Kerstin Wickman

I was quite fascinated by this little book. In my working career I had responsibility (among other things) to promote Australian craft for export and, from this perspective, one quickly realises the limitations of traditional craft in the modern world. The basic issue is productivity. There is just so much that a skilled craftsperson can produce in the hours available. And, unless, they have the reputation to command very high prices for their work, then they are always going to be struggling economically. I recall, that Australia had (at the time) something like 2,000 professional potters but, in the background there were something like 20,000 would-be full-time ceramists, who indulged as a hobby, but who would like to be full-time. Basically, this army of recreational potters kept a lid on prices ....and anyway, they could not compete with the quality, consistency and design of commercial manufactures or the low prices of craft work emerging from developing countries.
The basic theme underlying this book is that traditional craft should be supported both as an art form and because it is in danger of disappearing. And organisations in western Countries (notably Sweden) have been established ..eg AFROART to support the production of local craft works and to market them in Sweden. But it seems to me , from reading these reports, that the whole chain would collapse overnight without the involvement of charity groups at all significant points...from design, to production, to transport and point of sale. Are these endeavours truly viable? I doubt it. Are they worth supporting? Yes, I think so ...even as a kind of heritage museum piece. Japan manages to sustain a lot of its traditional crafts and I think it works because: a) there is a very large indigenous population and a relatively high domestic demand. b) in proportion to the population, the number of skilled craft workers are relatively small (and consequently more in demand). c) there is a widespread understanding and appreciation of craft work in Japan. d) Individual practitioners have powerful reputations and may be designated as national treasures. e) as a consequence, the prices for individual pieces can be sold at astronomic prices but even the work of skilled craftspersons, without a great reputation, can attract high prices.
But the Craft supported by AFROART seems to lack all of these sort of positive factors.
When I looked at the situation in Australia with the idea of increasing exports, my solution was to suggest manufacturing processes to Australian artists so that they could increase their productivity...but this went against their artistic inclinations. They did not want to be manufacturers. The only real alternative was for them to become renown and be able to charge very high prices for individual works. (Or stay as poor struggling artists). So we brought in a buying mission of well heeled collectors from the USA and they duly made significant purchases. But it takes more than just one purchase to create a "living national treasure" and it didn't really change the situation.
I do wish AFROART and its ilk well but I kind of feel that their model is doomed without some national body stepping in and saying that this is an important part of our culture and we are prepared to subsidise it to see both great works of craft produced but also for the skills to survive. Oh, there are some nice photos of craft in the book. I give it two stars.… (more)