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Elizabeth Baidoo Crocker Art Museum

SACRAMENTO — The Crocker Art Museum announces Rachel Gotlieb, Ph.D., as the fi rst 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 infl uential 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 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 di erentiates 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 fi rst museum presentation in Canada of acclaimed British ceramic artist Clare Twomey; True Nordic (2016-17), a landmark survey

Courtesy photo

Rachel Gotlieb will oversee the Crocker’s ceramics collection.

■ See GOTLIEB, page B9

America Continued from B1

Europe together in the fi rst half of the 1880s, frequently depicted one another and were elected Associate National Academicians in the same year. While some of Chase’s critics perceived an aloofness in his fi gures, the artist’s emotionally stirring portrait of Blum forges a deeper connection between the duo’s wellknown paintings “The Young Orphan” and “Two Idlers,” framing each in a new light.

Painting America

explores the academy’s nascent role in the early 20th century as the purveyor of artistic tradition in the United States. Strongly rejecting European modernism, the Academy compensated by widening its national base. This resulted in a geographically diverse and highly representative collection of landscapes and scenes of American life, from Daniel Garber’s New Hope School of Pennsylvania Impressionism to Ernest L. Blumenschein’s interpretations of the American Southwest.

Later works in the exhibition by Albert Kresch and Reuben Tam show that places like Taos, New Mexico, and Monhegan Island in Maine — frequented by Robert Henri and his student George Wesley Bellows — continue to be important satellites for American art. Postwar Realisms outlines how realism in its various incarnations remained a viable alternative to American abstraction, which dominated the postwar period. Highlights include Ivan Albright’s otherworldly “Self-Portrait” (1948), a melancholic yet visionary “Self-Portrait” (1945) from Andrew Wyeth and Richard Estes’s photorealistic “NYC Parking Lot” (1969). Although women had been admitted to the academy since its inception, in the mid 20th century the academy broadened its membership to encompass a diversity of American experiences, including artists of color. For example, the exhibition includes Charles White’s diploma portrait “Matriarch” (1967) — a portrayal of his great-aunt Hasty Baines, born into slavery in 1857 on the Yellowley plantation in Ridgeland, Miss. Painted 110 years after her birth, in the thick of a decade rife with political and social unrest, the

deeply personal work stood for White as a symbol of wisdom and courage — universal themes also explored in his mature work “Mother Courage II” (1974). The exhibition’s fi nal section, For America, presents paintings from living national academy members whose work addresses contemporary concerns while harkening back to America’s storied past. This section shows that one of the most vital artistic legacies within American art is an undaunted commitment to realism, Image by Google, courtesy American Federation of Arts “Jim,” 1918, by Walter Ufer, oil on canvas, National Academy of Design, New York especially the fi gurative tradition, which has been championed by artists across centuries. The academy is a living institution that counts 440 of today’s leading artists and architects as members and paintings by Kay WalkingStick, David Diao, Jaune Quick–to–See Smith and Peter Saul provide mirrors for the present, ways of imagining and grappling with the past and, fi nally, dreams for a possible future. A richly illustrated scholarly catalogue accompanies the exhibition and will be available for purchase in the Crocker Art Museum Store. The exhibition is curated by Diana Thompson, director of Collections at the National Academy of Design, and Jeremiah William McCarthy, former curator at the academy. The Crocker’s in-house curator is Jayme Yahr, Ph.D. For America: Paintings from the National Academy of Design is organized by the American Federation of Arts and the National Academy of Design. Support for the national tour is provided by the JFM Foundation, Monique Schoen Warshaw and Steph & Jody La Nasa.

Events & programs

Class series: The Art and History of Gilded Age America — July 13, 20 & 27 Family Day: Portraits — July 23 Art RX: Slow Looking Program — Aug. 14 Class: Portrait Painting in Acrylic for Experienced Beginners — Aug. 21 through Oct. 2 Virtual experience: 3-D walk through

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