Location
Main Entry - Personal Name
Title Statement
Publication, Distribution, etc. (Imprint) London : Bloomsbury Visual Arts, 2019
©2019
Dewey Decimal Classification Number
SAB Classification Code
Physical Description ix, 240 pages illustrations (black and white) 24 cm
Bibliography, etc. Note Includes bibliographical references and index.
Summary, etc Ceramics and the Museum? interrogates the relationship between artoriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice, and the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that?gestures of showing,? such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which can be used to deconstruct it too.
Subject - Chronological Term
Subject - Topical Term
Subject - Geographic Name
Additional Physical Form Entry Electronic version: Breen, Laura. Ceramics and the museum. London : Bloomsbury Visual Arts, [2019] ISBN 9781350047860
ISBN 1350047821 9781350047822 9781350047846 1350047848
Waiting
*000 nam a 3i 4500
*00147051
*00520191125140220.0
*008191125t20192019enka|||||b||||001 0|eng|d
*015 $aGBB9A1042$2bnb
*0167 $a019427500$2Uk
*020 $a1350047821$q(hardback)
*020 $a9781350047822$q(hardback)
*020 $a9781350047846$q(paperback)
*020 $a1350047848$q(paperback)
*020 $z9781350047853
*020 $z9781350047860
*020 $q(ePub ebook)$z9781350047853$z9781350047860
*020 $q(PDF ebook)$z9781350047853$z9781350047860
*035 $a(OCoLC)on1102643586
*035 $a(SE-LIBR)v6stpq9bs970smm3
*040 $aKo$beng$cYDX$dBDX$dUKMGB$dOCLCO$dOCLCF$dERASA$dYDXIT$dOCLCO$dAVA$dOCLCQ$dOCLCO$dOCLCQ$ei$erda
*041 $aeng
*043 $ae-uk---
*050 4$aN72.A77$bB74 2019
*08204$a701/.03$223
*08204$a738.3094209045$223
*084 $aIhfa$2kssb/8
*084 $aIit$2kssb/8
*1001 $aBreen, Laura$4aut
*24510$aCeramics and the museum /$cLaura Breen.
*264 1$aLondon :$bBloomsbury Visual Arts,$c2019
*264 4$c©2019
*300 $aix, 240 pages$billustrations (black and white)$c24 cm
*336 $atext$btxt$2rdacontent
*336 $astill image$bsti$2rdacontent
*337 $aunmediated$bn$2rdamedia
*338 $avolume$bnc$2rdacarrier
*340 $b24 cm
*504 $aIncludes bibliographical references and index.
*5208 $aCeramics and the Museum? interrogates the relationship between artoriented ceramic practice and museum practice in Britain since 1970. Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice, and the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that?gestures of showing,? such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which can be used to deconstruct it too.
*599 $aImported from: zcat.oclc.org:210/OLUCWorldCat (Do not remove)
*648 7$a1900-2099$2fast
*650 0$aArtists and museums.
*650 0$aPottery$xSocial aspects.
*650 0$aMuseums$xSocial aspects.
*650 0$aArt and society$xHistory.
*650 0$aArt pottery$zGreat Britain$y20th century.
*650 0$aArt pottery$zGreat Britain$y21st century.
*650 0$aArt pottery$y20th century$xCollectors and collecting$zGreat Britain.
*650 0$aArt pottery$y21st century$xCollectors and collecting$zGreat Britain.
*650 0$aArt museums$xCollection management$zGreat Britain.
*650 0$aCeramics$zGreat Britain$vExhibitions.
*650 7$aArt pottery.$2fast
*650 7$aArt museums$xCollection management.$2fast
*650 7$aArt pottery$xCollectors and collecting.$2fast
*651 7$aGreat Britain.$2fast
*77608$iElectronic version:$aBreen, Laura.$tCeramics and the museum.$dLondon : Bloomsbury Visual Arts, [2019]$z9781350047860$wIMP(SE-LIBR)(OCoLC)1102592875
*841 $5Ko$ax a$b191125||0000|||||000||||||000000$eu
*852 $5Ko$bKo$cKERAMIK -$hIhfa
*887 $a{"@id":"v6stpq9bs970smm3","modified":"2019-11-25T14:02:20.065+01:00","checksum":"250498853254"}$2librisxl
*887 $5Ko$a{"@id":"frcd8bndc69d3fhx","modified":"2019-11-25T14:02:41.148+01:00","checksum":"205597987437"}$2librisxl
^
No reviews exists for this book.
Click here
to be the first to write a review.
Ceramics and the Museum interrogates the relationship between art-oriented ceramic practice and museum practice in Britain since 1970.Laura Breen examines the identity of ceramics as an art form, drawing on examples of work by artist-makers such as Edmund de Waal and Grayson Perry; addresses the impact of policy making on ceramic practice; traces the shift from object to project in ceramic practice and in the evolution of ceramic sculpture; explores how museums facilitated multisensory engagement with ceramic material and process, and analyses the exhibition as a text in itself. Proposing the notion that 'gestures of showing,' such as exhibitions and installation art, can be read as statements, she examines what they tell us about the identity of ceramics at particular moments in time. Highlighting the ways in which these gestures have constructed ceramics as a category of artistic practice, Breen argues that they reveal gaps between narrative and practice, which in turn can be used to deconstruct the art.