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(PDF) Two Ways of Looking at Ceramics | James Elkins - Academia.edu
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In this talk I consider the major excuses that have been given (ceramics is a “minor” art, and so forth). I conclude that it is best not to continue to fight to have ceramic art accepted in art" /> <meta name="twitter:image" content="https://0.academia-photos.com/15483/5205/5067/s200_james.elkins.jpg" /> <meta property="fb:app_id" content="2369844204" /> <meta property="og:type" content="article" /> <meta property="og:url" content="https://www.academia.edu/3248608/Two_Ways_of_Looking_at_Ceramics" /> <meta property="og:title" content="Two Ways of Looking at Ceramics" /> <meta property="og:image" content="http://a.academia-assets.com/images/open-graph-icons/fb-paper.gif" /> <meta property="og:description" content="Ceramics has only a marginal role in the history of art. In this talk I consider the major excuses that have been given (ceramics is a “minor” art, and so forth). I conclude that it is best not to continue to fight to have ceramic art accepted in art" /> <meta property="article:author" content="https://saic.academia.edu/JElkins" /> <meta name="description" content="Ceramics has only a marginal role in the history of art. In this talk I consider the major excuses that have been given (ceramics is a “minor” art, and so forth). I conclude that it is best not to continue to fight to have ceramic art accepted in art" /> <title>(PDF) Two Ways of Looking at Ceramics | James Elkins - Academia.edu</title> <link rel="canonical" href="https://www.academia.edu/3248608/Two_Ways_of_Looking_at_Ceramics" /> <script async src="https://www.googletagmanager.com/gtag/js?id=G-5VKX33P2DS"></script> <script> window.dataLayer = window.dataLayer || []; function gtag(){dataLayer.push(arguments);} gtag('js', new Date()); gtag('config', 'G-5VKX33P2DS', { cookie_domain: 'academia.edu', send_page_view: false, }); gtag('event', 'page_view', { 'controller': "single_work", 'action': "show", 'controller_action': 'single_work#show', 'logged_in': 'false', 'edge': 'unknown', // Send nil if there is no A/B test bucket, in case some records get logged // with missing data - that way we can distinguish between the two cases. // ab_test_bucket should be of the form <ab_test_name>:<bucket> 'ab_test_bucket': null, }) </script> <script> var $controller_name = 'single_work'; var $action_name = "show"; var $rails_env = 'production'; var $app_rev = '92477ec68c09d28ae4730a4143c926f074776319'; var $domain = 'academia.edu'; var $app_host = "academia.edu"; var $asset_host = "academia-assets.com"; var $start_time = new Date().getTime(); var $recaptcha_key = "6LdxlRMTAAAAADnu_zyLhLg0YF9uACwz78shpjJB"; var $recaptcha_invisible_key = "6Lf3KHUUAAAAACggoMpmGJdQDtiyrjVlvGJ6BbAj"; var $disableClientRecordHit = false; </script> <script> window.require = { config: function() { return function() {} } } </script> <script> window.Aedu = window.Aedu || {}; window.Aedu.hit_data = null; window.Aedu.serverRenderTime = new Date(1732827753000); window.Aedu.timeDifference = new Date().getTime() - 1732827753000; </script> <script type="application/ld+json">{"@context":"https://schema.org","@type":"ScholarlyArticle","abstract":"\u0026amp;amp;amp;quot;Ceramics has only a marginal role in the history of art. In this talk I consider the major excuses that have been given (ceramics is a “minor” art, and so forth). I conclude that it is best not to continue to fight to have ceramic art accepted in art history. Instead it is truest to ceramics itself to let the talk go where it seems to want to. I think there are two “natural” directions: toward abstract philosophy, and toward an engagement with the non-verbal, nonconceptual qualities of color, feel, and temperature. This was originally the keynote talk I gave at the 2002 NCECA Annual Conference. (That was probably the biggest audience I\u0026amp;amp;amp;#x27;ll ever have: 4,500 people.) It was supposed to be published in their journal, but never was. I am contemplating expanding this material into a short book; I would love to hear from NCECA members who have suggestions, or would like to see particular works or processes mentioned; and I’d also be happy to hear from publishers who might be interested. The paper is unrevised (August 2009). Illustrations have been added (April 2013).