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The Changing Landscape of Art: When Fine Meets Decorative

Apr 13, 2025

Far from being secondary, the decorative arts, ceramics, textiles, woodwork, and furniture, were once considered among the most prestigious forms of artistic expression. As Natasha Schlesinger, art historian, curator, and advisor, notes "before the Industrial Revolution, decorative arts had comparable or even higher value than paintings and sculptures."

Examples of this abound, from the exquisite intarsia work of the 15th-century Gubbio Studiolo, commissioned by Duke Federico da Montefeltro and now housed in the Met, to the richly woven tapestries that outvalued all other art forms during the Medieval and Renaissance periods. In 17th- and 18th-century France, entire royal workshops like the Gobelins Manufactory were established to produce furniture and tapestries for the monarchy, and famed painters like François Boucher lent their talents to designing upholstery and porcelain for Madame de Pompadour and the Sèvres Manufactory. German cabinetmakers such as Georges Jacob and Adam Weisweiler crafted exquisite lacquer- and porcelain-adorned furniture for Queen Marie Antoinette, works that were as treasured as any painting.

It wasn’t until the 19th century, with the rise of industrial manufacturing and the dissolution of the French guild system, that the value of these art forms began to decline. “Furniture, textile, and ceramic arts diminished in value and quality,” Schlesinger explains, “elevating the status of painters and sculptors above the makers of other disciplines.” This shift marked the beginning of a long-standing division between so-called "fine" and "decorative" arts, which continued through much of the 20th century, with brief exceptions such as the Bauhaus movement that sought to bridge the gap.

Today, however, that divide is breaking down. In the 21st century, artists, collectors, and institutions are once again embracing materials and practices long relegated to the margins. “We can, in fact, see a blurring of the boundaries between fine and decorative arts,” Schlesinger observes, “and the return to materials like ceramics, fiber, and wood to the mainstream of art.”

This renewed appreciation is reshaping how we define artistic value and cultural significance. Museum exhibitions and private collections alike are re-evaluating the role of functional art, placing craftsmanship, materiality, and design at the forefront of artistic discourse. What was once dismissed as ornamental or utilitarian is now commanding center stage and rightfully so.

The Contemporary Shift: Breaking Down Artistic Barriers

In recent decades, contemporary artists, curators, and collectors have begun dismantling the barriers between fine and decorative arts. Textile arts, ceramics, and furniture design are viewed as integral components of the broader artistic landscape. Several key trends have contributed to this shift:

1. The Elevation of Textile and Fiber Arts

Major institutions like MoMA, Tate Modern, and the Whitney Museum have hosted exhibitions showcasing fiber artists, and contemporary creators such as Sheila Hicks, Faith Ringgold, and El Anatsui are celebrated for their innovative use of textiles.

Collectors and museums are increasingly valuing textile works for their material complexity and cultural narratives. Quilts, tapestries, and woven installations now command attention in auction houses like Sotheby’s and Christie’s,

2. The Resurgence of Ceramic and Functional Art

Ceramics are a powerful and expressive medium at the forefront of contemporary artistic practice. Clay has become a site of innovation, storytelling, and cultural commentary. Artists such as Edmund de Waal, Takuro Kuwata, and Magdalene Odundo are redefining the potential of ceramics, creating sculptural works that engage with form, materiality, and narrative on a conceptual level.

Major galleries and international art fairs including Art Basel and Frieze are increasingly showcasing ceramic works alongside painting, photography, and sculpture, affirming their place in the broader art discourse. Collectors, too, are embracing the medium’s unique ability to bridge functionality with high aesthetic value.

Natasha Schlesinger points to a pivotal moment in this cultural shift. “One of the most important moments for ceramics that has emerged to solidify its standing in contemporary art was the nomination of the ceramicist Simone Leigh to represent the USA in the 2022 Venice Biennale.” Leigh’s groundbreaking work brought unprecedented visibility to ceramics as a central mode of artistic expression on the world stage.

A new generation of ceramic artists is also capturing the attention of museums, curators, and collectors alike. Standouts include Woody De Othello, Stephanie Temma Hier, Jessica Stoller, Rose B. Simpson, and Brie Ruais, each using clay to explore identity, body, history, and space in bold, compelling ways. Together, their work underscores a larger transformation: ceramics are reshaping the future of contemporary art.

3. The Influence of Cross-Disciplinary Artists

Today’s creative landscape is increasingly shaped by artists who defy the traditional boundaries between fine and decorative arts. These practitioners operate across disciplines, blending sculpture with furniture, craft with conceptualism, utility with symbolism, challenging conventional classifications and redefining what art can be.

