In the chapter ‘Arts and Crafts’ he discusses the relationship between the arts and crafts and the boundaries that divide them or lack thereof: based on his experience in the United States. His biggest downfall to his argument is his lack of examples and references from other sources and mediums.

Becker's approach is fairly objective, giving a viable explanation to the topics approached. He writes that there is no clear and decisive interpretation of definition between arts and crafts and that depending on the contexts it is put into there can be a certain amount of transgression between the two worlds. Becker defines craft as the following, “In the pure folk definition the craft consists of a body of knowledge and skill which can be used to produce useful objects”. Or from the

While defining the terms of craft and skill Becker makes an evaluation of the changing boundaries between the worlds of art and craft. He labels them under two distinct titles; “Craft becomes Art” and “Art becomes Craft”. Initially a transformation from art to craft or vice-versa occurs by the invasion of the artist into the craft world for the use of mediums or processes, which become juxtaposed within their own world, ignoring utility. As Becker wrote, “Artists invading a craft want to make sure that the works they produce cannot be used as people have become accustomed to using them.” As a result of utility becoming inconsequential so does the skill involved in the process, thus craft becomes art. Such practices can also become advantageous to the artisan gaining non-conventional skills within the field.

Becker's idea of skill is one that, while not wrong, is perhaps not truly reflective of the people he is discussing. He believes it to be a mastering of ability, in both the physical and mental disciplines; which allows extra ordinary control over the craft materials and techniques. The general consensus from individuals involved in these areas seems to be somewhat contradictory of Becker's stance. The makers with the most direct line to the arts and crafts movement tend to think of craft skills as challenge, both social and aesthetic, to automated industry. In each area there are different values placed on aspects of an individual’s work and therefore there are different attitudes and ideas in respect to the definition of skill. Underlying this, most believe that the essential element is in the mind of the worker, rather than simply the manual skill involved. And equally important a strong sense of ability to exercise control over every aspect of work they do. Becker believes that the craftsman has less control over what he is making as he is more likely to have to conform to more conventional guidelines dictated by the public for utility. But so too is the artist constrained by the galleries, museums and collectors associated with their industry, although generally on a far more benign level.

Some topics in this essay:
Arts Crafts’, Tremendous Teapot’, Robert Hughes, Craft” Initially, Kevin Perkins, ATTACHMENT Becker's, Jeff Koons, arts crafts, , Jeannette Rein, art craft, craft art, relationship arts, craft world, relationship arts crafts, Robert Arneson, worlds art craft, skill involved, personal distinction, individuals personal, technical skills, values placed, individuals personal distinction,