Thoughts from a recent graduate: we must protect the title for craft artists

There are more opportunities for me as a newly graduated ceramicist if I use the title visual artist rather than craft artist, and this is despite society’s renewed interest in (artistic) crafts.

I graduated from the Royal Academy’s programme for crafts on Bornholm in 2021, and have since worked as a ceramicist.

As a craftsperson, when I write grant applications, talk to peers and people outside the industry, I experience the importance of being able to define my work. I realise that I and some of my newly trained colleagues do not stand confidently and proudly on the title ‘craft artist’ (kunsthåndværker).

During my training programme on Bornholm, craftsmanship was not a main focus. It was far more important to be sharp in design and art processes: to become good at developing ideas, creating a whole, expression and story.

My experience as a ‘new professional’ is that there is more prestige in the title of artist, more economy and recognition than the title of craft artist. I see this reflected in the fact that it is ‘easier’ to gain access to foundations, galleries and art in the public space through the title ‘artist’. As a concrete example, there is the Danish Arts Foundation’s ‘art in public spaces’ programme, which is managed and financed by the Danish Arts Foundation’s Grant Committee for Visual Arts.

I hear of colleagues using alternative titles like material-based artist or ceramic designer as a kind of replacement for craft artist. I think it’s important to hold on to the concept of craft artist in order to continue the long tradition and history of our work. We must protect the professionalism that the title ‘craft artist’ carries with it. Also to maintain the diversity that is created by the fact that the artistic scene contains many fields. But without being looked down upon, of course.

So what does it take to change the hierarchisation of the art fields in Denmark?
Design programmes have a responsibility to unfold the concept and retain the term craft artist for the students.

Those of us already working in the intersection must take ownership of the concept and stand firm on the title of craft artist, so that there are some good examples of experimental practices that can help pave the way.

And most importantly, there needs to be political changes to our governmental funding system so that craft artists are included on equal footing with visual artists under the Danish Arts Foundation.