The Art of Craft
By Emma Hapner, December 16, 2024
Throughout time and in many different cultures around the world, art historians have sought to understand and define the difference between “fine art” and “craft”. For example, even today we may consider some art forms like ceramics and fiber arts as crafts, while mediums like painting and sculpture are categorized as fine arts. The debate over the distinction between fine art and craft is rooted in historical, cultural, and gendered biases. This dichotomy has been a subject of scholarly discussion for decades, as it reflects broader issues of power, privilege, and the marginalization of certain artistic practices.
The Unicorn Rests in a Garden (from the Unicorn Tapestries), French (cartoon)/South Netherlandish (woven), 1495–1505
Fine art, encompassing painting, sculpture, and other traditional mediums, has historically been associated with intellectual, aesthetic, and cultural value. These art forms were often linked to public spaces and the male-dominated art academies of Europe. Craft, on the other hand, includes practices like weaving, ceramics, and embroidery, which were often categorized as functional or decorative arts. Historically, these were dismissed as “domestic” and “feminine” due to their association with home-making and utility. The distinction between fine art and craft reflects a patriarchal bias that marginalized the creative contributions of women. Processes like weaving, quilting, and needlework, which were primarily undertaken by women, were relegated to the realm of craft and excluded from the elite canon of fine art.
Weaving, as a traditionally female-dominated practice, illustrates this debate well. Historically considered a craft due to its association with textile production and domestic labor, weaving has been reevaluated through the lens of modernism and feminism. One prime example of this are the world famous Unicorn Tapestries. This series of tapestries illustrate meticulous planning, mathematical precision, and an intimate connection to materials, making it as intellectually engaging as traditional fine art practices, yet the individual artists are unknown and uncredited. I believe that the contributions made by those working in the field of “craft” are unparalleled, are essential to artistic tradition, and must be celebrated.
Quilt by Alice Bigsby-Bye
Alice Bigsby-Bye is a queer, disabled illustrator, quilter, and knitter from the UK, whose art challenges boundaries and celebrates marginalized identities. Specializing in representing queer, disabled, and gender non-conforming subjects, Alice’s work is a vibrant blend of storytelling and advocacy, offering affirming portrayals of bodies and experiences often excluded from mainstream narratives.
Through their intricate quilts, expressive illustrations, and handcrafted knits, Alice not only uplifts the disabled queer community but also engages with the broader fine art vs. craft debate. Their practice reclaims textiles and fiber art—traditionally dismissed as “craft” due to its functional origins and association with domestic labor—as a legitimate and powerful medium for fine art. By embracing the tactile, labor-intensive nature of quilting and knitting, Alice transforms these historically undervalued practices into a platform for visibility and empowerment. Their work redefines what art can be, blurring the lines between utility and aesthetics to create pieces that are deeply personal, politically resonant, and conceptually rich.
Alice’s art invites viewers to reconsider the hierarchies within the art world, while fostering pride and belonging within the disabled queer community.
Sarah Anderson is a full-time ceramic artist whose work brings whimsical characters to life through the use of sgraffito on porcelain clay. Drawing from her background in sculpture, Sarah creates narrative-driven pieces that combine the two-dimensional intricacy of carving with the three-dimensional depth of layered clay tiles. This technique allows her characters to leap off the surface, creating a dynamic, multi-layered storytelling experience. The exaggerated gestures and elongated features of her creatures, paired with vibrant colors, form a striking visual language that engages viewers and brings her colorful, whimsical worlds to life.
Thermos set by Sarah Anderson
Sarah’s work reflects a unique fusion of humor and resilience, driven by her personal experience with chronic Lyme disease. Rather than focusing on the struggles of daily life, Sarah channels her energy into creating pieces that bring joy, hope, and a sense of lightness to those who encounter them. By intertwining color, playfulness, and imaginative narratives, her art serves as a reminder of the power of joy and humor in the face of adversity.
Sarah’s work also contributes to the ongoing conversation about the boundaries between fine art and craft. Through her use of ceramics, a medium often associated with functional objects, she elevates the practice to an art form that combines technical precision with expressive narrative. Her inventive approach to surface treatment and storytelling challenges traditional distinctions between decorative craft and fine art, pushing the limits of both.
A graduate of Ball State University with a major in sculpture, Sarah has spent years honing her craft and has held the position of ceramic department chair at the Indianapolis Art Center. Her work has been widely recognized, receiving awards such as Best Teapot at the Strictly Functional Pottery National at the Lancaster, PA Museum in 2021, and has been featured in publications like Ceramics Monthly and Indianapolis Monthly. In addition to her gallery exhibitions, Sarah was also a demo artist at the 2023 NCECA conference. Her distinct, playful approach to ceramics continues to engage and inspire audiences across the country.
As we reflect on the ongoing dialogue between fine art and craft, it’s clear that the boundaries between the two have always been more fluid than fixed. Today’s artists are challenging these traditional hierarchies, blending mediums, materials, and histories to create works that defy classification. Ceramics, fiber arts, painting, or sculpture—each carries its own unique power and story.
Featured:
Alice Bigsby-Bye
IG: @disgaybled
Website: https://www.etsy.com/shop/hagstoneart/?etsrc=sdt
Sarah Anderson
