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History and Development of Crafts
Originally coined during medieval times in Europe, the term "Craft Guild" refers to an occupational association which typically consisted of all the artisans (and sometimes the suppliers, retailers and wholesale merchants) involved in a specific branch of industry or commerce. Largely developed after 1250, Medieval craft guilds (eg. for goldsmithery and metalwork) varied little in their general organization. Each had an assembly of all members, which possessed some rule-making authority, but real control lay in the hands of a few top officials and a council of advisors. A typical Guild was divided into three categories: Masters, Journeymen and Apprentices. In the wealthiest trades, a guild might also have an inner circle of Master Craftsmen. The main economic aim of craft guilds was to achieve a complete monopoly over everyone involved in the profession, in order to protect and promote the financial interests of their members, but this was rarely achieved. Generally, there were too many competing guilds, and too much state interest for this to occur. For example, from the 15th century onwards, rules regarding apprenticeship and key areas of guild policy became the target of State intervention. As a result, from the late 16th century onwards, the power and activity of craft guilds began to decline: a process accelerated by the standardization and mass-production techniques introduced by the Industrial Revolution, as well as the emergence of regulated companies and other associations. Guilds were finally abolished in France (1791), Rome (1907) Spain (1840) England (1835) Austria and Germany (1860) and Italy (1864).
The disappearance of craft guilds signalled the end of master-craftsmanship as an integral part of industry and commerce, and its replacement with machine-tool dexterity in both factories and workshops. This issue - the redundancy of individual hand-based craft skills, and the emergence of mass-production methods to produce faster, cheaper but less "beautiful" products - informs much of the debate surrounding the inherent value of crafts. The first reaction against this mechanization was the Arts and Crafts Movement, which gathered momentum during late Victorian times.
East Asian Arts and Crafts
Asian art - embracing works from India, China, Korea and Japan - is noted for its mastery of different types of art. Lacquerware, jade carving, bronzes, pottery, porcelain, Buddhist sculpture, silks and other textiles, were just some of the artforms mastered in Eastern Asia. For more, see: Chinese Art (c.1700 BCE - 2000 CE); Korean Art (c.3,000 BCE onwards) and Japanese Art.
Arts and Crafts Movement (Flourished c.1850-1900)
The Arts and Crafts Movement was a social and aesthetic movement of the late 19th and early 20th century that advocated good design and craftsmanship at a time of increasing mechanization and mass production. Mainly concerned with architecture and the decorative arts the movement originated in Britain but also had a significant impact on the continent and in America. No particular style was associated with the movement, aside from general "folk art", but there was an emphasis on "honesty" - on producing products that showed clearly what they were made of and how they worked. This often involved the use of plain materials and surfaces, and has had a lasting influence on modern design.
The movement's name came from the Arts & Crafts Exhibition Society, founded in 1888, but it's origins go back to the 1850s ideas of John Ruskin (1819-1900). Ruskin abhorred the type of highly decorated machine made products that dominated the Great Exhibition of 1851 (which led to the foundation of the Victoria and Albert Museum) and believed that the beauty of medieval art sprang from the pride that medieval artists had in individual craftsmanship. His ideas had a huge influence on William Morris (1834-96) who, via his decorative arts firm, set about the recreation of hand industry in a machine age, producing a range of textiles, printed books, wallpaper, furniture and other items. Commercially and aesthetically, his work was a triumph, but he failed completely in his idea of producing art for the masses because only rich people could afford his products. Even so, his ideas strongly influenced craftsmen and teachers, leading to the foundation in the 1880s of various bodies to promote Arts and Crafts ideas including the Artworkers Guild (1884), which aimed to increase understanding and collaboration between different branches of the visual arts.
The Arts and Crafts movement also inspired designers, like Henry van de Velde, as well as styles such as Art Nouveau, Art Deco, the building of the Honan Chapel (1916) in Cork, the Dutch De Stijl design group, the Viennese Secession movement, the Deutscher Werkbund, the Wiener Werkstätte, and eventually The Bauhaus Design School. Some art historians even regard it as a precursor of Minimalism, whose pure forms found their way into architecture, painting, sculpture and many areas of applied art.
In America, there were a series of Arts and Crafts-inspired styles. "The Craftsman," a magazine published by cabinet-maker Gustav Stickley articulated a number of American craft concepts which had significant influence on Frank Lloyd Wright and later American craftsmen, artists and architects. Another crafts style was the Roycroft movement, established in 1895 by Elbert Hubbard, as a community of artisans along the lines of a Medieval European guild in upstate New York. Mainly concerned with creating ornate books, it also produced a range of furniture and metal products. The 20th century studio crafts movement originated in a number of new crafts programs established during the 1900s. In 1901, for example, the first ceramics art school was founded at Alfred University in New York. In the same year, the first metal arts class was launched at the Rhode Island School of Design in Providence, followed two years later by the first textiles class.
After the end of World War I, Europe gave birth to a variety of new design styles, including: De Stijl, The Bauhaus School and Art Deco; the latter being embraced by numerous American architects and designers. Also, during the Depression era of the late 1920s, early 1930s, the US Federal Works Progress Administration continued funding crafts as well as public works and murals, in order to keep workers occupied. This permitted crafts to survive at a local level, while the incorporation of more craft courses into third-level arts programs helped to promote crafts at a national level. ..... READ MORE HERE. ... AND HERE
OH MY GOODNESS ... Trust Dr Google and you'll get this vacuous nonsense
"What Is Craft?
A craft or trade is traditionally a hobby or an occupation that requires skilled workers to produce an item. Crafts can include weaving, carving, pottery, embroidery, macrame, beading, sewing, quilting, and many other forms.
Historically crafts were made by a craftsperson; a title applied to people who were occupied in the small-scale production or maintenance of goods. Craft may also be referred to as “handicraft,” with their hand-made nature distinguishing them from other mass-made, readily available products."
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VIDEO ...https://www.youtube.com/watch?v=0UanrxiFWGU
The Tin Sheds was the common name of the Sydney University Art Workshop, an Australian art workshop in Sydney, New South Wales, founded in 1969. Its name lives on in the Tin Sheds Gallery at the University of Sydney School of Architecture, Design and Planning. Groups such as Optronic Kinetics and the Earthworks Poster Collective operated out of Tin Sheds.
History
Tin Sheds was founded in 1969 by artists Donald Brook, Marr Grounds and his wife Joan Grounds as an autonomous and informal venue on the grounds of Sydney University. The name was given because the workshop occupied some old CSR sheds in the university grounds. Officially designated as a place for students to study and practise the methods of the old masters, the founding artists and other tutors encouraged students of the arts, architecture, and engineering students (and anyone else) to dream and create all manner of artworks; it was a "nursery for conceptual art. They tried to understand and define the notion of art, and stayed open 24/7. There was a radical element that intimidated some of the other students.
Renowned sculptor Bert Flugelman was coordinator of Tin Sheds from the beginning until 1973. He became a lifelong friend of Brook.
Bernard Smith was involved with the workshop, and wanted to change the name to Fine Arts University Workshop.
Some experimented with computer graphics and other forms, leading to the emergence of Optronic Kinetics in 1970.
The Earthworks Poster Collective was based at Tin Sheds for the whole of its existence, from 1972 to 1979. During this time, Tin Sheds was officially known as the Sydney University Art Workshop.
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