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Notes
1 Alun Graves, Studio Ceramics (London: Thames & Hudson/V&A Museums, 2023), 7.
2 Ibid., 23.
3 Ibid., 28.
4 The V&A’s Collections Development Policy document: https://www.vam.ac.uk/info/reports-strategic-plans-and-policies. For reference, the relevant statement in full: “We are most active in collecting the contemporary, both in studio practice and in product design in ceramic and glass. Studio practice is collected across the realms of craft and fine art. Priority is given to acquiring the best examples of work from the most significant artists, reflecting ambition and excellence, and prioritising new strategies in making. Unique and batched-produced examples of studio craft are collected, reflecting skill, innovation, and the reinterpretation of traditions.”
5 Oliver Watson in Studio Pottery (London: Phaidon/V&A 1990), 38.
6 Ibid., 38.
7 Ibid., 37.
8 Graves, Studio Ceramics, 342 (see pot no. 830).
9 Watson, Studio Pottery, 38.
10 Studio Pottery, 9.
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Martina Margetts
Martina Margetts is a writer, curator, lecturer and adviser on craft culture internationally. Formerly Editor of Crafts and Senior Tutor in Critical & Historical Studies at the Royal College of Art, writings in recent publications include Contemporary Clay and Museum Culture (Routledge, 2016), The Ceramics Reader (Bloomsbury, 2017), Material Perceptions (Arnoldsche, 2018), Post-Craft (Sternberg Press, 2022), and the Journal of Modern Craft (2023).