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Studio Ceramics
British Studio Pottery 1900 to Now
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A magnificent catalogue of the V&A's collection of twentieth-century and contemporary British ceramics
A magnificent catalogue of the V&A's collection of twentieth-century and contemporary British ceramics.
Contemporary ceramicists working in Britain, including Rachel Kneebone, Grayson Perry and Edmund de Waal, are part of a broader international group of artists experimenting with clay, considering how it intersects and works in dialogue with other art forms and with culture at large. Recent experimentation with the medium owes much to the rapid evolution of ceramics into an expanded field, and to the work of mid- to late 20th-century potters and their reinvention of ceramics as a radical and contemporary art practice. The pioneering methods and rethinking of form in the work of exponents such as Bernard Leach, Michael Cardew, Lucie Rie, Hans Coper and Alan Caiger-Smith - whose reference points were drawn from East Asia, Africa, the ancient Mediterranean and the Middle East as much as from their own heritage - continue to influence and inspire contemporary makers. In his introductory essay, Alun Graves, Senior Curator at the Victoria and Albert Museum, London, provides all lovers of ceramics - collectors, practitioners, historians and those interested in modern and contemporary art and crafts - with the historical context, documenting the medium's shift into an expressive, and sometimes interventionist, art form. An extensive visual catalogue, Studio Ceramics is the primary reference for 20th-century and contemporary British studio ceramics, and a record of the national collection of British ceramics held at the V&A.
Contemporary ceramicists working in Britain, including Rachel Kneebone, Grayson Perry and Edmund de Waal, are part of a broader international group of artists experimenting with clay, considering how it intersects and works in dialogue with other art forms and with culture at large. Recent experimentation with the medium owes much to the rapid evolution of ceramics into an expanded field, and to the work of mid- to late 20th-century potters and their reinvention of ceramics as a radical and contemporary art practice. The pioneering methods and rethinking of form in the work of exponents such as Bernard Leach, Michael Cardew, Lucie Rie, Hans Coper and Alan Caiger-Smith - whose reference points were drawn from East Asia, Africa, the ancient Mediterranean and the Middle East as much as from their own heritage - continue to influence and inspire contemporary makers. In his introductory essay, Alun Graves, Senior Curator at the Victoria and Albert Museum, London, provides all lovers of ceramics - collectors, practitioners, historians and those interested in modern and contemporary art and crafts - with the historical context, documenting the medium's shift into an expressive, and sometimes interventionist, art form. An extensive visual catalogue, Studio Ceramics is the primary reference for 20th-century and contemporary British studio ceramics, and a record of the national collection of British ceramics held at the V&A.
Praise for Studio Ceramics
Graves has created a volume that lays bare over a century of ceramic innovation ... an excellent addition to the canon of ceramic research and will surely become an indispensable resource for curators, students and collectors
Decorative Arts Society
Magnificent
Art Mag
A joy to behold ...Graves demonstrates how much the world of British studio ceramics has changed, or transformed
Anne Lyles, The Art Newspaper
About the Author
Alun Graves is Senior Curator, Ceramics and Glass 1900-now, in the Department of Decorative Art and Sculpture at the Victoria and Albert Museum, London. He has written widely on 20th and 21st-century British ceramics and sculpture, contributing to a variety of journals, collected papers and exhibition catalogues. He has curated many exhibitions and displays, including Simon Carroll: Expressionist Potter (2014-15), Barnaby Barford: The Tower of Babel (2015), and Alison Britton: Content and Form (2016).
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