Reading 3

Erza Shales' Where What's Done Comes Undone (Is a Museum), brings forth some very relevant points relating to the role of the museum in relation to the world of modern ceramics. I particularly enjoyed his point about in the museum we forget to let the real world, the physical world push back against us. As artists we spend so much intimate time crafting such refined works, but somehow many of us fall into the lull of gallery display. The gallery as I see it offers a setting for admiration where as settings such as the home where interaction is likely more encouraged, offer up a greater sense of curiosity and delight.

When we get to interact with an object, we essentially gain insight into its existence and or its purpose. It is the same in ceramic work- it reminds us of the item's "thingness" as Shales refers. In the realm of the handmade there is imperfection, yes even in the fine arts. But it is in those minor imperfections that we find human connection, and meaning. As Shales describes the unglazed parts of a pot, it raises the question of, is the work flawed? or is it intentional? This curiosity brings us to evaluate why this thing is in the world, and if we should strive to keep it in our world. But where do we keep it?

By housing work in the museum space, we can ensure its eternal presence, but at the cost of losing the true human connection to the work simply because we cannot investigate it for ourselves for a full understanding. In that sense the museum could become a mausoleum. On the opposite view is the notion of keeping it within the social realm where it can be engaged, but at the risk of endangering its permanence. It boils down to artist intent and what they wish to display and the best way they see fit to convey that intent.