This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery.
This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery.
Laura Gray has a PhD in Art History from Cardiff Metropolitan University and is a freelance curator, writer and researcher specializing in contemporary art and craft, and twentieth-century sculpture.
Inhaltsangabe
Table of Contents Introduction Chapter One Becoming Partners? Creative Tension: Defining ceramics Sculpture: A category in danger of collapse The Art and Craft Divide An Overview of the Book Chapter Two Monumental Matters Monuments and the Collective Memory Two Approaches: The logical and the abstracted monument Ceramics in Civic Space Wheel of Fortune: Monumentalizing Stoke-on-Trent Making it Big: The monumental style Chapter Three The Numbers Game: Multi-part compositions Do Numbers Matter? Plane Thinking: Horizonal groups High Rise: Stack, build, repeat The Expressive Possibility of Repetition Clare Twomey: Master assembler Chapter Four The Art of Destruction: Ceramics, Sculpture and Iconoclasm What is Iconoclasm? Iconoclasm and Art Vases and Vandalism Out of the Ordinary: Destroying domestic ware Clay in Common Past Imperfect: The art of transformative repair Destruction as Cultural Critique Please Do Not Touch: Destruction in the vitrine Biting the hand that feeds? Iconoclasm as institutional critique Chapter Five Encounters: Ceramics on Show Thinking About Exhibitions Clay as an Authentic Material for Sculpture: The Raw and the Cooked Ceramics and Minimalism: The New White Ceramics Under Threat: A Secret History of Clay Post-Studio Practice: Possibilities and Losses Ceramics for the Home The Separation of Art and the Home Home Coming: Contemporary ceramics in domestic space Domesticating the White Cube Conclusion Radical Plasticity A Single Material Workmanship The Vessel The Current of Influence The Future
Table of Contents Introduction Chapter One Becoming Partners? Creative Tension: Defining ceramics Sculpture: A category in danger of collapse The Art and Craft Divide An Overview of the Book Chapter Two Monumental Matters Monuments and the Collective Memory Two Approaches: The logical and the abstracted monument Ceramics in Civic Space Wheel of Fortune: Monumentalizing Stoke-on-Trent Making it Big: The monumental style Chapter Three The Numbers Game: Multi-part compositions Do Numbers Matter? Plane Thinking: Horizonal groups High Rise: Stack, build, repeat The Expressive Possibility of Repetition Clare Twomey: Master assembler Chapter Four The Art of Destruction: Ceramics, Sculpture and Iconoclasm What is Iconoclasm? Iconoclasm and Art Vases and Vandalism Out of the Ordinary: Destroying domestic ware Clay in Common Past Imperfect: The art of transformative repair Destruction as Cultural Critique Please Do Not Touch: Destruction in the vitrine Biting the hand that feeds? Iconoclasm as institutional critique Chapter Five Encounters: Ceramics on Show Thinking About Exhibitions Clay as an Authentic Material for Sculpture: The Raw and the Cooked Ceramics and Minimalism: The New White Ceramics Under Threat: A Secret History of Clay Post-Studio Practice: Possibilities and Losses Ceramics for the Home The Separation of Art and the Home Home Coming: Contemporary ceramics in domestic space Domesticating the White Cube Conclusion Radical Plasticity A Single Material Workmanship The Vessel The Current of Influence The Future
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