Shinoj, It is interesting the way the conversation is taking place. But there are many areas that are going un noticed in this process. first and foremost may be the way the construct of the argument against craft melas in fine arts colleges. If one change the word craft mela to art mela in those arguments, one will seem arguing for craft mela ! This binary between art and craft is around the human history for a very long time perhaps from the days of known written languages were came in the world. It starts from idea of calligraphy of words (pictorial-craft) and meaning of the words ( representation of abstract-sign) as both can imply the significance of craft and meaning . From that level the very idea of expression has many implications and consequences in human life as a result of complexity exist in the socio-cultural, economic and political construct in artistic forms. If one argue one against the other or one for the other, then one will be doing the lip service to ignorance of art history. It is not only just history but it will also have the ramification of who's history and who is reading, acceptance of it or rejection of it, linear construct of it or lateral construct of it, formalist construct of it abstract construct of it, expression of it or representation of it , interpretation of it or inference of it, appropriation of it or selection of it, celebration of it or rejection of it so on and so forth to our life and philosophy.
It is a dangerous argument that craft should not find space in art college. This was dealt extensively by William Morris about the idea of labour and dignity in aesthetic production that finally resulted into formation of Marxism. So one only has to reflect on this history to understand the complex layers of this argument.
Also let us not generalise and dismiss the bengal schools, Cholamandalam experiments as insignificant market operators of the day . If one locate them in colonial, post colonial and subaltern studies arguments and constructs, one will understand the very important role they play even today in our artistic arguments and expressions both at vernacular and global level. Even the role of art fairs and Biennales are of no less important in these critical position.
The problem of craft and art emanate unfortunately from our misnorms on a non existing binary between them today. The world has moved much beyond the concept of sign, symbol and metaphor of art, its role and function in art world and especially in art institute. One has to seriously reflect upon one’s own role if one adopt the reductionist approach of one for the other or one above the other without contextualising it in historical and theoretical construct. (although perhaps nothing wrong in it if one practice it but in an educational institute the role is beyond art practice)
It is a dangerous argument that craft should not find space in art college. This was dealt extensively by William Morris about the idea of labour and dignity in aesthetic production that finally resulted into formation of Marxism. So one only has to reflect on this history to understand the complex layers of this argument.
Also let us not generalise and dismiss the bengal schools, Cholamandalam experiments as insignificant market operators of the day . If one locate them in colonial, post colonial and subaltern studies arguments and constructs, one will understand the very important role they play even today in our artistic arguments and expressions both at vernacular and global level. Even the role of art fairs and Biennales are of no less important in these critical position.
The problem of craft and art emanate unfortunately from our misnorms on a non existing binary between them today. The world has moved much beyond the concept of sign, symbol and metaphor of art, its role and function in art world and especially in art institute. One has to seriously reflect upon one’s own role if one adopt the reductionist approach of one for the other or one above the other without contextualising it in historical and theoretical construct. (although perhaps nothing wrong in it if one practice it but in an educational institute the role is beyond art practice)
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