chapter  1
10 Pages

Productive friction: Ceramic practice and the museum since 1970


Since the late 1990s, projects that foster new readings of museums – their collections, the spaces they occupy, the displays they house and the ways they operate – have gained a high prole in the ceramic eld in Britain. Interventions such as Edmund de Waal’s Arcanum at the National Museum of Wales (2004) and Keith Harrison’s M25 London Orbital at the Victoria and Albert Museum (2006) might be regarded alongside other works that take the ‘museum as medium’, and which originated from the critical artistic practices of the 1960s and 1970s.1 However, the relationship between ceramic practice and the museum has followed a dierent trajectory.2