Many scholars who examine systems of status in art worlds such as film, fashion, and cuisine, have drawn on the analytical and folk categories of art and craft to explain hierarchy in these sites. As Becker argues, art is used to describe “higher status” products made for creative purposes, while craft is defined first by its function, and creative concerns are secondary. However, as art worlds continue to be defined by innovation, and, in pursuit of that innovation, expanded variety, perhaps these polarized categories of art and craft are not entirely distinct, nor do they represent the same institutionalized hierarchical meanings in all sites of creative work. In this article, I draw on analysis of 1380 restaurant reviews and 120 in-depth interviews with critically celebrated chefs to understand how creative workers use categories of art and craft (and the distinctions between the two categories) to define creative work that exists between the worlds of art and craft. I find that producers differentially interpret the meaning of art and therefore differentially conceptualize their work as art, craft, both, or neither of the categories. I detail the variations in these conceptual interpretations to illuminate the ways in which creative producers define both the categories and the dimensions of belonging by which they determine their work's inclusion in (or exclusion from) a particular category. I find that, contrary to the dominant theories of art and craft, chefs embrace association with both art and craft, often together, suggesting that the traditional status hierarchies that these concepts have symbolized may be shifting and that the concepts themselves may not be mutually exclusive in all creative work.

许多研究电影、时尚和美食等艺术界地位体系的学者都利用艺术和工艺的分析和民间类别来解释这些场所的等级制度。正如贝克尔所说，艺术被用来描述为创意目的而制作的“更高地位”的产品，而工艺首先由其功能定义，创意问题是次要的。然而，随着艺术世界继续被创新所定义，并且在追求创新、扩大多样性的过程中，也许这些两极分化的艺术和工艺类别并不完全不同，它们也不代表所有创意场所中相同的制度化等级意义工作。在本文中，我利用对 1380 条餐厅评论的分析和对著名厨师的 120 次深度访谈，了解创意工作者如何使用艺术和工艺类别（以及这两个类别之间的区别）来定义存在于艺术和艺术世界之间的创意作品。工艺。我发现制作人对艺术的含义有不同的解释，因此将他们的作品不同地概念化为艺术、工艺、两者或两者都不是。我详细介绍了这些概念解释的变化，以阐明创意制作人定义类别和归属维度的方式，他们通过这些类别和归属维度来确定他们的作品是否包含在（或排除在）特定类别中。我发现，与艺术和工艺的主流理论相反，厨师们接受与艺术和工艺的联系，