Why We Make Things and Why It Matters: The Education of a Craftsman
David R. Godine, Publisher, 2013, 167pp plus backmatter
Many artists struggle for recognition, particularly those who work in media other than painting and sculpture. For artists like the Empress Larkin whose work in fiber can be seen as making stuff, and certainly for potters, the battle rages to be seen as an artist rather than “doing crafts”. Sadly, this struggle can be seen not only with the public but also with the artists’ families. I doubt that I will have much luck getting those who fail to see the art, and only see the craft, to read Why We Make Things And Why It Matters, but it would certainly help.
The book is basically a memoir from the time author Peter Korn abandoned his college work through the current day, with the author being the founder and executive director of the Center for Furniture Craftsmanship at Rockport, Maine. As with many artists who have worked with things that might be dismissed as craft, he found little understanding when he chose to pursue crafting with wood, first as a carpenter and later as a furniture maker. He quotes his father as saying, “You’ll regret doing work that doesn’t challenge your mind.”. Through a long series of towns, relationships, Hodgkin’s disease (twice), and at least two dogs, Korn discovers that life in craft is anything but a life that fails to challenge the mind. In fact, he asserts that working with wood, at least, involves intense mental activity on several levels.
Intellectuals like myself tend to see thinking as strictly a mental activity, but Korn makes the point that a combination of heart, head, and hand takes one to an additional level. “I found that even so simple an operation as cutting a mortise harmonizes intellect, manual skill, and character in a way that underscores the artificiality of the Cartesian divide between mind and body. When you add the creative component of design, craft becomes a fully integrated application of one’s capacities.”
I have, in the distant past, sometimes had the space for a table saw, drill press, and other “shop tools”, even if I didn’t pursue any craft to the level that Korn has. I feel some sense of loss as a result of using my hands only for typing.
Reading Korn’s book will not immediately provide the space and budget to pursue such things anytime soon, but it planted the seed. If you pursue any of the paths that turn ideas into physical objects, or think perhaps you should, this book will clarify many things.