Knives are beginning to receive recognition from the fine art world. This is evidenced by knifemaker John Lewis Jensen, who was honored in June 2002 with two of his knives that were displayed in a gallery show in Denver, Colorado, sponsored by the Society of North American Goldsmiths (SNAG) and the 3M Corporation.

More than 450 art objects were reviewed for inclusion in the show, but only 92 objects (representing 75 artists) were featured. The show was held at The Center for Visual Arts Gallery, which marked the first time The Center had hosted a metalsmithing exhibition and it was the largest opening in their history.

More than a thousand people attended their opening night and many more over the course of the month-long exhibition. Suzanne Ramlyak, writer, curator, art historian and current editor of Metalsmith magazine was quoted saying, "This is one of the finest exhibitions I have ever seen." The show was called "Innovative Tools for Personal Use" and entries were required to have a function as a useful object. Jensen has tried to open the door into the art community for a long time.

His efforts to educate the public on the "art knife" were met with little success. People within the art community could not seem to grasp the concept of "art knife". A common question was, "Who would buy that?" Discouraged from the lack of respect and understanding of his platform, John spent the last few years focusing his time and energy within the knife community. His goal to create a bridge between the knife and art world was never forgotten.

When John received his acceptance into The Center's gallery show, he found a resurgence of determination to do what he could to move the art-knife movement forward. He applied for the honor of being included in Metalsmith magazine's "Exhibition in Print." This annual publication is a juried art competition that showcases 40 different artists within the metals community. Galleries, curators and collectors alike look at this competition as a barometer to guage which artists are accepted and acknowledged within the art world. Many artists careers have been launched, springboarding from their inclusion in "EiP."

This year there were more than 350 applicants. Knives have never been included in this publication, but Jensen's unwavering pursuit for the recognition of the art knife paid off. In August 2002, John was one of the 40 featured artists included in this years "EiP."

John's acceptance in "EiP" has created a stir within the art and jewelry worlds, bringing to the surface the debate over whether a knife is a suitable and/or appropriate platform for art.

This brings us to the age-old question, "What is art?" As a starting point, let's look at a few of the dictionary's definitions of art.

Art [aart] noun (plural arts) 1. Creation of beautiful things: the creation of beautiful or thought-provoking works. 2. Beautiful objects: beautiful or thought-provoking works produced through creative activity. 3. Branch of art: especially one of the visual arts. 4. Artistic skill: the skill and technique involved in producing visual representation.

From these definitions there is no doubt that a knife can qualify as a work of art. However, it is not the dictionary that defines art. It is the people. It is a subject matter that people have argued over for centuries, therefore it is very subjective to the time period and the cultural views of society. In modern-day thought there is a distinction between the "art of making an object" (craft), and what is considered "art" (idea). Today "art" is defined as a platform for ideas. Therefore, knifemaking from a current day perspective is viewed as a craft because knives thus far have been a platform for craftsmanship not a platform for ideas.

The question is, can a knife be a platform for ideas? From John's perspective the answer is yes. He was educated at Rhode Island School of Design in the field of Jewelry and Metals, where he came to understand the concept of idea based objects. At RISD, students are trained to create works based on critical thinking. This helped develop John's underlying philosophy behind his work. He looks at the art-knife as the physical embodiment of the ideas of dualism. His knives are objects that represent two opposing ideas at the same time: beauty and violence. For John this technically proves it is not impossible for a knife to hold an idea. However, this point alone does not qualify the knife as art. For the knife to be accepted as art it must be understood.

Ultimately, it is perceptiond, not definitions that constitute art. This is why art is so hard to define. In reality, it is society's overall acceptance that brings any medium to the level of art (even if the medium is not typically viewed as a platform for ideas). This opens a window for all possibilities. Many craft artists have innately understood this. They knew that the opportunity to enter into the art arena lies in the hearts and minds of the people. They have come together and created movements in order to get their form out to the public. The glass, cermaic and jewelry movements are all good examples. They have taken their medium to the people and thus created a demand for their art form.

