Josiah Wedgwood. Apotheosis of Homer vase. 1786. Blue Jasperware Josiah Wedgwood. Apotheosis of Homer vase. 1786. Blue Jasperware. height 18 in. Courtesy of the Wedgwood Museum Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-1] Josiah Wedgwood. Apotheosis of Homer vase. 1786. Blue Jasperware. height 18 in. Courtesy of the Wedgwood Museum Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-1]

Wedgwood Queen’s Ware kitchenware. c. 1850 Wedgwood Queen’s Ware kitchenware. c. 1850. Courtesy of the Wedgwood Museum Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-2] Wedgwood Queen’s Ware kitchenware. c. 1850. Courtesy of the Wedgwood Museum Trust Limited, Barlaston, Staffordshire, England. [Fig. 14-2]

Euthymides. Dancing revelers, found in a tomb at Vulci. c. 510–500 BCE Euthymides. Dancing revelers, found in a tomb at Vulci. c. 510–500 BCE. made in Athens. height approximately 24 in. Museum Antiker Kleinkunst, Munich. Staatliche Antikensammlungen und Glyptothek, Munich, Germany. [Fig. 14-3] Euthymides. Dancing revelers, found in a tomb at Vulci. c. 510–500 BCE. made in Athens. height approximately 24 in. Museum Antiker Kleinkunst, Munich. Staatliche Antikensammlungen und Glyptothek, Munich, Germany. [Fig. 14-3]

Hon’ami Koetsu. Tea Bowl Named Amagumo Hon’ami Koetsu. Tea Bowl Named Amagumo. Momoyama or early Edo period, early 17th century. 3-1/2 × 4-9/10 in. Mitsui Bunko Museum, Tokyo. [Fig. 14-4] Hon’ami Koetsu. Tea Bowl Named Amagumo. Momoyama or early Edo period, early 17th century. 3-1/2 × 4-9/10 in. Mitsui Bunko Museum, Tokyo. [Fig. 14-4]

Peter Voulkos. X-Neck. 1990. Woodfired stoneware stack Peter Voulkos. X-Neck. 1990. Woodfired stoneware stack. height 34-1/2 in.; diameter 21 in. Private Collection. Photo: Schopplein Studio, Berkeley. © 1997 Peter Voulkos. [Fig. 14-5] Peter Voulkos. X-Neck. 1990. Woodfired stoneware stack. height 34-1/2 in.; diameter 21 in. Private Collection. Photo: Schopplein Studio, Berkeley. © 1997 Peter Voulkos. [Fig. 14-5]

Maria Montoya Martinez. Jar, San Ildefonso Pueblo, New Mexico. c. 1939 Maria Montoya Martinez. Jar, San Ildefonso Pueblo, New Mexico. c. 1939. Blackware. 11-1/8 × 13 in. The National Museum of Women in the Arts, Washington, DC. Gift of Wallace and Wilhelmina Holladay. [Fig. 14-6] Maria Montoya Martinez. Jar, San Ildefonso Pueblo, New Mexico. c. 1939. Blackware. 11-1/8 × 13 in. The National Museum of Women in the Arts, Washington, DC. Gift of Wallace and Wilhelmina Holladay. [Fig. 14-6]

Pottery wheel-throwing, from Craft and Art of Clay Pottery wheel-throwing, from Craft and Art of Clay. Courtesy of Laurence King Publishing Ltd. [Fig. 14-7] Pottery wheel-throwing, from Craft and Art of Clay. Courtesy of Laurence King Publishing Ltd. [Fig. 14-7]

Rose Cabat. Onion Feelie. n. d. Ceramic. height: 8-1/4 in Rose Cabat. Onion Feelie. n.d. Ceramic. height: 8-1/4 in.; diameter 5-1/8 in. Collection of the Arizona State University Art Museum. Gift of the Mulcahy Foundation, Tucson. 1988.025.000. Arizona State University Art Museum. [Fig. 14-8] Rose Cabat. Onion Feelie. n.d. Ceramic. height: 8-1/4 in.; diameter 5-1/8 in. Collection of the Arizona State University Art Museum. Gift of the Mulcahy Foundation, Tucson. 1988.025.000. Arizona State University Art Museum. [Fig. 14-8]

