The Ceramic Presence in Modern Art (Yale University Art Gallery, through January 3rd) really extraordinary is that it places ceramic art in the context of other art of the period. The exhibition was co-curated by Jock Reynolds, the director of the gallery, and Sequoia Miller, a Pd.D. candidate in Art History at Yale. It contains about 100 clay objects (20 from Yale's own collection and 80 from the Linda Leonard Schlenger Collection) plus about 150 paintings, sculptures, prints, and drawings from Yale. In addition, like the great educational institution it is, Yale organized a two-day symposium in connection with the show. I'll be reporting on the symposium in another post.
|In the foreground is a 1961 glazed stoneware sculpture by John Mason; behind it is a sculpture by Manuel Neri; and clockwise on the wall are paintings by David Park, Richard Diebenkorn, and Elmer Bischoff.|
Los Angeles County Museum of Art has already integrated ceramics into their collection, and the Boston Museum of Fine Arts is starting to show ceramics with sculpture and painting of the period (although even they still have galleries where ceramics is segregated along with design and decoration).
|Installation view of a gallery in the contemporary art wing of the Museum of Fine Arts, Boston. On the right are ceramic cups by Ken Price.|
One surprising result of integrating ceramics with the rest of art is the ceramics doesn't seem precious, as it sometimes does when displayed by itself in glass cases or on shelves. Even work that plays with preciousness, like that of Ken Price and Ron Nagle, seems edgy in this context.
|On the table from the left are sculptures by John Chamberlain, John Mason, cups by Billy Al Bengston, a colorful sculpture by Jim Melchert behind the cups, and three John Mason plates.|
|Installation view, Paul Clay, Salon 94 Gallery, June 23, 2011–August 12, 2011. At least the Salon 94 gallery regularly exhibits ceramic art.|
Her omission is especially egregious since there were so few women in the show, and, putting salt on the wound, Frey's sculpture could be seen from the exhibition, in an adjacent room segregated with design and the decorative arts, thus contradicting the main message of the exhibition.
|Viola Frey, Resting Woman #2, 1989, glazed ceramic, 40 x 102 x 49 inches (Yale Art Gallery, photo: Mara Superior Instagram).|
|Hans Coper, Bottle with Disc and 4 Cycladic Forms, ca. 1970–75. stoneware, ranging from 4 1/2 × 3 3/4 × 3 1/2 inches to 11 3/4 × 2 × 1 3/4 inches (Linda Leonard Schlenger Collection. © Crafts Study Centre, University for the Creative Arts).|