For many of us, Kansas City is a “clay town,” with a vibrant culture of makers, users and collectors. We celebrate how clay can take many forms, from the functional to the ephemeral, from the sculptural to the conceptual.
This March, all eyes interested in clay or ceramics were focused on Kansas City. The world’s leading organization devoted to this versatile medium, the National Council on Education for the Ceramic Arts, NCECA, had its annual conference in Kansas City. Even more importantly, it is the 50th anniversary of NCECA, indicating that this venerable association felt that our region was the most appropriate for its golden anniversary.
The Nelson-Atkins Museum of Art has one of the greatest collections of ceramics in the world, with major examples of ancient Chinese, Greek, Roman, Persian, Indian, Japanese, European, African and North American wares always on view. In celebration of this great ceramic tradition, the museum is the site of “Unconventional Clay: Engaged in Change,” the NCECA Invitational, open until June 12.
NCECA Exhibitions Director Leigh Taylor Mickelson and I had the enviable task of determining which of the endless permutations of clay in contemporary art we could present. After a vigorous review, we selected 24 artists working today who are pushing the boundaries of the medium and exploring connections between clay, art, process and social issues.
So much is happening with clay: in form, function, process, engagement, and even permanence. We strove to include artists who are using clay as a material, not an end in-and-of itself. “Unconventional Clay” allowed us to think about how the material is being used in dynamic, interactive and innovative ways. Our challenge was that there is so much exciting work being done — how could we narrow down our choices? How could we indicate all the different manifestations of something that is “unconventional”?
We started by identifying works that are avant garde in the process of production, from 3-D printers to digital programs employed to design forms, molds and decals. We also looked for artists who are investigating unconventional ideas about clay as a material. Tom Sachs captured the theme of the exhibition in the statement, “I want porcelain to be one of my iconic materials, like plywood and duct tape.”
We looked for artists who are asking the questions, “What is ceramics,” and “Why or how am I using the material in my work?” Many artists are using clay to interact with the viewer in unexpected ways, such as performances with ceramic instruments that create multi-sensory experiences, or videos and objects employing motion sensors. Artists are playing with scale and the viewer’s contact with works rendered in the material, and introducing unconventional or unexpected substances such as goo and shoelaces into works that make us question, “What is clay; what is ceramics?”
Sometimes the sum is greater than the parts, and in the works of several artists in the exhibition, complex, multi-piece installations create new narratives. The history of art and ceramics is also explored by a number of artists. Some challenge us to explore the marriage of historical periods to see the past and the future at the same time.
Throughout history, ceramics have been vehicles to promote ideas: political and social. Artists working today embrace that history and employ the material as the physical support to disseminate, advocate and stimulate discussion.
Leigh and I hope that, although not comprehensive or complete, “Unconventional Clay” will reveal many of the facets of this ever-changing, always engaging medium and spur debate and conversation as to what clay is today.
–Catherine L. Futter, Director, Curatorial Affairs, The Nelson-Atkins Museum of Art
