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Earthenwhere: Intersections between ...

Read, Heather.

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Earthenwhere: Intersections between place and pottery in the lives of Newfoundland and Southern New Zealand ceramic artists.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Earthenwhere: Intersections between place and pottery in the lives of Newfoundland and Southern New Zealand ceramic artists./
Author:	Read, Heather.
Description:	342 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-08(E), Section: A.
Contained By:	Dissertation Abstracts International76-08A(E).
Subject:	Adult education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3687569
ISBN:	9781321651911

Earthenwhere: Intersections between place and pottery in the lives of Newfoundland and Southern New Zealand ceramic artists.
Read, Heather.

Earthenwhere: Intersections between place and pottery in the lives of Newfoundland and Southern New Zealand ceramic artists. - 342 p.

Source: Dissertation Abstracts International, Volume: 76-08(E), Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2014.

Diverse experiences and expressions of place are explored through life stories and craft works of sixteen ceramic artists living in Newfoundland and Southern New Zealand. This arts-informed research suggests, in its form, a method of representing what is often ephemeral knowledge: knowledge about the intersections between our lives and the places we live. Structurally, I borrow the concept of a terroir dossier used in making decisions regarding heritage food labeling in France, which necessitates producers document the history of their food product in detail in order to receive designation as a heritage food product. I expand on this structure to include stories about a potters' processes of inspirations, learning, making, making a living, and preserving. I tell these stories borrowing document conventions typically used in museum exhibition catalogues, such as the use of photos and short panel texts. I am inspired by place-based exhibitions in this work and as a response have created a catalogue for an imagined exhibition about ceramics in Newfoundland and New Zealand. This catalogue is separated into five sections. The first, Begin, sets out the story behind the work, both my own story as a researcher, and the bare bones of the histories behind the places I visit. The second, Wedging, writing, and tea explores some words I use throughout the text such as craft, ceramics, and ecological identity, as well as laying out some of my methodological underpinnings and processes. The third and fourth sections, Newfoundland and New Zealand respectively, are broken into five parts. These two sections are where the stories of potters from each place are presented, grouped into categories inspired by terroir dossiers. The lives of the potters are presented as short stories to be read, considered, enjoyed, and appreciated; the stories are, in a sense, the works in the imagined exhibition, and are a synthesis of the pottery, the potters, and the places where they live. The fifth section, In your hands, suggests implications of this work, along with places and subjects for further study by researchers of diverse disciplinary backgrounds.

ISBN: 9781321651911Subjects--Topical Terms:

543202
Adult education.

Earthenwhere: Intersections between place and pottery in the lives of Newfoundland and Southern New Zealand ceramic artists.
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245 1 0 $a Earthenwhere: Intersections between place and pottery in the lives of Newfoundland and Southern New Zealand ceramic artists.
300 $a 342 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-08(E), Section: A.
500 $a Adviser: J. Gary Knowles.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 2014.
520 $a Diverse experiences and expressions of place are explored through life stories and craft works of sixteen ceramic artists living in Newfoundland and Southern New Zealand. This arts-informed research suggests, in its form, a method of representing what is often ephemeral knowledge: knowledge about the intersections between our lives and the places we live. Structurally, I borrow the concept of a terroir dossier used in making decisions regarding heritage food labeling in France, which necessitates producers document the history of their food product in detail in order to receive designation as a heritage food product. I expand on this structure to include stories about a potters' processes of inspirations, learning, making, making a living, and preserving. I tell these stories borrowing document conventions typically used in museum exhibition catalogues, such as the use of photos and short panel texts. I am inspired by place-based exhibitions in this work and as a response have created a catalogue for an imagined exhibition about ceramics in Newfoundland and New Zealand. This catalogue is separated into five sections. The first, Begin, sets out the story behind the work, both my own story as a researcher, and the bare bones of the histories behind the places I visit. The second, Wedging, writing, and tea explores some words I use throughout the text such as craft, ceramics, and ecological identity, as well as laying out some of my methodological underpinnings and processes. The third and fourth sections, Newfoundland and New Zealand respectively, are broken into five parts. These two sections are where the stories of potters from each place are presented, grouped into categories inspired by terroir dossiers. The lives of the potters are presented as short stories to be read, considered, enjoyed, and appreciated; the stories are, in a sense, the works in the imagined exhibition, and are a synthesis of the pottery, the potters, and the places where they live. The fifth section, In your hands, suggests implications of this work, along with places and subjects for further study by researchers of diverse disciplinary backgrounds.
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