Mountain Democrat, Friday, July 2, 2021

Page 19

mtdemocrat.com Mountain Democrat

Crocker names curator of ceramics Elizabeth Baidoo Crocker Art Museum SACRAMENTO — The Crocker Art Museum announces Rachel Gotlieb, Ph.D., as the first Ruth Rippon Curator of Ceramics. The Crocker’s international ceramics collection is one of the largest in the United States and includes works dating from prehistoric to contemporary periods. Gotlieb, a leading ceramics specialist, will oversee acquisitions, exhibitions and scholarship and help bring the collection to even greater prominence nationally and internationally. Gotlieb’s role is a new position established through the generosity of Anne and Malcolm McHenry in honor of Ruth Rippon (b. 1927, Sacramento), the influential California State University, Sacramento, professor who has long been integral in shaping the Northern California ceramics tradition. “The Sacramento region has long played an important role in the

America

Courtesy photo

Rachel Gotlieb will oversee the Crocker’s ceramics collection. development of ceramic arts and especially today as clay has emerged as one of the most exciting media in contemporary art, we are pleased to welcome Rachel to the museum,” said Lial A. Jones, the museum’s Mort and Marcy Friedman director & CEO. “She will further the Crocker’s collecting

and scholarship in this area and will support the elevation of ceramics as one of the museum’s key focus areas.” “The ceramics collection at the Crocker precedes itself, as it is well known among scholars, curators, collectors and enthusiasts throughout North America,” said

Gotlieb, a modern and contemporary specialist with a particular interest in 19th-century ceramics. “I think what differentiates the collection is that it is embedded in a prestigious California museum and I look forward to increasing access to its diverse and expansive collection.” Previously, Gotlieb was the adjunct curator and the former chief curator at the Gardiner Museum of Ceramic Art, Toronto, among the few museums globally to be focused on ceramics, where she advised on acquisitions and donations and lectured on 19th-century, modern and contemporary ceramics and design. Notably, she directed the installation of a monumental glazed ceramic sculpture in front of the Gardiner by artist Jun Kaneko; curated Piece by Piece (2015), the first museum presentation in Canada of acclaimed British ceramic artist Clare Twomey; True Nordic (2016-17), a landmark survey ■

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Europe together in the deeply personal work first half of the 1880s, stood for White as a frequently depicted symbol of wisdom and one another and were courage — universal elected Associate themes also explored National Academicians in his mature work in the same year. While “Mother Courage II” some of Chase’s critics (1974). perceived an aloofness The exhibition’s final in his figures, the artist’s section, For America, emotionally stirring presents paintings portrait of Blum forges from living national a deeper connection academy members between the duo’s wellwhose work addresses known paintings “The contemporary concerns Young Orphan” and while harkening back “Two Idlers,” framing to America’s storied each in a new light. past. This section shows Painting America that one of the most explores the academy’s vital artistic legacies nascent role in the within American early 20th century art is an undaunted as the purveyor of commitment to realism, Image by Google, courtesy American Federation of Arts artistic tradition in especially the figurative “Jim,” 1918, by Walter Ufer, oil on canvas, National Academy the United States. tradition, which has of Design, New York Strongly rejecting been championed by European modernism, artists across centuries. the Academy compensated by widening its national The academy is a living institution that counts 440 base. This resulted in a geographically diverse and of today’s leading artists and architects as members highly representative collection of landscapes and and paintings by Kay WalkingStick, David Diao, scenes of American life, from Daniel Garber’s New Jaune Quick–to–See Smith and Peter Saul provide Hope School of Pennsylvania Impressionism to mirrors for the present, ways of imagining and Ernest L. Blumenschein’s interpretations of the grappling with the past and, finally, dreams for a American Southwest. possible future. Later works in the exhibition by Albert Kresch A richly illustrated scholarly catalogue and Reuben Tam show that places like Taos, accompanies the exhibition and will be available for New Mexico, and Monhegan Island in Maine purchase in the Crocker Art Museum Store. — frequented by Robert Henri and his student The exhibition is curated by Diana Thompson, George Wesley Bellows — continue to be important director of Collections at the National Academy of satellites for American art. Design, and Jeremiah William McCarthy, former Postwar Realisms outlines how realism in its curator at the academy. The Crocker’s in-house various incarnations remained a viable alternative curator is Jayme Yahr, Ph.D. to American abstraction, which dominated the For America: Paintings from the National postwar period. Highlights include Ivan Albright’s Academy of Design is organized by the American otherworldly “Self-Portrait” (1948), a melancholic Federation of Arts and the National Academy of yet visionary “Self-Portrait” (1945) from Andrew Design. Support for the national tour is provided Wyeth and Richard Estes’s photorealistic “NYC by the JFM Foundation, Monique Schoen Warshaw Parking Lot” (1969). Although women had been and Steph & Jody La Nasa. admitted to the academy since its inception, in the mid 20th century the academy broadened its Events & programs membership to encompass a diversity of American Class series: The Art and History of Gilded Age experiences, including artists of color. For example, America — July 13, 20 & 27 the exhibition includes Charles White’s diploma Family Day: Portraits — July 23 portrait “Matriarch” (1967) — a portrayal of his Art RX: Slow Looking Program — Aug. 14 great-aunt Hasty Baines, born into slavery in 1857 Class: Portrait Painting in Acrylic for Experienced on the Yellowley plantation in Ridgeland, Miss. Beginners — Aug. 21 through Oct. 2 Painted 110 years after her birth, in the thick of Virtual experience: 3-D walk through a decade rife with political and social unrest, the

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