\u0026amp;amp;amp;quot;","author":[{"@context":"https://schema.org","@type":"Person","name":"James Elkins"}],"contributor":[],"dateCreated":"2013-04-08","dateModified":"2014-05-24","datePublished":null,"headline":"Two Ways of Looking at Ceramics","inLanguage":"en","keywords":["Design","Public Art","Ceramics (Ceramics)","Design Theory","Ceramics (Art History)","Materiality (Anthropology)","Materiality of Art","Ceramics (Archaeology)","Contemporary and Historical Ceramics","Ceramics","Relational aesthetics","Pottery technology and function","Community Art","Craftivism","Conceptual function","Decorating pottery with glazes, engobes, and slips.","Social 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window.loswp.willEdgeCache = false; window.loswp.work = {"work":{"id":3248608,"created_at":"2013-04-08T21:02:01.112-07:00","from_world_paper_id":null,"updated_at":"2021-01-18T06:30:04.680-08:00","_data":{"abstract":"Ceramics has only a marginal role in the history of art. In this talk I consider the major excuses that have been given (ceramics is a “minor” art, and so forth). I conclude that it is best not to continue to fight to have ceramic art accepted in art history. Instead it is truest to ceramics itself to let the talk go where it seems to want to. I think there are two “natural” directions: toward abstract philosophy, and toward an engagement with the non-verbal, nonconceptual qualities of color, feel, and temperature.\r\n\r\nThis was originally the keynote talk I gave at the 2002 NCECA Annual Conference. (That was probably the biggest audience I'll ever have: 4,500 people.) It was supposed to be published in their journal, but never was.\r\n\r\nI am contemplating expanding this material into a short book; I would love to hear from NCECA members who have suggestions, or would like to see particular works or processes mentioned; and I’d also be happy to hear from publishers who might be interested. \r\n\r\nThe paper is unrevised (August 2009). Illustrations have been added (April 2013)."},"document_type":"paper","pre_hit_view_count_baseline":145,"quality":"high","language":"en","title":"Two Ways of Looking at Ceramics","broadcastable":true,"draft":null,"has_indexable_attachment":true,"indexable":true}}["work"]; window.loswp.workCoauthors = [15483]; window.loswp.locale = "en"; window.loswp.countryCode = "SG"; window.loswp.cwvAbTestBucket = ""; window.loswp.designVariant = "ds_vanilla"; window.loswp.fullPageMobileSutdModalVariant = "control"; window.loswp.useOptimizedScribd4genScript = false; window.loswp.appleClientId = 'edu.academia.applesignon';</script><script defer="" src="https://accounts.google.com/gsi/client"></script><div class="ds-loswp-container"><div class="ds-work-card--grid-container"><div class="ds-work-card--container js-loswp-work-card"><div class="ds-work-card--cover"><div class="ds-work-cover--wrapper"><div class="ds-work-cover--container"><button class="ds-work-cover--clickable js-swp-download-button" data-signup-modal="{"location":"swp-splash-paper-cover","attachmentId":31620613,"attachmentType":"pdf"}"><img alt="First page of “Two Ways of Looking at Ceramics”" class="ds-work-cover--cover-thumbnail" src="https://0.academia-photos.com/attachment_thumbnails/31620613/mini_magick20190426-7257-1c9na1h.png?1556267503" /><img alt="PDF Icon" class="ds-work-cover--file-icon" src="//a.academia-assets.com/assets/single_work_splash/adobe.icon-574afd46eb6b03a77a153a647fb47e30546f9215c0ee6a25df597a779717f9ef.svg" /><div class="ds-work-cover--hover-container"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span><p>Download Free PDF</p></div><div class="ds-work-cover--ribbon-container">Download Free PDF</div><div class="ds-work-cover--ribbon-triangle"></div></button></div></div></div><div class="ds-work-card--work-information"><h1 class="ds-work-card--work-title">Two Ways of Looking at Ceramics</h1><div class="ds-work-card--work-authors ds-work-card--detail"><a class="ds-work-card--author js-wsj-grid-card-author ds2-5-body-md ds2-5-body-link" data-author-id="15483" href="https://saic.academia.edu/JElkins"><img alt="Profile image of James Elkins" class="ds-work-card--author-avatar" src="https://0.academia-photos.com/15483/5205/5067/s65_james.elkins.jpg" />James Elkins</a></div><div class="ds-work-card--detail"><div class="ds-work-card--work-metadata"><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">visibility</span><p class="ds2-5-body-sm" id="work-metadata-view-count">…</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">description</span><p class="ds2-5-body-sm">30 pages</p></div><div class="ds-work-card--work-metadata__stat"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">link</span><p class="ds2-5-body-sm">1 file</p></div></div><script>(async () => { const workId = 3248608; const worksViewsPath = "/v0/works/views?subdomain_param=api&work_ids%5B%5D=3248608"; const getWorkViews = async (workId) => { const response = await fetch(worksViewsPath); if (!response.ok) { throw new Error('Failed to load work views'); } const data = await response.json(); return data.views[workId]; }; // Get the view count for the work - we send this immediately rather than waiting for // the DOM to load, so it can be available as soon as possible (but without holding up // the backend or other resource requests, because it's a bit expensive and not critical). const viewCount = await getWorkViews(workId); const updateViewCount = (viewCount) => { const viewCountNumber = Number(viewCount); if (!viewCountNumber) { throw new Error('Failed to parse view count'); } const commaizedViewCount = viewCountNumber.toLocaleString(); const viewCountBody = document.getElementById('work-metadata-view-count'); if (viewCountBody) { viewCountBody.textContent = `${commaizedViewCount} views`; } else { throw new Error('Failed to find work views element'); } }; // If the DOM is still loading, wait for it to be ready before updating the view count. if (document.readyState === "loading") { document.addEventListener('DOMContentLoaded', () => { updateViewCount(viewCount); }); // Otherwise, just update it immediately. } else { updateViewCount(viewCount); } })();</script></div><p class="ds-work-card--work-abstract ds-work-card--detail ds2-5-body-md">Ceramics has only a marginal role in the history of art. In this talk I consider the major excuses that have been given (ceramics is a “minor” art, and so forth). I conclude that it is best not to continue to fight to have ceramic art accepted in art history. Instead it is truest to ceramics itself to let the talk go where it seems to want to. I think there are two “natural” directions: toward abstract philosophy, and toward an engagement with the non-verbal, nonconceptual qualities of color, feel, and temperature. This was originally the keynote talk I gave at the 2002 NCECA Annual Conference. (That was probably the biggest audience I'll ever have: 4,500 people.) It was supposed to be published in their journal, but never was. I am contemplating expanding this material into a short book; I would love to hear from NCECA members who have suggestions, or would like to see particular works or processes mentioned; and I’d also be happy to hear from publishers who might be interested. The paper is unrevised (August 2009). Illustrations have been added (April 2013).</p><div class="ds-work-card--button-container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--work-card","attachmentId":31620613,"attachmentType":"pdf","workUrl":"https://www.academia.edu/3248608/Two_Ways_of_Looking_at_Ceramics"}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--work-card","attachmentId":31620613,"attachmentType":"pdf","workUrl":"https://www.academia.edu/3248608/Two_Ways_of_Looking_at_Ceramics"}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div></div><div data-auto_select="false" data-client_id="331998490334-rsn3chp12mbkiqhl6e7lu2q0mlbu0f1b" data-doc_id="31620613" data-landing_url="https://www.academia.edu/3248608/Two_Ways_of_Looking_at_Ceramics" data-login_uri="https://www.academia.edu/registrations/google_one_tap" data-moment_callback="onGoogleOneTapEvent" id="g_id_onload"></div><div class="ds-top-related-works--grid-container"><div class="ds-related-content--container ds-top-related-works--container"><h2 class="ds-related-content--heading">Related papers</h2><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="0" data-entity-id="35528800" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/35528800/Ceramics_as_the_conveyance_of_art">Ceramics as the conveyance of art</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="69145788" href="https://uah.academia.edu/ScienceParkResearchOrganizationCounselling">Science Park Research Organization & Counselling</a></div><p class="ds-related-work--abstract ds2-5-body-sm">The concept of art has varied according to space and time perspective in each and every period and it has emerged in different forms in every culture. Artists or designers produce a wide range of forms with different materials representing the period and culture while creating their ceramics. Ceramics symbolizes a thousand-year-old endeavor as well as being considered as one of the arts. It has shed light on the history in different shapes and cultures in addition to undertaking the task of conveyance of art with original structure and formal style in the works of art. Ceramics makes identity differences thanks to background