Vase 1894 - 1906

Editor: This is George Ohr’s "Vase," made sometime between 1894 and 1906, currently held at the Met. It's ceramic and the glaze has these striking reds, yellows, and greens that drip down the sides. What really grabs me is how the clay is almost tortured into shape, not conforming to a perfect circle at the top, with these rippling edges. What can you tell me about it? Curator: Look at that manipulation of the material! It transcends mere function, wouldn't you say? Ohr seems less concerned with the utilitarian "vase" and more interested in challenging our perceptions of clay. The intentional imperfections – the drips, the warps – these aren't flaws. They’re declarations against mass production and perfect commodity aesthetics. Editor: So, you're saying it's not about *what* the vase holds, but *how* it was made and *why*? Curator: Exactly. Ohr elevated the process, pushing the boundaries of ceramic production into the realm of artistic expression. Consider the time he must have spent working the clay. Each touch is evident in the final form. Editor: And the glaze – those colors almost seem accidental, but it gives a sense of the firing process as well. Curator: Indeed. The glaze isn’t merely decorative. It reveals the transformative effect of heat and chemical reaction. The unevenness underscores this, doesn't it? Almost a "record" of the making. It certainly emphasizes the handmade object, a stark contrast to the rising tide of industrial pottery at the turn of the century. Editor: It's interesting how an object we think of as functional becomes almost a defiant statement about art and labor. Curator: Precisely. By engaging with this “Vase”, we come to a deeper appreciation of Ohr’s ethos regarding craftsmanship, industrialization, and the intrinsic value of human labor. Editor: I'll never look at a vase the same way again!