Vase c. early 21th century

Curator: Editor: We’re looking at a piece titled “Vase” by Tsujimura Shirō, made in the early 21st century. It's earthenware, housed here at the Minneapolis Institute of Art. I’m really struck by how rustic and almost primal it feels; like it just came straight out of the earth. What strikes you about it? Curator: I find its earthiness fascinating. It prompts a reflection on the labour involved – the digging of the clay, the preparation of the materials. Look at the unevenness of the surface, the seemingly uncontrolled drips. How do these aspects challenge the traditional idea of a perfectly crafted vase? Editor: I see what you mean. It’s definitely not smooth and polished. But are you suggesting that imperfections are intentional statements here, meant to elevate this object? Curator: Precisely! The so-called ‘imperfections’ are crucial. They reveal the artist's process, the firing’s unpredictability. We are invited to contemplate not just the final form, but the means of production, challenging distinctions between art and craft. How does considering this work in relation to functional pottery change your perspective? Editor: That’s an interesting point, framing it against function… Thinking about that labor and firing does transform my perspective. Knowing what I know now, this seems less utilitarian and much more focused on process. Curator: Right! Shirō elevates the ‘making’ to the status of art. It also prompts broader questions. What socio-economic factors enable an artist to present such an object in a museum? Editor: That’s deep. I've gained a fresh outlook. Seeing beyond surface aesthetics to really question the production and placement.