ABSTRACT
A functional craft object on a gallery pedestal is an animal in a cage–divorced from its habitat. What started out as a curatorial attempt to restore the craft object to its functional context resulted in an unintended experiment in what the public perceived as appropriate gallery behaviour. What was essential to the curatorial strategy was that the educational objects had a discrete and well-defined viewing space away from the craft objects. Objects of inspiration and objects that explain process encourage visitors to linger in exhibitions and revisit craft objects on display for a rewarding second look. Craftspeople wanted the status accorded to professional artists; wanted to be able to charge prices equivalent to the art world or at least see their cherished objects, which they had invested with so much energy and time in their studios, on the museum pedestal.
