their work if they were to be considered for commissioned work in the new
commercial environment. The experts offered their advice in the magazines that

craftspeople read, such as New Zealand Craft and the New Zealand Potter, and this
appeared to validate their work. However, as can be seen in the following cases,

while some craftspeople thrived in the new corporate environment others found
corporate support could be a frustrating experience.

Constructing Craft