ABSTRACT
This chapter charts ceramics' move away from the home, where prized cups and plates are displayed on a shelf or dresser, into the white cube in the 1990s, before turning away from the white cube to return to domestic spaces again, or to bring domestic elements into white cube galleries. Many permanent displays of ceramics found in museums and art galleries around the country are historically focused and give no sense of the current direction of the discipline. It shows how image breaking – the artistic gesture of destruction – is common across the work of artists in both disciplines. The chapter addresses the grouping and repeating of objects as an artistic strategy in ceramics and sculpture. It looks at the making and showing of work as two key elements in the construction of identity. The chapter also presents an overview of the key concepts discussed in this book.
