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Our perceptions are often tainted by prejudices so ingrained that we are not even conscious of this when we look at something. So it is with the distinction made between art and craft. Traditionally, “craft” artists follow traditions handed down for generations, whereas “fine artists” produce work with a cutting-edge criticality—produced for a capitalist market which values unique objects and ideas. Frequently, however, in the fine arts context, well-crafted objects are confused with authentic works of art by the public. |
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Blurring The Lines – E.K.Clark
Our perceptions are often tainted by prejudices so ingrained that we are not even conscious of this when we look at something. So it is with the distinction made between art and craft. Traditionally, “craft” artists follow traditions handed down for generations, whereas “fine artists” produce work with a cutting-edge criticality—produced for a capitalist market which values unique objects and ideas. Frequently, however, in the fine arts context, well-crafted objects are confused with authentic works of art by the public.
Amaridian, is a gallery providing a platform for sub-Saharan art, which inaugurated its 2000 square-foot space on May 18th, 2006. “Amaridian” combines the Zulu word “Amadlozi” meaning “ancestral spirits” and “meridian”—the symbolic circle passing through the poles on the earth’s surface. The gallery was founded by Mary Slack and Fraser Conlon to bridge the dichotomies between Western, African and American cultures.
Combined is the spirit of traditional Africa full of magic and folklore with that of contemporary Africa influenced by Western models, exuberant colors, indigenous flora and fauna presented within a contemporary environment. Amaridian exhibits artwork which include painting, sculpture, ceramics, photography and numerous collaborations which reflect a new aesthetic presenting alternative models to those usually associated with Africa, and this mix blurs the lines between “craft” and “art,” and racial distinctions.
Consider Ardmore, an association of artists and crafts people founded by ceramicist Fee Halsted-Berning in the mid 80s and her assistant Bonnie Ntshalintshali, a daughter of a Zulu farm worker. Bonnie’s family and friends all wanted to learn ceramics. Their enthusiasm created the largest and best-known ceramic studio in South Africa and Bonnie became the leading ceramicist in South Africa. The studio produced flamboyantly colored ceramics full of fantasy and invention that went far beyond traditional models—still containing the essence of Zulu traditions, their love for nature and folklore. After an exhibition and auction at Christie’s in London, Ardmore was able to provide a good livelihood for its members.
Wonderboy, another artist in the studio with a philosophical bent, writes whimsical poems on his pottery. “Sharing life together is very important these days…” he iterates, as two elephants hold up a candlestick.
Sfiso Mzelase expresses the ravages of the AIDS crisis, in a large two foot-tall vase exuberantly painted by Roux Gwala—with blues, reds, yellows, oranges, greens and pinks. At the top of the vase, a monster with many tentacles swallows a black figure while, at the same time, he is strangling 5 other wiggling people. A series of black eyes with drooping white tears circumvent the mid-portion. Down below, orange ribbons commemorate the dead. These gutsy works belong in important collections or, better still, at the Metropolitan Museum, instead of the boring ceramics of Betty Woodman that were exhibited lately.
Monkeybiz, another community based studio provides richly colored beads to over 450 women in the township of Cape Town. The women involved with this project are creating imaginative artworks—each one a unique creation. Monkeybiz pays for every piece and—since the women work at home—they don’t need to travel and can take care of their families. It can be said that Monkeybiz has changed the face of village life in this area. There are a number of examples in the Gallery of lively beaded work. Rhinoceros by Themkosi, a two-foot, chunky creature made from yellow, orange and red beads enchants the eye.
In Southern Africa, brass and copper woven wire has been associated with high status and embellishment for hundreds of years, particularly with Zulu and Nguni groups. Recently, the use of cheaper and more available telephone wire has produced a mini aesthetic revolution. Objects can now be made much larger, in vivid color and flatter so that they can be displayed on walls like paintings, for Western consumption. It is interesting to note that colonial rulers were dismissive of the small, personal, ritual objects and did not consider them art. In recent times these works are moving slowly out of the ethnographic and craft arena and can be considered in a fine arts context.
Finally, four compelling works are worth mentioning. Two three-foot, tightly woven, concave, lace platters boggle the mind with their grace—made by the master artist-craftsman, Tembi Gigaba—designed by Marisa Fick-Jordeian. In a different vein, the exuberant, highly colored, shallow plates made by the well-known South African artist, Zama Khanyile (also from telephone wires) are filled with the flora and fauna of her daily existence. Clearly, these artists succeed in bridging the gap between craft and art, and the Amaridian Gallery is unique in representing this fresh South African vision.
