Vase 1895 - 1921

Editor: So, we're looking at a "Vase" crafted between 1895 and 1921, attributed to William J. Walley. It's made of ceramic and earthenware. The two-tone glaze is quite striking. How do you approach this piece? Curator: The beauty in this vase lies in its materiality and production. Think about the labor involved in sourcing the clay, the precise skills needed for shaping the earthenware, and the knowledge to fire it. This isn't just a vase; it embodies a specific moment in the history of ceramic production, a bridge between industrial processes and handcrafted artistry. How does its existence within the decorative arts, blur or perhaps even reinforce lines of high and low art production? Editor: That's fascinating! I hadn't thought about it in terms of labor and process, more in terms of style. How would something as simple as, say, color, enter into this conversation of labor and making? Curator: Excellent question. Look closely at the glaze – the shades of brown melding into green. That color wasn't arbitrary; it's the product of specific materials, chemical reactions in the kiln, and the skills of the person firing the object. Was this mass-produced or meticulously handmade, given that it's signed, it might speak to the labor and intentionality of Walley himself. Editor: So, it's about understanding where the materials come from, who's crafting them, and what their place is within the larger context of decorative arts production? Curator: Exactly. By examining the means of production – from the digging of the clay to the firing of the glaze – we uncover hidden histories, social values, and challenge established hierarchies within the art world. Editor: I will definitely remember this fresh perspective during my future museum visits. Curator: Me too. Thank you for these enriching questions, these are crucial considerations when discussing art, no matter our specific perspective.