Excerpt from the article written by Roberta Smith (NYT art critic):"PHILADELPHIA — On a surprisingly regular basis, the tiny Institute of Contemporary Art at the University of Pennsylvania here mounts exhibitions that make the contemporary-art adventures of many larger museums look blinkered, timid and hidebound. The institute’s current show is a lively case in point, never mind the ungainly, uninformative title: “Dirt on Delight: Impulses That Form Clay.” Only the last word hints that this convoluted syntax might signal an exhibition of ceramic vessels and sculptures.
When this show is seen in person, it is unmistakable that it is wildly, exuberantly, yet quite cogently about things of a ceramic nature, many different things: large and small, abstract and representational, glazed, unglazed and painted, old and new.
The show’s determination to integrate ceramics into the art mainstream is nothing new. But its refusal to do so simply by slipping some universally agreed-upon ceramic exceptions into a show of painting, sculpture and so forth is close to groundbreaking...
Nods are given to some of the art world’s youngest and hottest users of clay, but also to artists with little art-world profile, like Philadelphia’s own Jane Irish and Paul Swenbeck or Jeffry Mitchell of Seattle. The show even has an outsider artist: Eugene von Bruenchenhein, better known for his sweetly (mostly) erotic photographs of his wife."
Read the full article here: www.nytimes.com/2009/03/20/arts/design/20dirt.html
1 comment:
Jane was also mentioned in the march issue of ceramics monthly.
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