Craft and design are art forms that teeter on the boundary of being considered art. Because of this, these mediums are an ideal case to examine how the Danish Art Foundation funds these arts and what this says about the distinction of the arts in a Danish context. This article analyses 1898 full-text applications for funding - both the ones that have been awarded funding and the ones that have been rejected - of craftsmen and designers from a five-year range. The applications are analysed with hierarchical Stochastic Block Modelling and Class Specific Correspondence Analysis to reduce the complexity of the data. Using these methods, the structures of both the overall meta-field and the discipline-specific subfields become apparent, and so do the different degrees of homologies and heterologies between subfields and the meta-field and the field of art. Exemplified by four subfields, we identify four different types of homology/heterology: a full homology, a secondary homology, a heterologous artistic pole, and a full heterology. That some subfields of craft and design are homologous to the field of art while others are heterologous exemplifies the process of artification from an institutional perspective. The criteria for being considered artistic varies from subfield to subfield, with some having homologous structures to the art field, while others show a clear heterologous structure, highlighting that subfields can be autonomous from a common meta-field. Some subfields are, however, neither fully homologous nor heterologous but exhibit a mix of both logics. This article hopes to add to the discussion of methods for determining field autonomy and what fields can be autonomous from.

中文翻译：

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为成功或失败而设计：工匠和设计师在向丹麦艺术基金会申请的资金和拒绝空间上的差异


工艺和设计是在被视为艺术的边界上摇摇欲坠的艺术形式。正因为如此，这些媒介是研究丹麦艺术基金会如何资助这些艺术以及这说明了丹麦语境中艺术的区别的理想案例。本文分析了 1898 份全文资助申请 - 包括获得资助的申请和被拒绝的申请 - 来自五年范围内的工匠和设计师。使用分层随机块建模和类特定对应分析对应用程序进行分析，以降低数据的复杂性。使用这些方法，整个元场域和特定学科子场的结构都变得明显，子场与元场和艺术场域之间不同程度的同源性和异质性也变得明显。以四个子领域为例，我们确定了四种不同类型的同源/异源性：完全同源、次级同源、异源艺术极和完全异源。工艺和设计的一些子领域与艺术领域同源，而另一些子领域则是异源的，这从机构的角度体现了艺术化的过程。被认为是艺术的标准因子领域而异，有些子领域与艺术领域具有同源结构，而另一些则表现出明显的异源结构，突出了子领域可以独立于一个共同的元领域。然而，有些子领域既不完全同源也不完全异源，而是表现出两种逻辑的混合。本文希望增加对确定场自主性的方法以及哪些场可以自主的讨论。