Vessel 1987

Editor: So, this is Renee Margolin's "Vessel" from 1987, a ceramic sculpture now at the Minneapolis Institute of Art. I find the textured surface so calming, and the rounded form feels very grounded. What connections do you see within it? Curator: The repetitive lines wrapping the vessel speak to me of cycles – natural cycles, societal structures. How might we understand this work within the context of feminist art practices in the late 20th century? Consider the domestic sphere, historically feminized labor…the act of repetitive making becomes a kind of subversive commentary. Editor: That's interesting! I was mainly thinking about the surface and the clay, but not necessarily labor... Curator: Right, and who gets to claim that labor? Is this decorative art, and therefore devalued, or can we elevate craft practices through critical analysis, thinking about class and access in the art world? Where do you see the boundary? Editor: I guess I've always thought that distinction felt artificial. It seems more useful to me to look at the social impact instead. Curator: Exactly. By considering the intersections of craft, gender, and class, we begin to question the historical frameworks that have marginalized certain artistic practices and voices. Margolin isn't just making a pretty pot; she's participating in a much larger dialogue about value. Editor: I'll definitely look at this in a different light now. Thanks! Curator: My pleasure. It's this questioning, this interdisciplinary approach, that keeps art history vital and relevant to our present moment.