This paper considers, from a personal perspective, the intersection between decorative arts, craft and sculpture and the opportunities and challenges provided by making ephemeral work, particularly in the context of museums.
There has been a tendency for ceramics to be critically isolated from sculpture and fine art in western cultures in the 20th century, and whilst there is currently a renewed interest in clay as a material within contemporary art, such work is often positioned, collected and theorised from a separate perspective to ceramics viewed in the context of craft. There is much to gain from greater integration of the two, moving away from a linear understanding of ceramics, towards an approach as plastic and three-dimensional as clay itself, and part of a broader understanding of sculpture.
How may ceramics operate as a site of live production, learning, and performance? What are the implications of documentation and the collection of ephemeral works through visual and non-visual media; such as photography, film, re-performance and writing? Materiality, land art, craft theory and museology provide useful in roads to exploring this territory and defining ways in which ceramic sculpture may be understood outside traditions of the artist as lone author, making as a studio practice and the permanence of objects.
|Conference||Association for Art History 2018 Summer Symposium: (Re-)Forming Sculpture|
|Accepted author manuscript|
|Journal||Re-Forming Sculpture (Association For Art History)|
|Web address (URL)||https://forarthistory.org.uk/our-work/case-study/summer-symposium/|