McNair Project Finished - Really?

So I am pretty much done with my summer research. Presented my work at the National McNair Conference in Detroit and turned my paper in on Friday. I am so done. Well not quite done. I had my completed paper ready to send and then MS Word went on the fritz and rearranged my paper and images for me (wasn't that nice?) and then rejected any image I tried to add. This after my wife edited it for me, sent me her suggestions and corrections. Man I am done. So I sent off a whacked out version of my paper to my committee and the program coordinator for the McNair Program. Am I ever going to be done? I was able to download a fix for Word, find the un-rearranged version and send it off. Nope not done yet. Now I need to have my committee sign off on my paper but I am out of the state. Done done done done done. For all of you out there that may have an interest in the ramblings of a fine arts major on the verge of a psychotic break, here is my Abstract, some sections of my paper, and some images.

Abstract

Historically, ceramics, or pottery, has been considered a functional art and is sometimes put into the category of a craft rather than art. Even so, over time certain pieces lose their functionality either through damage or the elevation of their intrinsic value. The functionality of the piece is still apparent, yet the value of the piece as an art commodity changes its usefulness. This paper follows my work titled Dysfunctional Functionality. Dysfunctional Functionality is a small body of work — an installation — that deals with the function of traditional pottery and how function separates ceramics from the fine arts and places it into the realm of craft. These pieces may appear, at first glance, as functional ceramic objects, but after closer inspection they are seen to be non-functional. Function is such an important aspect of traditional ceramics, and by removing the function I want to elevate the ceramic object beyond its traditional function. I also want to connect the viewer to the lack of function and elicit an emotional response to its removal.

Some good bits:

It is difficult to pinpoint where the line between art and function begins. The cost to obtain certain sets of china leads you to think they are art, yet a few times a year they are desecrated and handled by young and careless hands putting them in danger of being damaged. The function is the crux of the issue. So what happens when the function is removed? This leads to the debate over the veracity of pottery as an art form. Pottery’s function separates it from the fine arts and places it in the realm of craft.

The circular form that emerges from the turning of a piece of pottery not only enhances its ease of use but also emulates the human form and makes the form more accessible and appealing as a functional object. Pottery holds such a close connection to the human form that the parts of a piece of pottery are labeled with names that come from human anatomy. The mouth, shoulders, belly and foot are all parts of the ceramic pot. In the process of making non-functional vase #1 (figure 4), I wanted to remove the function of the piece while retaining its reference to the human form. By keeping the aspects of the human shape the pieces are easy to relate to and, at first glance, appear to be functional.

Not until I began developing a concept behind my work did I begin to truly make a connection to my work and the work of others. From that point, my most successful pieces have been those that told some type of story or conveyed a message that was important to me. From my work over the last few years, I realized to effectively get my point across I need to move beyond simply removing the function of the piece. A story needed to be told. I thought about what the function of pottery meant to me and which function of pottery I thought to be most recognizable.... By setting the tea set up as an installation and integrating the consumables that were normally found in the ceramic's vessels I could tell this story. I used tea for the teapot and cups, cream for the creamer, and honey for the honey pot. Because of the non-functional nature of the pieces the liquids that are introduced immediately spill from the gaps and bottoms of the pieces staining the tablecloth underneath. As the viewer approaches the installation it appears to be a normal ceramic tea set. Upon closer inspection the stains and mess on the tablecloth will become apparent. When viewed even closer, the non-functionality of the pieces are discovered (figure 6). The mess created is meant not only to enhance the non-functionality of the pots, but also to create an emotional reaction in the viewer and draw them into the narrative of the work. The response evoked will be different with each person but the result will be the same — to make the viewer think about the work.

Through the process of fabrication, as well as documenting the work, I have come to a better understanding of the importance of art, not only as a creative process, but also as an intellectual process. Researching the art of other potters gave me insight into my own work, and while my final installation was dramatically different than their work, there was a connection between the idea of removing function to elevate the ceramic vessel and the postmodernist push to validate their own work in response to modernism. The concept behind the work evolved continually and I was able to supplement the removal of function with a narrative installation to really highlight the point of the work evolving beyond simple craft. The form of the pottery was still there, but the functional craft commodity was not...Through the process of fabrication, as well as documenting the work, I have come to a better understanding of the importance of art, not only as a creative process, but also as an intellectual process. Researching the art of other potters gave me insight into my own work, and while my final installation was dramatically different than their work, there was a connection between the idea of removing function to elevate the ceramic vessel and the postmodernist push to validate their own work in response to modernism. The concept behind the work evolved continually and I was able to supplement the removal of function with a narrative installation to really highlight the point of the work evolving beyond simple craft. The form of the pottery was still there, but the functional craft commodity was not.

Final Images of Dysfunctional Functionality