Kraakporselein. Plate, Ming Dynasty, late 16th– early 17th century Kraakporselein. Plate, Ming Dynasty, late 16th– early 17th century. probably from the Ching-te Chen kilns. Porcelain, painted in underglaze blue. diameter 14-1/4 in. The Metropolitan Museum of Art,Rogers Fund, 1916 (16.13). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. [Fig. 14-9] Kraakporselein. Plate, Ming Dynasty, late 16th– early 17th century. probably from the Ching-te Chen kilns. Porcelain, painted in underglaze blue. diameter 14-1/4 in. The Metropolitan Museum of Art,Rogers Fund, 1916 (16.13). The Metropolitan Museum of Art, New York, NY, U.S.A. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. [Fig. 14-9]

Betty Woodman. Floral Vase and Shadow. 1983. Glazed ceramic Betty Woodman. Floral Vase and Shadow. 1983. Glazed ceramic. Courtesy of Max Protetch. [Fig. 14-10] Betty Woodman. Floral Vase and Shadow. 1983. Glazed ceramic. Courtesy of Max Protetch. [Fig. 14-10]

Joyce Kozloff. Plaza Las Fuentes, Pasadena, California. 1990 Joyce Kozloff. Plaza Las Fuentes, Pasadena, California. 1990. Glazed ceramic tiles; sculpture, Michael Lucero; landscape architect, Lawrence Halprin. Landscape architect: Lawrence Halprin; Architects: Moore, Ruble, Yudell; Developers: Maguire Thomas Partners; Sculpture: Michael Lucero. Photo: Tom VineTz. DC Moore Gallery, New York. [Fig. 14-11] Joyce Kozloff. Plaza Las Fuentes, Pasadena, California. 1990. Glazed ceramic tiles; sculpture, Michael Lucero; landscape architect, Lawrence Halprin. Landscape architect: Lawrence Halprin; Architects: Moore, Ruble, Yudell; Developers: Maguire Thomas Partners; Sculpture: Michael Lucero. Photo: Tom VineTz. DC Moore Gallery, New York. [Fig. 14-11]

Judy Chicago. The Dinner Party. 1979. Mixed media. 48 × 48 × 48 ft Judy Chicago. The Dinner Party. 1979. Mixed media. 48 × 48 × 48 ft. installed. © 2012 Judy Chicago/Artists Rights Society (ARS), New York. Collection of The Brooklyn Museum of Art, Gift of the Elizabeth A. Sackler Foundation. Photograph © Donald Woodman. [Fig. 14-12] Judy Chicago. The Dinner Party. 1979. Mixed media. 48 × 48 × 48 ft. installed. © 2012 Judy Chicago/Artists Rights Society (ARS), New York. Collection of The Brooklyn Museum of Art, Gift of the Elizabeth A. Sackler Foundation. Photograph © Donald Woodman. [Fig. 14-12]

Judy Chicago. The Dinner Party (Artemisia Gentileschi place setting) Judy Chicago. The Dinner Party (Artemisia Gentileschi place setting). 1979. Mixed media: ceramic, porcelain, textile. © 2012 Judy Chicago/Artists Rights Society (ARS), New York. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. Photograph by Jook Leung Photography. [Fig. 14-13] Judy Chicago. The Dinner Party (Artemisia Gentileschi place setting). 1979. Mixed media: ceramic, porcelain, textile. © 2012 Judy Chicago/Artists Rights Society (ARS), New York. Brooklyn Museum, Gift of the Elizabeth A. Sackler Foundation, 2002.10. Photograph by Jook Leung Photography. [Fig. 14-13]

Julie Green. The Last Supper. 2000-ongoing Julie Green. The Last Supper. 2000-ongoing. Installation view of 357 plates in the 2009 exhibition Counter Intelligence. various sizes. Courtesy of the artist. [Fig. 14-14] Julie Green. The Last Supper. 2000-ongoing. Installation view of 357 plates in the 2009 exhibition Counter Intelligence. various sizes. Courtesy of the artist. [Fig. 14-14]

