Tag Archives: di Rosa Collection

Ceramic Interventions: Nicki Green, Sahar Khoury, & Maria Paz

Gallery 1
Nicki Green, The Porous Sea (Tank), 2019. Glazed earthenware. 51” x 38” x 29” Photo by Ashley Estabrook.
Nicki Green, The Porous Sea (Tank), 2019. Glazed earthenware. 51” x 38” x 29” Photo by Ashley Estabrook.
Sahar Khoury, Untitled (Cage Topiary with Accessories), 2019 Animal cages, ceramic, cement and steel, Photo courtesy of the artist
Sahar Khoury, Untitled (Cage Topiary with Accessories), 2019 Animal cages, ceramic, cement and steel, Photo courtesy of the artist
Maria Paz, Her First Summer Without You, 2018, ceramic, glaze, 19" H x 16" W x 15" D
Maria Paz, Her First Summer Without You, 2018, ceramic, glaze, 19" H x 16" W x 15" D

The Bay Area has a longstanding tradition of radical experimentation in ceramic arts and, in recent years, many of the region’s most exciting young artists have chosen clay as their medium. This exhibition highlights three emerging artists working in this space, exploring a range of contemporary interventions in ceramic tradition.

Nicki Green, Sahar Khoury and Maria Paz all speak about the respect they have for ceramic’s durability, elasticity and strength, and are deeply engaged with the legacy of Bay Area ceramics. However, their practices represent unique modes of ceramic intervention. Green uses clay to create objects that explore history, ritual and the aesthetics of otherness. Khoury, meanwhile, engages in a practice of “creative repair” to create sculptures and installations that incorporate clay with cement, metal, textile and papier-mâché as well as rejected or found materials. Paz, finally, archives her personal and family history on ceramic vessels as an act of resilience and resistance.

Highlighting a wide range of recent works, Ceramic Interventions shows that clay remains an exciting and vital medium for today’s emerging artists.


About the Artists

Nicki Green is a transdisciplinary artist working primarily in clay. Originally from New England, she completed her BFA in sculpture from the San Francisco Art Institute in 2009 and her MFA in Art Practice from the University of California, Berkeley in 2018. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. Green has exhibited her work internationally, notably at the New Museum, New York; The Contemporary Jewish Museum, San Francisco; Rockelmann & Partner Gallery, Berlin, Germany. She has contributed texts to numerous publications including a recent piece in Duke University Press’ Transgender Studies Quarterly and a piece in Fermenting Feminism, Copenhagen. In 2019, Green was a finalist for the San Francisco Museum of Modern Art’s SECA Award, a recipient of an Arts/Industry Residency from the John Michael Kohler Art Center, among other awards. Green lives and works in the San Francisco Bay Area.

Sahar Khoury is an artist based in Oakland, California.  Khoury makes sculptures that integrate abstraction, personal and political symbols, and an intuitive sensitivity to site. Experimenting with juxtapositions of found or fabricated items with more familiar artist materials such as clay and papier-mâché, she continues to develop an idiosyncratic approach, with a primary commitment to material enquiry. She received her BA in Anthropology from UC Santa Cruz in 1996 and her MFA From UC Berkeley in 2013. She was the recipient of The San Francisco Museum of Modern Art 2019 biannual SECA Art Award and the 2018 Triennial Exhibition, Bay Area Now 8 at the Yerba Buena Center for the Arts. Khoury’s work has been exhibited at SFMOMA, YBCA, Oakland Museum of California, The Wattis Institute, UC Berkeley Art Museum, Rebecca Camacho (SF) and CANADA (NY). Khoury’s work has been written about in the New Yorker, Art Review, and Hyperallergic.

Maria Paz (b. Quilpue, Chile) is a self- taught sculptor based in Oakland, California. Her ceramic sculptures serve as archival objects, often exploring the bond broken with her home country and how her experience as an immigrant in the United States has shaped a multiplicity of identities within her. Recently, Paz has exhibited work at Yerba Buena Center for the Arts (San Francisco), San Jose Institute of Contemporary Arts (San Jose, CA), Pt. 2 Gallery (Oakland, CA), and Southern Exposure (San Francisco, CA). Paz has held workshops at the Contemporary Jewish Museum (San Francisco, CA) and was a finalist for the 2019-2020 TOSA Studio Award. She was awarded the Bed Stuy Arts Residency in Brooklyn, New York and is currently preparing for a group exhibition focused on community healing at Part 2 Gallery (Oakland, CA).



Co-curated by Kate Eilertsen, Acting Executive Director, Andrea Saenz Williams, Director of Education & Civic Engagement, and Twyla Ruby, Curatorial Associate.

The Incorrect Museum: Vignettes from the di Rosa Collection

Gallery 2

Carlos Villa, Third Coat, 1983, di Rosa Center for Contemporary Art

The Incorrect Museum: Vignettes from the di Rosa Collection explores the history of art in Northern California. Drawing on the institution’s extensive collection, the exhibition will present a series of vignettes exploring regional movements ranging from Funk and Nut art to Northern California conceptualism.

Exhibition Curator and di Rosa’s Acting Executive Director, Kate Eilertsen, states, “di Rosa’s remarkable collection is filled with untold stories and influential artists that have so much to teach us about this period in art history and its influence on artists today.” The exhibition will invite visitors to step into stories that illustrate the Bay Area’s distinctive artistic legacy. Vignettes will include an invitation to have a beer with Tom Marioni in his Museum of Conceptual Art, take a peek into Peter Voulkos’ pot palace or join William Wiley in his Dude Ranch Dada studio. Visitors will explore the collaborative networks connecting these artists to figures like Robert Arneson, Roy De Forest, Viola Frey, Lynn Hershman Leeson and Paul Kos, providing a fresh look at the uniquely funky attitude permeating Northern California art.

Art and artists of Northern California have been largely omitted from the story of modern American art. However, as the exhibition will show, the region has been a hotbed of artistic activity since the postwar period, representing a significant counterpoint to the art worlds of both New York and Los Angeles. What was unique about art in Northern California? How did it reflect the region’s distinctive social and political environment? How does it continue to inspire artists today? The exhibition will explore these questions, drawing on one of the world’s foremost collections of Bay Area art—the so-called “incorrect museum” amassed by Rene di Rosa over five decades as a collector of works he celebrated as “divinely regional, superbly parochial (and) wondrously provincial.”

Paired with The Incorrect Museum: Vignettes from the di Rosa Collection will be an active roster of public programs both on and off campus. These will include di Rosa’s signature programs for family and community, tours for school-age children and the general public, and an ongoing series of artist’s conversations to explore ideas presented within the exhibition.


About the Curator

Eilertsen has worked in the art world for many years as an arts advocate, curator, educator and museum director. She began her museum work at the Metropolitan Museum in New York, moved to Boston where she opened a new museum for the Harvard University Art Museums and then to San Francisco where she was the Director of Intersection for the Arts, Museum of Craft and Folk Art, Acting Director of Visual Arts for Yerba Buena Center for the Arts and Executive Director for the Sonoma Valley Museum of Art. She has taught at the California College of Arts, San Francisco Art Institute and Sonoma State University.