Trying to understand Artists

I have encountered a mindset I find troubling from a professional organization that professes to "Promote Creativity, Excellence & Growth Through Education & Cooperative Spirit" and from a current pottery professor. What is that troubling attitude, you might ask? It is that only named and therefore famous (either locally, nationally or internationally) potters should be included in a show.

How do you raise the next generation of named potters if they are not given a chance to show their work?

In the case of the organization I can see it as the show that illustrated the point was to show that group's work. But there are two way to do that. You could go the route the group went having an outside jurist jury the best of the best of the group. Or you could go the other way and show the depth and bredth of the membership - both the named potters and older members and the newer members who are up and coming. If you have thirty spots and 400+memebers, shirley you could have the outside jurist determine the best in 5-6 categories and have 5-6 potters in each.

In the case of the professor, I have no idea. He seemed to view me still as a student even though it has been 5 years since I took a class and I have sold my work for most of that time. I admitmy work does still seem like some of the work of his students. But even more baffling, he lumped my husband's work inwith the students' as well. Prior to this weekend, the last time we saw this professor was at the opening of the Allison Inn and Spa. Both the professor and my husband had work in the hotel (and this is a 4 star establishment so a big deal artistically) so he has to know that my husband is developing a "name". The factoid that the professor might not be aware of is that the Husband had his plates selected (and purchased) for a new art community endevor in SE Portland. The opening of this building was attended by the art movers and shakers in Portland, including its Mayor. So why not include a piece of the Husband's in the auction for Haiti relief that is being held at the University? The only comforting thing is that the professor lumped his pottery work in the unworthy group too. He seemed to think that only his scultpural work would be worth including in the auction.

So I ask, what should the criteria used in judging work worthy of display? Should the artist's reputation be a leading factor? Or a factor at all? Should the work be judged without a name to it and by someone who can't recognize the artist's work by looking at it?

On a side note what differentiates art from craft? And what makes Oriental and, specifically, Japanese forms better than European forms?