Julie Green. The Last Supper, Georgia, 26 June 2007. 2000-ongoing Julie Green. The Last Supper, Georgia, 26 June 2007. 2000-ongoing. Porcelain. various sizes. Courtesy of the artist. [Fig. 14-15a] Julie Green. The Last Supper, Georgia, 26 June 2007. 2000-ongoing. Porcelain. various sizes. Courtesy of the artist. [Fig. 14-15a]

Julie Green. The Last Supper, Texas, 22 January 2009. 2000-ongoing Julie Green. The Last Supper, Texas, 22 January 2009. 2000-ongoing. Porcelain. various sizes. Photos courtesy of the artist. [Fig. 14-15b] Julie Green. The Last Supper, Texas, 22 January 2009. 2000-ongoing. Porcelain. various sizes. Photos courtesy of the artist. [Fig. 14-15b]

Julie Green. The Last Supper, Indiana, 5 May 2007. 2000-ongoing Julie Green. The Last Supper, Indiana, 5 May 2007. 2000-ongoing. Porcelain. various sizes. Photos courtesy of the artist. [Fig. 14-15c] Julie Green. The Last Supper, Indiana, 5 May 2007. 2000-ongoing. Porcelain. various sizes. Photos courtesy of the artist. [Fig. 14-15c]

Mosaic glass bowl. 25 BCE–50 CE. fused and slumped, Roman Mosaic glass bowl. 25 BCE–50 CE. fused and slumped, Roman. height 4-1/2 in. V&A Images, London / Art Resource, NY. [Fig. 14-16] Mosaic glass bowl. 25 BCE–50 CE. fused and slumped, Roman. height 4-1/2 in. V&A Images, London / Art Resource, NY. [Fig. 14-16]

Moses window, Abbey Church of Saint-Denis, Saint-Denis, France. 1140–44. © Achim Bednorz, Koln. [Fig. 14-17] Moses window, Abbey Church of Saint-Denis, Saint-Denis, France. 1140–44. © Achim Bednorz, Koln. [Fig. 14-17]

Dale Chihuly. Rotunda Chandelier (Victoria and Albert Chandelier). 1999. Glass. 27 × 12 × 12 ft. Victoria & Albert Museum, London / Art Resource, NY,. Courtesy Marlborough Gallery for artist. [Fig. 14-18] Dale Chihuly. Rotunda Chandelier (Victoria and Albert Chandelier). 1999. Glass. 27 × 12 × 12 ft. Victoria & Albert Museum, London / Art Resource, NY,. Courtesy Marlborough Gallery for artist. [Fig. 14-18]

Fred Wilson. Drip Drop Plop. 2001. Glass. approximately 99 × 72 × 62 in. Photograph by Ellen Labenski, Courtesy The Pace Gallery, New York. © Fred Wilson, courtesy The Pace Gallery. [Fig. 14-19] Fred Wilson. Drip Drop Plop. 2001. Glass. approximately 99 × 72 × 62 in. Photograph by Ellen Labenski, Courtesy The Pace Gallery, New York. © Fred Wilson, courtesy The Pace Gallery. [Fig. 14-19]

The Hunt of the Unicorn, VII: The Unicorn in Captivity The Hunt of the Unicorn, VII: The Unicorn in Captivity. Franco-Flemish, 16th century, c. 1500. Silk and wool, silver and silver-gilt threads. 12 ft. 1 in. × 8 ft. 3 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Gift of John D. Rockefeller, Jr., 1937 (37.80.6). [Fig. 14-20] The Hunt of the Unicorn, VII: The Unicorn in Captivity. Franco-Flemish, 16th century, c. 1500. Silk and wool, silver and silver-gilt threads. 12 ft. 1 in. × 8 ft. 3 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. The Metropolitan Museum of Art, New York, NY, U.S.A., Gift of John D. Rockefeller, Jr., 1937 (37.80.6). [Fig. 14-20]

