This book was published in conjunction with a retrospective exhibition covering the work of Richard De Vore (1933–2006), Artist-in-Residence and head of Cranbrook Academy of Art’s Ceramics Department from 1966 to 1978. Over the course of his career, De Vore created works of art that, while drawing on his training in the field of ceramics, are best understood as sculptural and architectonic explorations of form, including abstracted references to the human body and earthen landscape. The sculptures De Vore created reference the vessel form in order to subvert its historic meaning through a series of artistic interventions, rending his works explicitly and intentionally nonfunctional and highly structured. Intending his work to be viewed from a conceptual and formalist perspective, De Vore created three-dimensional objects that should first be read frontally as an abstracted two-dimensional image. The strong linear qualities of this planar view, clearly influenced by De Vore’s training as a painter in the mid-1950s, were designed to create visual and psychological tension for the viewer. Through the artist’s sensitive manipulation of surface color, clefts, and carefully considered interior holes, formal characteristics that appear in nearly all of De Vore’s works, a three-dimensional, sculptural reading of the object then becomes possible.