Cranbrook Art Museum announces the opening of our new exhibition, John Glick: A Legacy in Clay, which highlights the illustrious career of the ceramist and 1962 graduate of Cranbrook Academy of Art. The exhibition opened on June 18 and run through March 12, 2017.
"Hippie Modernism: The Struggle for Utopia" is an exhibit opening Saturday at Cranbrook Art Museum. It looks into the unexpected ways that seemingly disparate movements of the '60s and '70s influenced one another in art, architecture and design. The museum's director, Adam Blauvelt, curated the exhibit and talks about what to expect.
You expect the annual Graduate Degree Exhibition at the Cranbrook Academy of Art to be wild, and this year’s projects by the newly minted MFA’s do not disappoint.The show, which will be up at the Cranbrook Art Museum through May 15, spotlights the work of 83 students in 10 different artistic disciplines, from metalsmithing to architecture to 3-D, and fills almost every inch of the Eliel Saarinen-designed museum.
Every April, Cranbrook Academy of Art puts on an exhibit highlighting graduate students’ work throughout their college career.With the 83-student graduating class, this year’s works are displayed both inside and outside for one of the biggest exhibits yet.“It’s a very great experience because you get to see the innovation that is the forefront of art, architecture and design,” says Laura Mott, exhibition curator. “Cranbrook has an important legacy in that, and this is the next generation.”
Was it one of the iconoclastic rock 'n' roll innovator's greatest works, or was it his most flawed statement this side of Lulu? Was the double album a carefully crafted work that expanded on experiments made by the founders of minimalism a decade earlier, or was it a hastily conceived barrage of senseless noise? Did he really expect this caterwauling double album of loud feedback soup to be released on RCA's classical label Red Seal, or did he simply turn it in as a way of flipping off The Man — fully intending for this mess to upset his label enough that they'd break his contract with them?
One does not, perhaps, consider ceramic objects to be immediately gendered, possess sexuality, or be particularly political. But pottery is one of the oldest practices among humans, and is so rooted in fundamental domestic and utilitarian concerns that there is literally no known human society that has not made vessels of some kind. This was something curator Anders Ruhwald, who has served as artist-in-residence and head of the Ceramics Department at Cranbrook Academy of Art since 2008, held very firmly in mind as he assembled contributors for This is the Living Vessel: person. This is what matters.
Him reveals Liz Cohen’s interest in identity, auto-determination, and the lengths to which one must go to find the truest expression of self.
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[“This Is the Living Vessel: Person. This Is What Matters. This Is Our Universe", curated by Cranbrook Academy of Art Head of Ceramics Anders Ruhwald] is part of a two-way exchange between Cranbrook and Pewabic—both Knight Arts grantees, and both with ceramic studios founded by women. Ruhwald has served as artist-in-residence and head of the ceramics department at Cranbrook since 2008, and has included recent Cranbrook graduate Matthew Bennett Laurents in the “Living Vessel” lineup. Simultaneously, the Cranbrook Art Museum presents “Simple Forms, Stunning Glazes: The Gerald W. McNeely Collection of Pewabic Pottery,” which showcases a recent donation of one of the largest private collections of Pewabic pottery. There are more than 100 works on display, including items made by Mary Chase Perry Stratton, Pewabic’s founder.
This hands-on investigation of books as art objects mixes the work of hometown heroes like Susan Goethel-Campbell, Megan Heeres, and Corrie Baldauf (whose Infinite Jest Project continues to proliferate, digitally and physically) with some well-known artists’ books, including examples by Ed Ruscha and Kara Walker.
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