If Collections Could Speak, What Would They Say?
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Abstract
Ceramic objects from around the globe develop distinctive patterns and characteristics that are born out of specific sets of cultural values, and serve countless functions ranging from the decorative to the utilitarian, and the ceremonial to the political. The materials and techniques involved in making these objects are as diverse as the regions they originate from, and determine the aesthetic value, style, and desirability of each piece. I have selected and studied ten ceramic objects from the much more extensive collection of artists John and Andrea Gill, American ceramicists and professors at the New York State College of Ceramics at Alfred University. The Gill collection includes ceramic works from fellow artists, historical pieces from numerous cultures, student works, and ceramic works by both John and his wife Andrea. The Gills have acquired the objects in their collection throughout their travels and interactions with others working in the field, and the collection harbors influences and inspiration to John's work as an artist, as well as his appreciation for and celebration of the ceramic medium.
This research aims to analyze a sliver of the history of global ceramics. I will first reflect on the theoretical aspects of collections and collecting, and then examine a small selection of pre-modern, modern, and contemporary ceramic objects. Finally, I will argue that the roots of the Gill collection include an intangible accumulation of historical references and cultural influences that fuse 3 together to become the backbone of the postmodern aesthetic—a collection in and of itself—that defines John Gill's personal style as an artist.