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meaning a person could buy the product cheaper than hand knit it themselves. While the general public put away their knitting needles and forgot about the craft, knitting still reigned in the high fashion circles. Well known sportswear brands began using knitted designs in their collections, most notably Ralph Laurens turtleneck dresses. Now in the 21st Century a knitting revival has been underway as knitting becomes an interesting and challenging hobby for all. ‘The Art of Knitting, inspirational stitches, textures and surfaces’ by Fran Oise Tellier-Loumagne states, ‘an increase in free time has led to a major rise in interest in handicrafts’ (2005, p.8).

 

Chapter 2

There have been many arguments on whether traditional crafts like knitting are still valuable today. To come to the best conclusion on whether it is still valuable we must look at both the evidence for and against traditional crafts being valuable to make the decision and also weigh in the effects of traditional crafts on the society as a whole.         Traditional crafts value within the art world can be best looked at through the high art/ low art debate that has been on-going for decades. Some people believe that traditional crafts are not an art form whereas others believe that art can come in any shape or form including traditional crafts. In ‘High Art Down Home: An Economic Ethnography of a Local Art Market’ by Stuart Plattner. It states that, ‘…the words art and craft distinguish artists who make things that advance the viewer’s vision of reality (usually paintings…)- called high art… from craftsmen who make things that have function in daily life (…ceramics…fibre…), which are called low art or crafts’(1998, p.207). The biased explanation of high art and low art goes on to say, ‘In the most simplistic sense, this can be seen as the tension between theory and practice. Theory is abstract and more difficult to comprehend, requiring more specialised training, while practice is concrete and easily comprehensible’. The writer obviously believes that art should be broken up this way, and that crafts are simplistic where as art is much harder to comprehend. Crafts role within art is devalued in this explanation of it. Others do not believe that art should be separate from traditional crafts like this. In ‘High and Low Thinking about High and Low Art’ by Ted Cohen it states, ‘If paintings are high and pots are low, What difference does it make whether both are art?...If you think that Shakespeare is better…than The Simpsons, Why do you feel a need to say anything more than that?...Why do you feel a need to distinguish the kind of thing The Simpsons is?’(1993, p.152) Cohen’s thoughts on craft and art is that they are different but neither one is better than the other in any way, craft is a stand-alone thing. This shows that traditional crafts can be valued for what it is, Crafts. In ‘High Art Down Home’ by Stuart Plattner it says, ‘This is a contested area of culture. Artists in clay, glass, wood, fibre or metal feel that their work is unjustly devalued in comparison with paintings and sculptures, while painters and sculptures feel that craftwork has no business competing with ‘real’ art’(1998, p.208). This suggests that it is the artists 本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。