Embroidered rumal. late 18th century. Muslin and colored silks Embroidered rumal. late 18th century. Muslin and colored silks. V & A Images/Victoria and Albert Museum. [Fig. 14-21] Embroidered rumal. late 18th century. Muslin and colored silks. V & A Images/Victoria and Albert Museum. [Fig. 14-21]

Nicholas Carroll Estate Inventory, MS 2634. c. 1812 Nicholas Carroll Estate Inventory, MS 2634. c. 1812. Manuscripts Division, Maryland Historical Society Library, The Maryland Historical Society, Baltimore, Maryland. [Fig. 14-22] Nicholas Carroll Estate Inventory, MS 2634. c. 1812. Manuscripts Division, Maryland Historical Society Library, The Maryland Historical Society, Baltimore, Maryland. [Fig. 14-22]

Fred Wilson. Mining the Museum, Installation detail: Whipping post and chairs for Cabinetmaking 1820-1960. 1992. Photo: Jeff D. Goldman © Contemporary Museum. [Fig. 14-23] Fred Wilson. Mining the Museum, Installation detail: Whipping post and chairs for Cabinetmaking 1820-1960. 1992. Photo: Jeff D. Goldman © Contemporary Museum. [Fig. 14-23]

Fred Wilson. Mining the Museum, Installation detail: Silver Vessels and Slave Shackles for Metalwork. 1992. Photo: Jeff D. Goldman © Contemporary Museum. [Fig. 14-24] Fred Wilson. Mining the Museum, Installation detail: Silver Vessels and Slave Shackles for Metalwork. 1992. Photo: Jeff D. Goldman © Contemporary Museum. [Fig. 14-24]

Anni Albers. Wall Hanging. 1926. Silk (two-ply weave). 72 × 48 in Anni Albers. Wall Hanging. 1926. Silk (two-ply weave). 72 × 48 in. © 2012 The Josef and Annie Albers Foundation/Artists Rights Society (ARS), New York. Courtesy of the Busch-Reisinger Museum, Harvard University Art Museums, Association Fund. Photograph by Michael Nedzweski © President and Fellows of Harvard College, Harvard University. BR48.132. [Fig. 14-25] Anni Albers. Wall Hanging. 1926. Silk (two-ply weave). 72 × 48 in. © 2012 The Josef and Annie Albers Foundation/Artists Rights Society (ARS), New York. Courtesy of the Busch-Reisinger Museum, Harvard University Art Museums, Association Fund. Photograph by Michael Nedzweski © President and Fellows of Harvard College, Harvard University. BR48.132. [Fig. 14-25]

Jessie T. Pettway. Bars and String-Pieced Columns. 1950s. Cotton Jessie T. Pettway. Bars and String-Pieced Columns. 1950s. Cotton. 95 × 76 in. Photo: Steve Pitking/Pitking Studios. © 2003. Provided by Tinwood Alliance Collection, Atlanta (www.tinwoodmedia.com). [Fig. 14-26] Jessie T. Pettway. Bars and String-Pieced Columns. 1950s. Cotton. 95 × 76 in. Photo: Steve Pitking/Pitking Studios. © 2003. Provided by Tinwood Alliance Collection, Atlanta (www.tinwoodmedia.com). [Fig. 14-26]

Faith Ringgold. Tar Beach (Part I from the Woman on a Bridge series) Faith Ringgold. Tar Beach (Part I from the Woman on a Bridge series). 1988. Acrylic on canvas bordered with printed, painted, quilted, and pieced cloth. 74-5/8 × 68-1/2 in. © 1988. Collection: The Solomon R. Guggenheim Museum, New York. [Fig. 14-27] Faith Ringgold. Tar Beach (Part I from the Woman on a Bridge series). 1988. Acrylic on canvas bordered with printed, painted, quilted, and pieced cloth. 74-5/8 × 68-1/2 in. © 1988. Collection: The Solomon R. Guggenheim Museum, New York. [Fig. 14-27]

