Simple Forms, Stunning Glazes: The Gerald W. McNeely Collection of Pewabic Pottery
Exhibition Dates: December 12, 2015 – August 28, 2016
ArtMembers’ Opening: Fri Dec 11, 2015 6:00pm–8:00pm
Organized by the Cranbrook Center for Collections and Research and Cranbrook Art Museum, this exhibition debuts the Gerald W. McNeely Collection, one of the largest private collections of Pewabic Pottery recently donated to Cranbrook Art Museum and never before seen in its entirety. The Collection includes over 117 works including a Revelation Pottery Vase, which pre-dates the founding of Pewabic, and includes works from throughout the career of Mary Chase Perry Stratton, founder of Pewabic Pottery. The exhibition will also highlight Cranbrook’s own collection of Pewabic Pottery from the Art Museum and campus, which George Gough Booth, founder of Cranbrook, actively collected over his lifetime.
Pewabic Exhibition Catalog Launch and Tours at Pewabic Pottery
February 14, 2016 12:00 pm– 4:00 pm
RADICAL GLAZES, MONUMENTAL FORMS, GHETTO POTS: MARY CHASE PERRY STRATTON, MAIJA GROTELL, AND ROBERTO LUGO
February 6, 2016 1:00pm
Stefanie Dlugosz-Acton, Collections Fellow, Cranbrook Center for Collections and Research
Shelley Selim, Jeanne and Ralph Graham Assistant Curator, Cranbrook Art Museum
Anders Ruhwald, Artist-in-Residence, Head of the Ceramics Department, Cranbrook Academy of Art
Roberto Lugo, Potter, Activist, Culture-maker, Rapper, Poet, and Educator
Exhibition Dates: Ongoing
Sol LeWitt’s Wall Drawings 790A and 790B: Irregular Alternating Color Bands(1995) fill the Hartmann Gallery with serpentine bands of bold color applied directly to the wall. A pioneer of Conceptual Art, LeWitt conceived his wall drawings as a medium through which he could explore the concept of serial permutation while mining the tension between art and architecture. Wall Drawings 790A and 790B, like most of LeWitt’s wall drawings, exist only for the duration of the exhibition before being destroyed, privileging the conception of the work over its physical manifestation and demonstrating the artist’s dictum that “The idea becomes a machine that makes the art.” Still, the physical form of the work retains an undeniable beauty: LeWitt’s sinuous line and fulsome color together serve as an arresting counterpoint to Eliel Saarinen’s airy interior space.