This thesis is a study of the aspect of the craft since the 1960's and its theory. The analyses the contemporary craft which has been developed into its own independent domains with various formativeness displayed, and presents the theoretical b... This thesis is a study of the aspect of the craft since the 1960's and its theory. The analyses the contemporary craft which has been developed into its own independent domains with various formativeness displayed, and presents the theoretical basis for discourse on craft. This attempt enhances the value and meaning of craft, the material, spiritual product of humans, and gives theoretical validity to it, thereby aiming at opening a new horizon of craft. To that end, I look into those aspects in the historical context that craft had been regarded as a sub-activity of art practice and inquire into the relation between art and craft, identity of craft, and craft practice, examining in the discussion of theorists the facets of craft that have been changed by the influence of anti-modernism art. The concept of art from ancient times to the point before the fine art system was established in the 18th century, covered various human activities and skilled production, but art was divided from craft, based on utility or pleasure. Modernism theory which appeared after that made craft the activity of sub-identity in the name of the purity of art form and the pursuit of autonomy. However, the aspects that craft was considered as a sub-activity of art practice, were the composition made by complex social systems such as ideals and practice, systems, and institutions, of the epoch. By the middle of the 20th century, modernism arts were criticized for making art the empty form which was distant from the world of life. Arts reacted against it and tryed to overcome the limit of modernism, which brought out the characteristics of the form or materials of craft so that craft changed and expanded its realm. Arts around the 1970s took on the notable aspects of the diversity of the media, and cross-genre, thanks to pluralism. Artists, who were seeking to have their works breaking out of stereotypes, exposed critical mind by using the craft media which had been regarded as inferior, and artisans, who were going against convention, revealed their social consciousness as artists with innovative works discarding traditional elements. The viewpoints on craft as an approach or a manner, or a way of doing something saw the process as a means for artistic expression or an instrument of social behavior. The traditional elements, viz, function and utility, could be no longer the basis of interpretation of craft, and genre could not be divided by materials and techniques, either. Even with these changes, the assessment and status of craft was tenuous due to lack of theoretical debate and analysis. In this regard, this focuses on 'craft as art' and 'craft as social practice' among diverse aspects of contemporary craft. These are what I think the representative features of the craft since the 1960s. The Craft as Art is a review on objet d´art-like craft, which artists' formative expression played its important part. The arguments of the two theorists, who have conflicting opinions on the identity of craft, though they agree that craft can not become art only by following the appearance of art, provide useful grounds for analysis of contemporary craft. Dealing with various categories as part of social practice, craft publicly denounces the social irregularities as well as leading resistance movement or protest culture. and participates in forming national identity in times of political chaos or of war, which is the aspect of craft. However, craft, which becomes a place of artistic expression, or a means of socio-political speech, with function and utility eliminated, is confusing. Those are the questions of whether or not a clear demarcation between art and craft really exist, what the objective identity of contemporary craft is, how we should define varied craft practice. In this respect, this thesis finds the theoretical frame for solving these problems from Larry Shiner. In my judge, the analysis by extensive research on cultural history is appropriate to explain the various activities in craft. Shiner characterized fine art as historical composition, supporting the unified, ancient concept of art and seeking equivalence of art. He views craft as cultural practice, a super ordinate concept, accepting everything that humans made, in the diversity of craft. He understands that culture in the sense of the fruits of material and mental process of human beings, and all human activities in culture, are to be craft. And he suggests to see craft as process, practice, and, by extension, the process within the concept of practice. This standpoint helps to clarify the value and meaning of craft and the goal contemporary craft aims for, as well as providing ample grounds for explaining contemporary craft which is wide and varied, and also ambiguous and obscure. Now the boundary between art and craft is not so certain, and art becomes an open concept that has innumerable mode and trends from a variety of perspectives. The choices of expressional materials or making techniques can not be conditions to distinguish between art and craft, art and non-art. As craft is a product of all human activities including intellectual activities, it is a product of culture matching the visible value of function and utility and the invisible value of being aesthetic at the same time. We have to accept craft as a stage of diverse cultural practice.
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