EditorialSimone Leigh with her new glazed stoneware work, "Jug," inside the U.S. Pavilion at the 59th International Venice Biennale, April 6, 2022. (Sarah van Rij/The New York Times)
EditorialThe collection of Juan Manuel Grasset, Old Master Still Lifes at Sotheby's New Bond Street Galleries., Sothebys, New Bond Street, London, UK - 07 Sep 2022
EditorialVisitors at the United States Pavilion, where Simone Leigh’s stoneware work “Jug” is embedded with enlarged cowrie shells, at the Venice Biennale in Venice, Italy, April 20, 2022. (Gus Powell/The New York Times)
EditorialSimone Leigh with her new glazed stoneware work, "Jug," inside the U.S. Pavilion at the 59th International Venice Biennale, April 6, 2022. (Sarah van Rij/The New York Times)
EditorialSimone Leigh with her new glazed stoneware work, "Jug," inside the U.S. Pavilion at the 59th International Venice Biennale, April 6, 2022. (Sarah van Rij/The New York Times)
EditorialThe stoneware “catination” jar by David Drake from 1836 at the de Young Museum in San Francisco, June 1, 2021. (Carlos Chavarria/The New York Times)