Around the world for many years, people have valued ceramics primarily for their functional use.

This 19th Century, American crock is both functional and decorative. It worked as a container to store food and also as something beautiful to look at in the home.


Anonymous, American, 19th century, storage jug, stoneware, 7 3/4” by 5 1/2”, gift of Mr. And Mrs. Joseph Thomas, Arizona State University Art Museum

Many cultures have produced ceramics not only to perform some function, but also value them in other ways.

Click to see a functional Greek trophy amphora [am FOR ah]. Some trophy amphorae [am FOR ay] were filled with olive oil and given as prizes for winning athletic competitions. This vessel is not only functional but is also an elegantly formed, beautifully decorated object.

Click and scroll down to see a jar, made in the Moche culture of Peru between 200 and 600 of the Common Era. . It is both a container and a portrait that captured the likeness of an individual person.

People still prize ceramic pieces both for functional and non-functional reasons.

Warren MacKenzie’s piece is usable as a platter. Its thick glaze is also sumptuous [rich] to look at.


Warren Mackenzie, American, platter, stoneware, 2” by 13 1/8”,
gift of Sara and David Lieberman, Arizona State University Art Museum

In recent years, some artists have made ceramic pieces as artworks, often with little or no interest in making them functional. Let’s look at some contemporary ceramic artwork and read what artists say about the pieces they have made.

Akio Takamori’s Mother and Daughter shows two figures. He uses broad strokes on the curving surfaces of the clay to make a sculpture that conveys complex family relationships.

"I create my figures from memories. I examine and visualize the meaning of scale, space, material and dimension of my memories.” (Takamori quoted in Peterson, 2000, p. 174). Takamori values the way his piece captures memories.


Akio Takamori, born in Japan resides in United States,
Mother and Daughter, 2001, porcelain, 30 x 17 x 6”

Ken Price’s Fats is purely sculptural. Its form, color, and texture appeal to the senses of sight and touch.

“Making is just the beginning. .... I am always involved with colour -- colour with form” (Price quoted by Peterson, 2000, p. 162). Clearly Price values how his work exhibits color.


Ken Price, United States, Fats, 1999, ceramic, acrylic paints, 10.5 x 12.5 x 9.5”

Randall Schmidt seeks his subject matter in the world around him.
“Inspiration for my work has always come from events in my life, or how I perceive events in the world. It’s my way of pondering over and dealing with issues that occupy my mind. Humor is often a way for me to cope with the human condition and subjects that may be absurd or painful” (Schmidt quoted by Peterson, 2000, p. 173). Schmidt values humor in his work.
When Schmidt returned from an extended trip abroad, he expressed his reaction to adolescent fashion in hair cuts and piercing with his piece, Contemporary Savage.

Karen Koblitz’ Judaica Still Life is a large assemblage of wall plaques. Its patterns and symbols celebrate Jewish faith.

“Each piece juxtaposes various designs from a certain era or culture. The playful quality of the work is the realization of the enjoyment of the media. In my work I pay homage to the functional roots of ceramics while elaborating on historical and decorative elements” (Koblitz quoted by Peterson, 2000, p. 168).

Koblitz values ceramics as enjoyable to work with, as decoration, and as a way to honor tradition.


Karen Koblitz, United States, Judaica Still Life, 1990, low-fire clay and glaze, 42 x 61.875”

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