This unusual set of garniture, in the form of bowling pins, was created by ceramic artist Michelle Erickson in reaction to the terrorist attacks of September 11, 2001. Depicted on the garniture is a panoramic scene of the World Trade Center towering amidst the lower Manhattan skyline. Erickson conceived of these objects, which suggest women in burkas, in a modern interpretation of an antique ceramic form.

New York City-based industrial designer Eva Zeisel designed the austere, elegant forms of the "Museum" dinner service in 1942-43; they were introduced to the American public with great acclaim at the Museum of Modern Art in 1946. As the first set of fine china in modern shapes produced in the United States, the creation of "Museum" was a landmark in the history of American tableware.

Artist's statement: "The environment in which terrorism thrives is oppression and the breeding ground for extremism is poverty, desperation and hopelessness. The imagery of women anonymously shrouded combined with the unforgettable Manhattan skyline, transposed onto porcelain bowling pins simultaneously depicts extreme vulnerability and strength. The precarious balance of the pins fired and frozen in time, provide a window into a poignant horrific moment in history..."

Artist's statement: "The environment in which terrorism thrives is oppression and the breeding ground for extremism is poverty, desperation and hopelessness. The imagery of women anonymously shrouded combined with the unforgettable Manhattan skyline, transposed onto porcelain bowling pins simultaneously depicts extreme vulnerability and strength. The precarious balance of the pins fired and frozen in time, provide a window into a poignant horrific moment in history..."

New York City-based industrial designer Eva Zeisel (b. 1906) joined forces with Brooklyn potters James Klein and David Reid in 1999. The undulating curves of these nestling vases recall elements of Zeisel's work from fifty years earlier. Designed by Eva at age 93, they demonstrate her ongoing "playful search for beauty."

New York City-based industrial designer Eva Zeisel (b. 1906) joined forces with Brooklyn potters James Klein and David Reid in 1999. The undulating curves of these nestling vases recall elements of Zeisel's work from fifty years earlier. Designed by Eva at age 93, they demonstrate her ongoing "playful search for beauty."

New York City-based industrial designer Eva Zeisel (b. 1906) joined forces with Brooklyn potters James Klein and David Reid in 1999. The undulating curves of these nestling vases recall elements of Zeisel's work from fifty years earlier. Designed by Eva at age 93, they demonstrate her ongoing "playful search for beauty."

New York City-based industrial designer Eva Zeisel (b. 1906) joined forces with Brooklyn potters James Klein and David Reid in 1999. The undulating curves of these nestling vases recall elements of Zeisel's work from fifty years earlier. Designed by Eva at age 93, they demonstrate her ongoing "playful search for beauty."

In the mid-1940s, the president of Red Wing Pottery commissioned New York-based industrial designer Eva Zeisel to create a "Greenwich Villagey" dinner service; namely, tableware with informal shapes that would appeal to young consumers embracing a more casual lifestyle after World War II. The resulting line of dinnerware of free-form organic shapes with mix-and-match colors was promoted by Red Wing as "contemporary, functional, colorful, smart."

In the mid-1940s, the president of Red Wing Pottery commissioned New York-based industrial designer Eva Zeisel to create a "Greenwich Villagey" dinner service; namely, tableware with informal shapes that would appeal to young consumers embracing a more casual lifestyle after World War II. The resulting line of dinnerware of free-form organic shapes with mix-and-match colors was promoted by Red Wing as "contemporary, functional, colorful, smart."