A cerâmica artística: interfaces na contemporaneidade

Abstract

One of the most ancient media employed by the human being, ceramics nowadays is passing through one of the most important conceptual revolutions of its history. As art expression, ceramics has crossing over centuries under the stigma of “low art” and it looked for refuge wherein researcher Garth Clark calls “Fortress ceramica”, recurring to an artistic ghetto built with its own communication vehicles, exposition spaces and events. This research investigates which were the echoes of this marginal condition that shaped pottery as it stands today among the visual arts and design, in a time of intense development of technological resources available and of non-materiality concept as expression. We look over the path of artists who, despite of hierarchic differences that segregate artist from artisan, gave new meanings to this form of expression that is one of the most primitives in history of humanity. From the historic revision of theories, both against or pro, about classification in “low art” or “high art”; “fine arts” or “applied arts”, we question the necessity of any categorization. The research analyzes also how the specificities of ceramics turns it as a legitimate representation of postmodern art, under the vision of theorists as Charles Jencks, Stuart Hall, Arthur Danto, Zygmunt Bauman, among others, by its capacity of adaptation to the new languages and to the nowadays concepts.