Studio craft

Because of their diminished reliance on making objects for functionality, the studio craft object becomes more viable for the kind of aesthetic critical theory which occurs in fine art theory.

Glenn Adamson argues that the interesting thing about Craft is that it is perceived to be 'inferior' to art.

In his book Thinking Through Craft Adamson presents an overview of this question in five chapters: supplemental, material, skilled, pastoral, and amateur [1] Contrary to the implied second-class status of these themes, Adamson suggests that these are in fact the things that make craft significant and unique.

[2] One of the more recent developments in studio craft seems to be the emergence of a solidified do-it-yourself (DIY) movement.

These arguments have grown louder and there has been a significant trend towards listening to the voices of "DIYers," that is, makers whose training has not come from a necessarily institutional source and whose audience lies outside the narrow confines of "Studio Craft Institutions."