Skip to main content

Search form

Shopping cart 0 items
Subscribe
Donate
Login
Share
Login
Home
  • Become a Member
  • Journal
    • Current Articles
      • Interviews
      • Narrative
      • History
      • Technology
      • Criticism
      • Other
    • Print Archive
  • Announcements
    • General
    • Classified
    • Events
    • Newsletter
  • Calendar
  • Participate
    • Write for SP
    • Internships
    • Donate
      • Partners
      • Underwriting
  • About
    • Mission
    • History
    • Masthead
    • Board of Directors
    • Contact
    • Privacy Notice
    • FAQ
  • Grants
  • L&L Kilns
Simone Leigh, "Jug," 2014. Photo courtesy Tilton Gallery, New York.
Simone Leigh, "Jug," 2014. Photo courtesy Tilton Gallery, New York.

Evidence of Things Unseen

Chenoa Baker

Slab works made by my mom in college, David MacDonald’s work that my parents acquired, and clay in liturgical metaphors were my first encounters with clay. All of these childhood references instilled the knowledge that clay starts out amorphous but can be shaped and molded by a hand and possibly added tools. It needs to be acted upon in order to reveal its beauty. As a twentysomething Boston transplant, my first full-time job was as a museum fellow at the Institute of Contemporary Art, Boston. My work there centered on a solo show of Simone Leigh’s work (opening April 6, 2023) and her presentation at the Venice Biennale in 2022. From there, I took a wheel-throwing class at Harvard University to understand more about Leigh’s medium and her use of the vessel for how she cites unrecognized feminized and racialized labor.

What I learned while centering the clay and obsessing over the clay-to-water ratio in class for weeks is that clay particles are like platelets; water and earth dance around and are compressed in the process of sculpting. While the goal is cohesion, it starts as a suspension. White supremacist capitalist patriarchy, not to oversimplify it, is in suspension, as it is multiple different ideologies pulling apart rather than binding together. I learned this profound lesson from Simone Leigh’s "Jug" (2014). As an outlier in her practice, because it is unfired and has a much subtler nod to anthropomorphic forms compared to other works, it marries the meaning with the form. "Jug" communicates the division of race, labor, and gender through the use of Lizella Clay, vessel form, unfired clay constantly subject to its environment, and thumbprint adornment. Perhaps the concept within this outlier piece means that both clay and humanity are ever-changing and morph into new iterations of division or that it can be solved.

...
Read more

Author Bio

Chenoa Baker

Chenoa Baker (she/her) is a curator, writer, professor, and descendant of self-emancipators. She has contributed to major exhibitions, including Simone Leigh and Simone Leigh: Sovereignty at ICA/Boston, Gio Swaby: Fresh Up at the Peabody Essex Museum, and Touching Roots: Black Ancestral Legacies in the Americas at the MFA/Boston. In recognition of her curatorial work, she received the WBUR Maker Award and was featured on NPR’s All Things Considered in 2024. In 2023, she won the AICA Young Art Critics Prize for her writing. She writes for Hyperallergic, The Brooklyn Rail, Public Parking, Material Intelligence, and Studio Potter, among others. To learn more, visit chenoabaker.org.

CONTACT  |  NEWSLETTER SIGNUP  |  COPYRIGHT © 2020 STUDIO POTTER  |  SITE DESIGN

Design by Adaptive Theme

Member Log in

Enter your Studio Potter username.
Enter the password that accompanies your username.
Forgot your password?
Continue as Guest
Become a Member
Library IP Login