It is observed that generalized male dominant, sexist and discriminatory attitude of the society has taken place as a dominant in different phases of art history. In societies where male experiences and perspectives are accepted as the norm, men have defined the female image both for men and women. Today this perspective has changed to some extent thanks to the feminist movement, it is seen that a new and critical reading has been brought to the history of art and the art production. Ceramic material, although a part of human life since the Late Paleolithic period, underwent a transformation with modernism, transcending historical forms of expression and shifting its focus from aesthetic-functionality to contexts that particularly scrutinized the artists' individual experiences and the societal dynamics in which they lived, emphasizing conceptual foundations. Notably, post-1960s, ceramic artists within the Funk Art movement in the United States, utilizing ceramic materials for their productions, have engaged in new inquiries by addressing political and sociological phenomena such as the conflict between tradition and contemporaneity, consumer society, everyday life, and issues related to sexuality and identity. This article discusses the concept of sex, gender, gender equality with their sociological dimensions, and discusses the opposition between masculine and feminine in terms of both the material and the way of production. In the research, the essence and form of social structuring and the concept of gender, specially form the postmodern period to the present, through contemporary ceramic practices are analyzed through the sample works of artists from different gender, geography and socio-cultural structures by descriptive research.
