I come from a long line of thrifters, bargain hunters, and very selective collection builders. Growing up, I noticed that it was always the piece with a special quirk, an evident quality, or the exact right fit to an open-ended home-decorating puzzle that was purchased. Now that I have my own home to curate, I gravitate toward picture frames, unique candlesticks, and a good basket when assessing garage sales and thrift or antique shops. In putting together this issue with its Gallery Guide focus, I have taken the chance to reassess the role of collecting in my own ethos on objects and making. The mugs, cups, plates, wall works, small sculptures, and tiles I have accumulated over the years—my ceramics collection—hold a different place in my mind and home than those second-hand treasures I covet. Perhaps it is their more intentional acquisition, my knowledge of their makers or insight into the processes of their making. Perhaps it’s the memories associated with each piece that create a personal provenance that can be revisited with its use. As I continue to work through the rationale behind this thinking, I wonder if we all, as artists, have more complex relationships with the objects, ceramic or otherwise, we’ve collected in our lives, homes, and studios.
Louise Rosenfield asserts that all ceramic artists are collectors and goes on to offer advice on best practices. Rosenfield shares her thoughts in a Q&A article in which we ask her to reflect on her decades of collecting ceramic art. She notes the importance of documenting collected pieces, a critical factor in the success of her collection’s transition to the Everson Museum of Art, which now maintains a selection of functional pottery in their immersive and hands-on café.
Susan McHenry describes the sculptural and functional work of Wade MacDonald. MacDonald pulls inspiration from architecture and design to make ceramics that reframe ideas of connection and the built environment. As shown in the installation below (1), MacDonald’s work operates in a compelling dynamic with the standards of the traditional gallery setting, drawing the viewer’s attention through intentional incorporation of pedestals and vitrines.
Lubna Chowdhary, described by Tim Saunders and whose work is shown on this issue’s cover, is renowned for her use of bold color and shape. Often commissioned for public installations or collaborations with architects, these works enrich their surroundings through their heightened formal qualities and craft.
Before sharing her process for handbuilding a mug with textural details (2), Clare Unger cites the makers in her family as integral to her understanding and appreciation of objects. From pots made by her great, great uncle William Staite Murray (of the British Studio Pottery movement) to textiles stitched by several women in her family, the gift of these items as small collections continues to impact her thoughts on mark making.
In this issue’s Studio Visit, Judd Schiffman explains the importance of fostering genuine and reciprocal relationships with galleries. Maya Rumsey shares an unexpected source for transporting pots to and from an exhibition or event. Finally, if you are inspired to seek out ceramic work to view or acquire for your own collection, turn to our Gallery Guide listing. This resource includes hundreds of galleries that showcase ceramic art and is organized by location, so be sure to refer to it when planning trips near or far. Enjoy!
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I come from a long line of thrifters, bargain hunters, and very selective collection builders. Growing up, I noticed that it was always the piece with a special quirk, an evident quality, or the exact right fit to an open-ended home-decorating puzzle that was purchased. Now that I have my own home to curate, I gravitate toward picture frames, unique candlesticks, and a good basket when assessing garage sales and thrift or antique shops. In putting together this issue with its Gallery Guide focus, I have taken the chance to reassess the role of collecting in my own ethos on objects and making. The mugs, cups, plates, wall works, small sculptures, and tiles I have accumulated over the years—my ceramics collection—hold a different place in my mind and home than those second-hand treasures I covet. Perhaps it is their more intentional acquisition, my knowledge of their makers or insight into the processes of their making. Perhaps it’s the memories associated with each piece that create a personal provenance that can be revisited with its use. As I continue to work through the rationale behind this thinking, I wonder if we all, as artists, have more complex relationships with the objects, ceramic or otherwise, we’ve collected in our lives, homes, and studios.
Louise Rosenfield asserts that all ceramic artists are collectors and goes on to offer advice on best practices. Rosenfield shares her thoughts in a Q&A article in which we ask her to reflect on her decades of collecting ceramic art. She notes the importance of documenting collected pieces, a critical factor in the success of her collection’s transition to the Everson Museum of Art, which now maintains a selection of functional pottery in their immersive and hands-on café.
Susan McHenry describes the sculptural and functional work of Wade MacDonald. MacDonald pulls inspiration from architecture and design to make ceramics that reframe ideas of connection and the built environment. As shown in the installation below (1), MacDonald’s work operates in a compelling dynamic with the standards of the traditional gallery setting, drawing the viewer’s attention through intentional incorporation of pedestals and vitrines.
Lubna Chowdhary, described by Tim Saunders and whose work is shown on this issue’s cover, is renowned for her use of bold color and shape. Often commissioned for public installations or collaborations with architects, these works enrich their surroundings through their heightened formal qualities and craft.
Before sharing her process for handbuilding a mug with textural details (2), Clare Unger cites the makers in her family as integral to her understanding and appreciation of objects. From pots made by her great, great uncle William Staite Murray (of the British Studio Pottery movement) to textiles stitched by several women in her family, the gift of these items as small collections continues to impact her thoughts on mark making.
In this issue’s Studio Visit, Judd Schiffman explains the importance of fostering genuine and reciprocal relationships with galleries. Maya Rumsey shares an unexpected source for transporting pots to and from an exhibition or event. Finally, if you are inspired to seek out ceramic work to view or acquire for your own collection, turn to our Gallery Guide listing. This resource includes hundreds of galleries that showcase ceramic art and is organized by location, so be sure to refer to it when planning trips near or far. Enjoy!
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