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.



/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.


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Anina Major, Hybrid Gourd, 2019.
Mary Ann Lippitt Acquisition Fund.


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