Clay Lohmann. Black Lung. 2011 Clay Lohmann. Black Lung. 2011. Cotton cloth, thread, silk batting, inflatable lung, buttons, tubing, safety pins. 90 × 80 in. Courtesy of the artist. [Fig. 14-28] Clay Lohmann. Black Lung. 2011. Cotton cloth, thread, silk batting, inflatable lung, buttons, tubing, safety pins. 90 × 80 in. Courtesy of the artist. [Fig. 14-28]

Marilyn Lanfear. Aunt Billie, from the triptych Uncle Clarence’s Three Wives. 2007. Mother-of-pearl and bone buttons sewn to linen. 8 × 4-1/2 ft. Courtesy of the artist. [Fig. 14-29a] Marilyn Lanfear. Aunt Billie, from the triptych Uncle Clarence’s Three Wives. 2007. Mother-of-pearl and bone buttons sewn to linen. 8 × 4-1/2 ft. Courtesy of the artist. [Fig. 14-29a]

Marilyn Lanfear. Aunt Billie, from the triptych Uncle Clarence’s Three Wives, detail. 2007. Mother-of-pearl and bone buttons sewn to linen. 8 × 4-1/2 ft. Courtesy of the artist. [Fig. 14-29b] Marilyn Lanfear. Aunt Billie, from the triptych Uncle Clarence’s Three Wives, detail. 2007. Mother-of-pearl and bone buttons sewn to linen. 8 × 4-1/2 ft. Courtesy of the artist. [Fig. 14-29b]

Joana Vasconcelos. Contamination. 2008–2010 Joana Vasconcelos. Contamination. 2008–2010. Hand-knitted and crocheted elements, applications in felt, industrial mesh, fabric, ornaments, polystyrene, polyester, steel cables, dimensions variable. Atelier Joana Vasconcelos. Courtesy Galerie Nathalie Obadia. [Fig. 14-30] Joana Vasconcelos. Contamination. 2008–2010. Hand-knitted and crocheted elements, applications in felt, industrial mesh, fabric, ornaments, polystyrene, polyester, steel cables, dimensions variable. Atelier Joana Vasconcelos. Courtesy Galerie Nathalie Obadia. [Fig. 14-30]

Magdalena Abakanowicz. Backs in Landscape. 1978–81 Magdalena Abakanowicz. Backs in Landscape. 1978–81. Eighty sculptures of burlap and resin molded from plaster casts. over-life-size. Photo: Dirk Bakker, 1982. © Magdalena Abakanowicz, courtesy Marlborough Gallery, New York. [Fig. 14-31] Magdalena Abakanowicz. Backs in Landscape. 1978–81. Eighty sculptures of burlap and resin molded from plaster casts. over-life-size. Photo: Dirk Bakker, 1982. © Magdalena Abakanowicz, courtesy Marlborough Gallery, New York. [Fig. 14-31]

Yinka Shonibare. Victorian Couple. 1999. Wax-printed cotton textile Yinka Shonibare. Victorian Couple. 1999. Wax-printed cotton textile. left approximately 60 × 36 × 36 in; right approximately 60 × 24 × 24 in. Courtesy of the artist, Stephen Friedman Gallery, London, and James Cohan Gallery, New York. [Fig. 14-32] Yinka Shonibare. Victorian Couple. 1999. Wax-printed cotton textile. left approximately 60 × 36 × 36 in; right approximately 60 × 24 × 24 in. Courtesy of the artist, Stephen Friedman Gallery, London, and James Cohan Gallery, New York. [Fig. 14-32]

Tutankhamun Hunting Ostriches from His Chariot, base of the king’s ostrich-feather fan. 1335–1327 BCE. Beaten gold. 4 × 7-1/4 in. Erich Lessing/Art Resource, NY. [Fig. 14-33] Tutankhamun Hunting Ostriches from His Chariot, base of the king’s ostrich-feather fan. 1335–1327 BCE. Beaten gold. 4 × 7-1/4 in. Erich Lessing/Art Resource, NY. [Fig. 14-33]