Designers such as Kelly Wearstler and India Mahdavi seamlessly merge function and form, producing interiors and objects that occupy the space between art and design. Meanwhile, artists like Olafur Eliasson and Ai Weiwei regularly incorporate traditional craft techniques, glass-blowing, basket weaving, porcelain, in their large-scale installations, elevating material processes into the realm of high contemporary art.

“The artistic value of an object is no longer determined by whether it is functional or ornamental,” Natasha Schlesinger notes. “It’s about the ideas, materials, and craftsmanship behind it.”

She also highlights artist Rashid Johnson as a particularly compelling example of this boundary-blurring approach. Known for his richly layered work across painting, sculpture, ceramics, video, and installation, Johnson embodies the multidisciplinary spirit of contemporary practice. His upcoming retrospective at the Guggenheim Museum further cements his status as a major voice in the evolution of cross-medium artistic expression.

The Role of Museums and Exhibitions in Redefining Art Categories

As the divide between fine and decorative arts continues to dissolve, museums and galleries are rethinking how they present and contextualize art. Leading institutions such as the Metropolitan Museum of Art, the Victoria & Albert Museum, and the Getty are increasingly spotlighting decorative and textile arts—not as peripheral, but as central to major exhibitions.

One striking example is the Monstrous Beauty: A Feminist Revision of Chinoiserie, a newly opened exhibition at the Metropolitan Museum of Art. As Natasha Schlesinger points out, the show “focuses on porcelain and its history, pairing historic pieces with works by contemporary artists,” offering a critical lens on both decorative art traditions and the colonial narratives often embedded within them. It's a vivid illustration of how curators are using decorative media not just to celebrate beauty, but to interrogate power, identity, and history.

This institutional reframing is echoed in the commercial sphere, where the worlds of luxury design and contemporary art continue to intersect. High-profile collaborations such as Louis Vuitton’s partnerships with Yayoi Kusama and Jeff Koons challenge rigid definitions of fine versus decorative art. These projects position artist-designed fashion and accessories as legitimate cultural production, blurring the lines between wearable design, collectable object, and artistic statement.

Together, these shifts reflect a cultural realignment, one that values the tactile, the crafted, and the ornamental as integral to the future of art.

The Market Impact: Growing Interest in Decorative and Textile Arts

The growing visibility of decorative and textile arts in museums and galleries is mirrored by a major shift in the art market. Auction houses like Sotheby’s and Christie’s have expanded their offerings to include fiber arts, ceramics, and contemporary furniture design, categories once considered secondary. These mediums are achieving record-breaking sales, signaling a surge in collector interest and an overdue reassessment of their cultural and financial value.

Textile-based works and ceramic sculptures are no longer niche acquisitions. They are commanding serious attention and investment. Artists such as Sheila Hicks, Olga de Amaral, Barbara Chase-Riboud, Judy Chicago, and Faith Ringgold have seen their works fetch impressive prices at auction, with collectors and institutions competing for pieces that blend historical resonance, technical mastery, and material innovation.

This momentum reflects a broader shift in the market, one that acknowledges the artistic significance of non-traditional materials and the conceptual depth of mediums like fiber, clay, and wood. Collectors are increasingly drawn to artists whose practices span fine and decorative arts, recognizing the richness and relevance of works.

What This Means for Collectors and Art Enthusiasts

For collectors, the breakdown of material boundaries offers exciting opportunities to build more dynamic and diverse collections. Instead of focusing solely on paintings or sculptures, collectors can explore textile arts, ceramics, and contemporary design objects that offer equal artistic merit.

When collecting decorative and textile arts, consider the following:

Provenance and Artist Recognition – Look for works by artists with strong reputations in both fine and decorative art circles.
Material Innovation – Many contemporary artists experiment with materials, pushing the boundaries of traditional mediums.
Historical and Cultural Significance – Textile and decorative arts often carry deep historical and cultural narratives, making them compelling additions to a collection.
Curatorial Integration – Think about how these pieces interact with existing fine art pieces in a collection. Mixing mediums can create a more engaging and layered aesthetic.

Conclusion: A Future Without Boundaries

The blurring of boundaries between fine and decorative arts is reshaping the art world and expanding our understanding of artistic value. As textile arts, ceramics, and design objects gain recognition in fine art spaces, collectors, curators, and artists alike are embracing a more inclusive, multidisciplinary approach to creativity.

In this evolving landscape, the question is no longer whether an object is fine or decorative, but rather how it engages with viewers, materials, and artistic expression. The future of art lies in its ability to transcend labels, proving that beauty, craftsmanship, and concept can exist seamlessly across all mediums.

Looking to invest in textile or decorative arts? Explore upcoming auctions, museum exhibitions, and contemporary artists pushing the boundaries of fine and applied arts.