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part iii:
clay & ceramics

The only trace of a finished meal is the vessel that once contained it. What should we make of what’s left behind? A ceramicist reckons with gaps in her own history and imagines an archive for the future.

▼ TRANSCRIPT

Objects:

/A%20porcelain%20sugar%20bowl%20with%20glided%2C%20blue%2C%20green%2C%20and%20pink%20decorations.%20The%20decorations%20are%20floral%2C%20as%20well%20as%20one%20figure%2C%20and%20a%20word%20saying%20%E2%80%9CSMITH%E2%80%9D. /A%20rectangular%20vessel%20that%20curves%20at%20the%20top%20with%20blue%20and%20white%20decorations%20depicting%20architectural%2C%20floral%2C%20and%20landscape%20elements.%20The%20lid%20is%20circular%20and%20has%20a%20delicate%20finial.

Additional Resources:

Alt-text coming soon

An image from Anina Major’s collection of Bahamian postcards, 19th century.

Alt-text coming soon

Anina Major, Hybrid Gourd, 2019.

Mary Ann Lippitt Acquisition Fund.

Contributors:

Kajette Solomon

Social Equity and Inclusion (SEI) Program Specialist at the RISD Museum

Anina Major

Ceramic artist and critic at RISD

Chris Roberts

Assistant professor of Theory and History of Art and Design at RISD

John Onwuchekwa

Atlanta-based pastor, entrepreneur, author, and speaker. He currently serves as a pastor of Cornerstone Church, co-founder of Portrait Coffee, and co-director of the Crete Collective

Elizabeth Williams

David & Peggy Rockefeller Curator, Decorative Arts at the RISD Museum