knowledge, form and decorative techniques and originality. Art is not for society's sake; it aims to relieve the tension, to satisfy pleasure, to enable people to see and hear, to use and to evaluate. Different cultures have generated new styles in their ceramics by integrating creativity into their own traditions and techniques as well as interacting with Mayan vases and pots, Greek pottery, Anatolian ceramics and tiles. Some of these impacts have been so profound in ceramics that they have been passed on from generation to generation. This paper seeks to address to the following questions: How was ceramics used in different cultures and periods with composition features such as form, decoration, motif and figure; and how has it undertaken the task of conveyance of art by investigating what features they have.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ceramics as the conveyance of art","attachmentId":55393837,"attachmentType":"pdf","work_url":"https://www.academia.edu/35528800/Ceramics_as_the_conveyance_of_art","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/35528800/Ceramics_as_the_conveyance_of_art"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="1" data-entity-id="5086606" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/5086606/Ceramics_and_Painting_an_Expanded_Field_of_Inquiry_C%C3%A9ramique_et_peinture_un_champ_de_recherche_%C3%A9largi_2013_">Ceramics and Painting: an Expanded Field of Inquiry / Céramique et peinture : un champ de recherche élargi (2013)</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="6813288" href="https://mcgill.academia.edu/VERONIKAHORLIK">VERONIKA HORLIK</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" 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href="https://www.academia.edu/8360823/Redefining_Ceramics_Through_Exhibitionary_Practice_1970_2009_">Redefining Ceramics Through Exhibitionary Practice (1970-2009)*</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="800301" href="https://manchester.academia.edu/LauraBreen">Laura Breen</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Journal of Art Historiography (revised version, May 2015), 2014</p><p class="ds-related-work--abstract ds2-5-body-sm">Since the 1960s the field of ceramic practice that developed in the wake of studio pottery has expanded to incorporate diverse uses of clay. 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Miro","attachmentId":34434800,"attachmentType":"pdf","work_url":"https://www.academia.edu/7962621/An_Essay_on_the_Semantic_Analysis_of_Reception_Aesthetics_in_the_Ceramic_Works_by_J_Miro","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/7962621/An_Essay_on_the_Semantic_Analysis_of_Reception_Aesthetics_in_the_Ceramic_Works_by_J_Miro"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="5" data-entity-id="110292139" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/110292139/Call_for_Conference_participation_Ceramics_People_and_Places">Call for Conference participation_Ceramics, People and Places</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="860399" href="https://iarh.academia.edu/JurajBelaj">Juraj Belaj</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7394238" href="https://iarh.academia.edu/TatjanaTkal%C4%8Dec">Tatjana Tkalčec</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="7119500" href="https://iarh.academia.edu/TajanaSekeljIvan%C4%8Dan">Tajana Sekelj Ivančan</a><span>, </span><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="373269" href="https://iarh.academia.edu/Sini%C5%A1aKrznar">Siniša Krznar</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Dear colleagues! We kindly invite you to take part in the 9th International Scientific Conference on Mediaeval Archaeology of the Institute of Archaeology entitled "Ceramics, People and places: the Significance of Ceramics for the Study of Social Relations in the Middle Ages", which will be held in Zagreb 6—7 June 2024. Please find more details in attached documents.