Past Exhibitions
John Mason, X-Pot, 1958. Glazed stoneware. Linda Leonard Schlenger Collection. © John Mason
Hans Coper, Large Round Form, 1964–67. Stoneware. Linda Leonard Schlenger Collection. Crafts Study Centre, University for the Creative Arts
Ruth Duckworth, Untitled, ca. 1993. Porcelain. Linda Leonard Schlenger Collection. © Thea Burger
Jim Melchert, The Dream, 1967. Stoneware with glaze, overglaze, luster, and decals. Linda Leonard Schlenger Collection. © Jim Melchert
Kenneth Price, Softie, 2004. Painted stoneware. Linda Leonard Schlenger Collection. © Ken Price / Courtesy Kenneth Price Estate
Toshiko Takaezu, Two Fives, 1985. Glazed stoneware. Linda Leonard Schlenger Collection. © Toshiko Takaezu Trust
Peter Voulkos, Untitled Plate, 1963. Glazed stoneware. Linda Leonard Schlenger Collection. © Voulkos Family Trust
George E. Ohr, Vase, 1895–96. Glazed earthenware. Linda Leonard Schlenger Collection

The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection and the Yale University Art Gallery

  • September 4, 2015–January 3, 2016
Over the last 25 years, Linda Leonard Schlenger has amassed one of the most important collections of contemporary ceramics in the country. This exhibition features over 80 objects from the Schlenger collection by leading 20th-century ceramicists—including John Mason, Jim Melchert, Kenneth Price, Lucie Rie, and Peter Voulkos—alongside works in other media from the Yale University Art Gallery’s permanent collection by artists such as Hans Hofmann, Willem de Kooning, Isamu Noguchi, Mark Rothko, and Edward Ruscha. Although critically lauded within the studio-craft movement, works by these ceramicists are only now coming to be recognized as integral to the wider field of contemporary art. By interspersing these exceptional examples of the medium with other objects from this period, including painting, sculpture, and works on paper, this exhibition aims to reexamine the position of postwar ceramic sculpture within the context of contemporary art, highlighting the formal, historical, and theoretical affinities among the works on view.
Exhibition organized by Sequoia Miller, Ph.D. candidate, History of Art, Yale University, and Jock Reynolds, the Henry J. Heinz II Director, Yale University Art Gallery. Made possible by the Art Gallery Exhibition and Publication Fund; the Janet and Simeon Braguin Fund; the S. Alexander Haverstick II Director’s Resource Fund at the Yale University Art Gallery; the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts Fund; the Stephen S. Lash Fund; the Katharine Ordway Exhibition and Publication Fund; and the Wolfe Family Exhibition and Publication Fund

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