Griffin bracelet, from the Oxus treasure. c. 500–400 BCE Griffin bracelet, from the Oxus treasure. c. 500–400 BCE. Gold and stones. diameter 5 in. British Museum, London, UK. The Bridgeman Art Library. [Fig. 14-34] Griffin bracelet, from the Oxus treasure. c. 500–400 BCE. Gold and stones. diameter 5 in. British Museum, London, UK. The Bridgeman Art Library. [Fig. 14-34]

Benvenuto Cellini. Saliera (saltcellar), Neptune (sea) and Tellus (earth). 1540–43. Gold, niello work, and ebony base. height 10-1/4 in. Kunsthistorisches Museum, Vienna, Austria. [Fig. 14-35] Benvenuto Cellini. Saliera (saltcellar), Neptune (sea) and Tellus (earth). 1540–43. Gold, niello work, and ebony base. height 10-1/4 in. Kunsthistorisches Museum, Vienna, Austria. [Fig. 14-35]

Susan Ewing. Inner Circle Teapot. 1991. 925 silver, 24K vermeil Susan Ewing. Inner Circle Teapot. 1991. 925 silver, 24K vermeil. 9-3/4 × 10-1/4 × 8-1/2 in. Courtesy of the Artist. Photo: Carl Potteiger. [Fig. 14-36] Susan Ewing. Inner Circle Teapot. 1991. 925 silver, 24K vermeil. 9-3/4 × 10-1/4 × 8-1/2 in. Courtesy of the Artist. Photo: Carl Potteiger. [Fig. 14-36]

Nathan Dube. S. P. I. T. (Saliva and Paper Instigating Trauma). 2005 Nathan Dube. S.P.I.T. (Saliva and Paper Instigating Trauma). 2005. Precious metals. dimensions of case 2-3/4 × 4-1/4 in. Courtesy of the Artist. [Fig. 14-37] Nathan Dube. S.P.I.T. (Saliva and Paper Instigating Trauma). 2005. Precious metals. dimensions of case 2-3/4 × 4-1/4 in. Courtesy of the Artist. [Fig. 14-37]

Heiltsuk. Bent-Corner Chest (Kook). c. 1860 Heiltsuk. Bent-Corner Chest (Kook). c. 1860. Yellow and red cedar, and paint. 21-1/4 × 35-3/4 × 20-1/2 in. The Seattle Art Museum, Gift of John H. Hauberg and John and Grace Putnam. Photo by Paul Macapia. [Fig. 14-38] Heiltsuk. Bent-Corner Chest (Kook). c. 1860. Yellow and red cedar, and paint. 21-1/4 × 35-3/4 × 20-1/2 in. The Seattle Art Museum, Gift of John H. Hauberg and John and Grace Putnam. Photo by Paul Macapia. [Fig. 14-38]

Attributed to Thomas Dennis or William Searle. Chest Attributed to Thomas Dennis or William Searle. Chest. made in Ipswich, Massachusetts, 1660–1680. Red oak, white oak. 29-3/4 × 49-1/8 × 21-3/8 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. Made in Ipswich, Massachusetts. Red oak, white oak, 29 3⁄4 × 49 1⁄8 × 21 3⁄8 in. Metropolitan Museum of Art, New York. Gift of Mrs. Russell Sage, 1909 (10.125.685). [Fig. 14-39] Attributed to Thomas Dennis or William Searle. Chest. made in Ipswich, Massachusetts, 1660–1680. Red oak, white oak. 29-3/4 × 49-1/8 × 21-3/8 in. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY. Made in Ipswich, Massachusetts. Red oak, white oak, 29 3⁄4 × 49 1⁄8 × 21 3⁄8 in. Metropolitan Museum of Art, New York. Gift of Mrs. Russell Sage, 1909 (10.125.685). [Fig. 14-39]

Margaret and Christine Wertheim. Crochet Coral and Anemone Garden Margaret and Christine Wertheim. Crochet Coral and Anemone Garden. 2005-ongoing. Institute For Figuring (IFF). Photo © the IFF. [Fig. 14-40] Margaret and Christine Wertheim. Crochet Coral and Anemone Garden. 2005-ongoing. Institute For Figuring (IFF). Photo © the IFF. [Fig. 14-40]