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Call for Conference participation_Ceramics, People and Places","attachmentId":108386537,"attachmentType":"pdf","work_url":"https://www.academia.edu/110292139/Call_for_Conference_participation_Ceramics_People_and_Places","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/110292139/Call_for_Conference_participation_Ceramics_People_and_Places"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="6" data-entity-id="91070803" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/91070803/Relating_to_Clay_Tuning_in_to_the_Workings_of_the_Aesthetic_Dimension_in_Ceramic_Practice">Relating to Clay: Tuning in to the Workings of the Aesthetic Dimension in Ceramic Practice</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="49751657" href="https://mediaconcepts.academia.edu/PriskaFalin">Priska Falin</a></div><p class="ds-related-work--metadata ds2-5-body-xs">Aalto University publication series DOCTORAL THESES, 2022</p><p class="ds-related-work--abstract ds2-5-body-sm">Through sustained practice, creative practitioners begin to develop a relationship with the material with which they work. This kind of relating to the material accompanies aesthetic qualities that are not only perceived as belonging to the material but also recognised within the body, creating a connection between the practitioner and the material. This research emphasises the role of aesthetic qualities in creating these connections and concentrates on this level of ceramic practice, where the body's role is central in feeling, sensing and extending towards the material world. This research has developed in two phases; the research material was firstly gathered through practice-led research focusing on the subjective experience in ceramic practice, and then, secondly, the research has continued to develop from the topics identified during the first phase within a collaborative approach to conducting research. The first phase of the research included studio work, an artist residency period and a workshop. The second research phase discussed and developed the identified research topics within and through workshops in collaboration with other professional practitioners. The particular interest is in the subtle body that implies understanding a more nuanced level in material work. Here, the bodily perspective in creative practice is examined, and the discussed practice is focused on attuning to feeling and experiencing the material bringing our body's sensuous understanding to the forefront. The aim is to understand how creative practitioners begin to tune in with the aesthetics of materials and their processes within making. The research focus is framed through three directions on the body: the experiencing body, the sentient body and the performing body. The common perception of creative practice is through its outcomes; however, a practitioner's creativity that sustains a material practice is built through experiences understood in the body. What is opened up through this research is the experiential and performative dimension of creative acts in the context of ceramics. One of the main outcomes of this research is the Subtle Ground method that offers an aesthetic-driven direction in making whereby the creative practitioner's attention is directed towards the subtle body and the experiential dimension in making.This research argues that focusing on aesthetic qualities and giving attention to embodied connections can create the basis for a meaningful material relationship in the context of creative practices. Relating to material is a process that engages the body to perform and experience the felt material qualities. These felt and performed qualities in creative material work can also have therapeutic possibilities and thus widen the implications of the research results.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Relating to Clay: Tuning in to the Workings of the Aesthetic Dimension in Ceramic Practice","attachmentId":94461468,"attachmentType":"pdf","work_url":"https://www.academia.edu/91070803/Relating_to_Clay_Tuning_in_to_the_Workings_of_the_Aesthetic_Dimension_in_Ceramic_Practice","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/91070803/Relating_to_Clay_Tuning_in_to_the_Workings_of_the_Aesthetic_Dimension_in_Ceramic_Practice"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="7" data-entity-id="101048143" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/101048143/Ceramics_Collections_exploring_object_engagement_beyond_the_known_historic_models_of_clay_practice">Ceramics Collections: exploring object engagement beyond the known historic models of clay practice</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="205380354" href="https://independent.academia.edu/ClareTwomey">Clare Twomey</a></div><p class="ds-related-work--metadata ds2-5-body-xs">2018</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Ceramics Collections: exploring object engagement beyond the known historic models of clay