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Roger Law was the artist and energy behind the UK puppet show Spitting Image before he deported himself to Australia to explore his remaining artistic talent. Roger Law takes us on his journey of personal discovery through the wonders of Australian wildlife and his work in Jingdezhen porcelain.

This large exhibition, which travels to the Fitzwilliam Museum in the U.K. (March 20-June 18, 2018) after its December 3 2017 closing in New Haven, is the kind of show you learn more from - and see more in--with every repeat viewing. It is a substantial show in the sense of comprising nearly 150 works, in the sense of including an impressive number of large-scale works, and in the sense of being very carefully thought-out in selections, installation and catalogue - and the catalogue is commensurately huge. The show is co-curated by Martina Droth, curator of sculpture at the Yale Center; Glenn Adamson, senior research scholar there and formerly at the Victoria & Albert Museum in London; and Simon Olding, director of the Crafts Study Center in the U.K. The selection of large individual vessels, and vessel groupings, includes three fine large pots of Ladi Kwali, who despite coming to England with Cardew several times and being honored there, is still a surprise inclusion. From the moon pots, after an introductory vitrine of works by Leach, Hamada and other historical touchstones, the exhibition is organized by typologies of form: Vase, Bowl, Charger, Set, Vessel, Pot, Monument. Those headings also define a loose chronology, with the Vessel category encompassing the formal innovations of the 1980s, and Monument covering the most contemporary work.

Ceramics are closely connected with two of the best things in life – food and drink – and are intimately bound up with the preparation, consumption and storage of these. Ceramic table wares have been part of the picture for as long as people have sat at tables to eat their meals, and even today their role in food consumption is assured, even in those households in which the table has been replaced by tray and the knee. Of course, the way in which ceramics have been used at, and beyond, the table has changed over time, and the range

Elites constitute an important element of social systems characterized by inequality in access to rewards, resources, and services. Anthropologists have been interested in examining ‘the principles and expectations that regulated distribution of social, economic and political advantage’ (Villamarin and Villamarin 1982, 125) and the special roles played by elites in colonial and post-colonial society. Membership in the colonial and post-colonial Anglo-American elite was not wholly ascriptive; elite status could be achieved through acquisition of wealth and scrupulous conformity to the principles of behavior subscribed to by the established elite. Elites share cross-cultural characteristics, one of which revolves around food and

Thrown, British Columbia's Apprentices of Bernard Leach and their Contemporaries has its origins in an exhibition at the Morris and Helen Belkin Art Gallery at the University of British Columbia. By the early 1960s, public institutions like the Greater Victoria Art Gallery and the Vancouver Art Gallery included potters in their exhibition programs. [...]thanks to Scott Watson, curator of the Morris and Helen Belkin Art Gallery, much of what they and their contemporaries produced has been made available to a new generation of British Columbians through this volume.