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AM Roberts, mo(u)rning cup - NOT FOR SALE
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Sold outChristian Bailey, Insatiable
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Diana Hoover, Verge
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Eli Pillaert, Wiggle Cortado Cup
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Sold outElsa Kern, Self-Care - NOT FOR SALE
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Glynnis Ritchie, Cicada
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Sold outHolly Hanessian, Hurricane Cups
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Hope Hickman, Lavender King's Cup - NOT FOR SALE -
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Jamie Adams, Hell Cup
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Jeff Brown, Flower Cup and Rebar Cup
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Jennifer Schumacher Waller, Not Forgotten
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Joana Roger, Simply Espresso (set)
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Kathryn Baczeski, Let Me Feed You #5
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Kish Hickerson, Blue Bayou
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Lydia Gutowsky, Refinery Cup
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Sold outMaren Penn, Scuba Diver Mug
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Collection: Art of the Cup 2026
OCTOBER 24 - DECEMBER 7, 2026
The Center for Southern Craft & Design presents its 19th annual juried exhibition, Art of the Cup. Since its launch, the exhibition has featured over 1,044 cups and teapots created by world-class Southern ceramicists. To celebrate 19 years, Art of the Cup 2026 will be juried by Ina Kaur, Curator of Creative Practice at the Newcomb Art Museum, and exhibited in Ogden Museum Store’s Center for Southern Craft & Design, with the cups available for purchase.
Art of the Cup 2026 represents an expansive range of approaches to the humble, familiar form of the cup. Artists transform its functionality into a site of inquiry, where form, surface, gesture, ritual, and cultural memory converge.
The cup is, after all, an object we hold, use, share, and encounter repeatedly. In these works, it becomes something more: a record of presence and a witness to our time, carrying traces of place, memory, and lived experience. The display brings into dialogue a range of Southern ceramists, foregrounding both technical rigor and distinct aesthetic languages. Some works remain intimate and restrained; others extend the cup toward figuration, landscape, and abstraction. Design and illustration become vehicles for expression.
What connects them is not a singular aesthetic, but the capacity of the cup to hold difference, to accommodate radically varied ways of seeing, making, and being. Together, these works reflect the vitality of contemporary ceramics in the South: rooted in tradition, yet continually questioning, transforming, and expanding what the cup can be.
I am honored to have been part of the jurying and curating process; it was both generative and exacting. Each submission carried a sense of care, intention, and embodied knowledge. Given the spatial limitations, the process required careful distillation while attending to the integrity of individual works. I extend my sincere appreciation to all who submitted; to place one’s work into this dialogue is an act of generosity and engagement.
Ina Kaur