practice","attachmentId":101695286,"attachmentType":"pdf","work_url":"https://www.academia.edu/101048143/Ceramics_Collections_exploring_object_engagement_beyond_the_known_historic_models_of_clay_practice","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/101048143/Ceramics_Collections_exploring_object_engagement_beyond_the_known_historic_models_of_clay_practice"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="8" data-entity-id="31960956" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/31960956/CERAMICS_BETWEEN_TRADITION_AND_EXPERIMENT">CERAMICS BETWEEN TRADITION AND EXPERIMENT</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="35570822" href="https://universitateadevest.academia.edu/dianaandreescu">Diana Andreescu</a></div><p class="ds-related-work--abstract ds2-5-body-sm">Ceramics is seen today as a way of inventing forms in order to express an idea. The initiation process starts in school workshops. The pedagogical approach of studying the arts of fire involves assimilating knowledge on ceramics culture, established based on information, and uses creation mechanisms to explore the compositional laws of the contemporary world. In the contemporary concept of the arts, ceramics no longer represents intrinsic matter, but imposed itself as an artistic activity with a great expressive potential. Working with clay transforms modern art that is no longer a simple storage of objects, as a recourse to tradition, but a way to participate in understanding the contemporary world and, with its own experience, in the formation of the cultural-artistic framework.</p><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"CERAMICS BETWEEN TRADITION AND EXPERIMENT","attachmentId":52235815,"attachmentType":"docx","work_url":"https://www.academia.edu/31960956/CERAMICS_BETWEEN_TRADITION_AND_EXPERIMENT","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/31960956/CERAMICS_BETWEEN_TRADITION_AND_EXPERIMENT"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div><div class="ds-related-work--container js-wsj-grid-card" data-collection-position="9" data-entity-id="8616144" data-sort-order="default"><a class="ds-related-work--title js-wsj-grid-card-title ds2-5-body-md ds2-5-body-link" href="https://www.academia.edu/8616144/Essay_for_George_Muscat_ceramics_exhibition_catalogue">Essay for George Muscat ceramics exhibition catalogue</a><div class="ds-related-work--metadata"><a class="js-wsj-grid-card-author ds2-5-body-sm ds2-5-body-link" data-author-id="188240" href="https://malta.academia.edu/VinceBriffa">Vince Briffa</a></div><div class="ds-related-work--ctas"><button class="ds2-5-text-link ds2-5-text-link--inline js-swp-download-button" data-signup-modal="{"location":"wsj-grid-card-download-pdf-modal","work_title":"Essay for George Muscat ceramics exhibition catalogue","attachmentId":34980183,"attachmentType":"pdf","work_url":"https://www.academia.edu/8616144/Essay_for_George_Muscat_ceramics_exhibition_catalogue","alternativeTracking":true}"><span class="material-symbols-outlined" style="font-size: 18px" translate="no">download</span><span class="ds2-5-text-link__content">Download free PDF</span></button><a class="ds2-5-text-link ds2-5-text-link--inline js-wsj-grid-card-view-pdf" href="https://www.academia.edu/8616144/Essay_for_George_Muscat_ceramics_exhibition_catalogue"><span class="ds2-5-text-link__content">View PDF</span><span class="material-symbols-outlined" style="font-size: 18px" translate="no">chevron_right</span></a></div></div></div></div><div class="ds-sticky-ctas--wrapper js-loswp-sticky-ctas hidden"><div class="ds-sticky-ctas--grid-container"><div class="ds-sticky-ctas--container"><button class="ds2-5-button js-swp-download-button" data-signup-modal="{"location":"continue-reading-button--sticky-ctas","attachmentId":31620613,"attachmentType":"pdf","workUrl":null}">See full PDF</button><button class="ds2-5-button ds2-5-button--secondary js-swp-download-button" data-signup-modal="{"location":"download-pdf-button--sticky-ctas","attachmentId":31620613,"attachmentType":"pdf","workUrl":null}"><span class="material-symbols-outlined" style="font-size: 20px" translate="no">download</span>Download PDF</button></div></div></div><div class="ds-below-fold--grid-container"><div class="ds-work--container js-loswp-embedded-document"><div class="attachment_preview" data-attachment="Attachment_31620613" style="display: none"><div class="js-scribd-document-container"><div class="scribd--document-loading js-scribd-document-loader" style="display: block;"><img alt="Loading..." src="//a.academia-assets.com/images/loaders/paper-load.gif" /><p>Loading Preview</p></div></div><div style="text-align: center;"><div class="scribd--no-preview-alert js-preview-unavailable"><p>Sorry, preview is currently unavailable. 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