Discourse and Decoration:
The Struggle for Historical Space
While reading Paul Greenhalgh’s paper “Discourse and Decoration: The Struggle for Historical Space,” I found myself most interested in his discussion of the interplay between historical reference and innovation in art. This interplay certainly has an interesting affect on the ceramic arts, which already struggle to carve out a space for themselves in the art world, and then upon creating a niche have to defend and legitimize themselves in the context of contemporary movements. As Greenhalgh mentions, the ceramic arts have accumulated an array of unmistakable “iconographies, forms, and processes” which some audiences may consider aged and obsolescent. Running astride modern art movements, ceramics are sometimes perceived as an archaic craft; the act of making pottery reduced to a purely historical and antiquated endeavor. But Greenhalgh argues that just because the process and culture of ceramics are dated, and just because they have been arguably misrepresented in recent art theory, doesn’t mean that ceramic arts have a lesser place in the contemporary scene. Greenhalgh does a good job of acknowledging and paying homage to the history of ceramics, from Greek urns to nineteenth century figurines, while still asserting its modern relevance in the art world. He encourages makers to embrace a similar attitude by “resist[ing] that particular urge of the modernist ethos: to be embarrassed about the cultural heritage of ceramics.” In an evolving art world, the ceramic artist must decide how to address these established notions of their craft. Some deliberately avoid historical references for fear of being perceived as rustic or kitsch, others copy historical forms directly, and there are countless shades of appropriation and reference between. Greenhalgh advocates for a marriage of historical reference and innovation in the development of ceramic theory, discouraging artists and theorists from either eschewing the rich history of ceramics or allowing it to devalue it in contemporary context.
I overlooked the point of ceramic art's role in contemporary art. They way you bring it up and respond to it totally makes sense. How Paul Greenhalgh discusses how ceramics are misjudged makes me wonder what other art forms are misjudged.
ReplyDeleteI overlooked the point of ceramic art's role in contemporary art. They way you bring it up and respond to it totally makes sense. How Paul Greenhalgh discusses how ceramics are misjudged makes me wonder what other art forms are misjudged.
ReplyDeleteWhen I decided to learn pottery a year ago, I hoped to be a kind of master craftsman in the future who can throw a perfect bowl with only one pulling and make hundreds of them in the exactly same shape and size. All those bowls are my autistic pleasure only. That’s why I have hesitated to call me as a ceramist or an artist even though I am getting serious about art. Those titles are burdening me to interpret world with innovative minds and try to solve shacked conditions with creative visual objects.
ReplyDeleteIn addition, psychologically, I seem to be comfortable with art/craft dichotomy because of my cultural background that perceives art and craft on different grounds. Craft in East Asian culture is strongly related with some sort of harmony with the Dao (source of the universe) through the thoroughly mastered skill. The tale of Butcher Ding from Zhuangzi shows a good example to explain the nature of craft.
So, it was interesting for me to read a western perspective on craft by art history and theory. Similar relations can be found in Asian painting since 14th century in which literati painters who expressed personal free feelings with untrammeled calligraphic brushstrokes and experimental style, rejected the practice of professional painters who used colors and refined details in highly conventional representations.
In that sense, reading Greenhalgh’s articles since last semester gave me a good chance to understand how ceramists endeavor to create art objects with historical references and innovative ideas.