As much I I like to read about this the category hand wringing is always one sided craft lesser than or equal to art, never an identity issue with art and is new openness with craft processes. The important question" what allowed those artists that made the jump from the limited fine craft collector market, with no resale value, to fine art market, to do so?".
I don't think there is a magic key that is going to unlock the door, allowing the fine art investors to flow in without the market of galleries, auction houses first embracing the work. So are the rarified few artists ( Betty Woodman, Dale Chihuly) beneficiaries of chance and not the harbingers of change?
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As much I I like to read about this the category hand wringing is always one sided craft lesser than or equal to art, never an identity issue with art and is new openness with craft processes.
The important question" what allowed those artists that made the jump from the limited fine craft collector market, with no resale value, to fine art market, to do so?".
I don't think there is a magic key that is going to unlock the door, allowing the fine art investors to flow in without the market of galleries, auction houses first embracing the work. So are the rarified few artists ( Betty Woodman, Dale Chihuly) beneficiaries of chance and not the harbingers
of change?
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