For art-knifemakers a similar movement is essential. The art-knife field cannot afford to be insular. The only way the art-buying public is going to truly know and understand the platform is through consistent exposure outside of the knife world. Since knives are generally labeled as craft, this would be a good place to begin. The craft world is where the bridge to the art world lies. Several crafts have consciously positioned themselves within the public's eye so that they align with the art world. Many crafts can now represent both art and craft. Knives could benefit from the craft world's efforts. Jensen has made the leap into the art community through his association within the craft world. From time to time, other knifemakers have also crossed the "art" barrier, Kernal and Dan Daggett are both examples of those briefly going into the art market. But for the movement to be successful, it's going to take more than a few individuals. A good way for knifemakers to gain exposure is to use the resources available in the craft communities.

There are two well-respected organizations that offer great resources: The American Craft Council (ACC), and The Society of North American Goldsmiths (SNAG). The American Craft Council publishes American Craft Magazine. They sponsor the ACC Craft shows and give many awards and grants. They run a website, www.craftcouncil.org, and an extensive library. They also charter "The American Craft Museum" in New York City that has, on occassion, showcased knives. The other organization, SNAG, publishes Metalsmith magazine. They provide an in-depth quarterly newsletter (SNAGnews), E-mails of current events and opportunities (SNAGnet), and a website, www.snagmetalsmith.org, that includes information, opportunities, suppliers, references and links. They also hold an annual conference, which consists of workshops, lectures and gallery shows. Both of these organizations have many events and services that can support the art-knife movement.

Another place where art-knifemakers can look for support and guidance is in the specific feild of art-jewelry. The art jewelry movement has been working on transforming itself into a more modern art form since the 1940s. Jewelry as art has been slowly gaining status and acceptance over the years within certain circles. Yet, the barrier that still exists is the general public's perception, which is shaped by the commercial jewelry industry. The mass production of jewelry has blinded the public's awareness to the art-jewelry field. The movement has been working to change this perception. The art-knife movement also faces the same barrier. Thrrough the recent publicity of the art-knife, art-jewelers have begun to see the parallels.

This opens the door for knifemakers to align themselves with the jewelry world. It provides a possible opportunity for knives to ride into the art world on the coattails of the already established art-jewelry movement. There are several shows and competitions within the jewelry world that knifemakers could use to their benefit. Curators often put together theme shows thhat knives could qualify for. There are also many competitions that have broad criterias. If knifemakers are creative and careful with their presentation, knives could be included in more art shows. As people are exposed to knives within a gallery context, the more comfortable the form becomes.

Another way to shed light on the field of the art-knife is through formalized education. At this year's SNAG conference, Jensen discovered the importance of education at an art school level. Many art students were excited and wanted to learn more about the technical craftsmanship of a knife and its possibility as a form of expression. Several professors were also interested in the knife. They supported the implementation of knifemaking as a field of study. John received a number of invitations to lecture and teach workshops at different art institutions. Imagine what a generation of art-knifemakers with art school training could achieve. The inclusion of knifemaking in art school curriculum would be a true measure of the acceptance of the knife as art.

Ultimately the message is that there are many opportunities for the art-knife outside of the knife world. As a community it is important to collaborate and share information on these opportunities. Through outside exposure the art-knife form gains acceptance. Therefore, it is essential for the knife to be seen in other contexts. The overall goal is for the public to be aware, to understand and to embrace the art-knife as a medium for art. It will take time and effort to accomplish this goal. However, it would be worth it when the art-knife finally receives the recognition it deserves. Many art-knifemakers may be intimidated by the idea of a movement, yet through outside associations, a movement begins to create itself.

The good news is that the art world is slowly changing. The discourse of thinking is moving from an emphasis on message towards a focus on technique, form and function. This shift will make it easier for a knife to cross over into the world of art. For now, there may be a question mark after the word "art." However, there soon could be an exclamation mark!