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- Annabeth Rosen (born 1957) is an American sculptor best known for abstract ceramic works, as well as drawings. She is considered part of a second generation of Bay Area ceramic artists after the California Clay Movement, who have challenged ceramic traditions involving expression, form and function and helped spur the medium's acceptance in mainstream contemporary sculpture. Rosen's sculptures range from monumental to tabletop-sized, and emerge out of an accumulative bricolage process combining dozens or hundreds of fabricated parts and clay fragments and discards. Reviewers characterize her art as deliberately raw, both muscular and unapologetic feminine, and highly abstract yet widely referential in its suggestions of humanoid, botanical, aquatic, artificial, even science-fictional qualities. Critic Kay Whitney wrote that her work is "visceral in its impact, violent even, but also sensual and evocative" and "floats between the poles of the comic and the mordant." Rosen has exhibited at venues including the Los Angeles County Museum of Art (LACMA), Contemporary Arts Museum Houston, Virginia Museum of Fine Arts, Kyoto Municipal Museum of Art, and Yingge Ceramics Museum (Taipei). Her work belongs to the public collections of LACMA, the Museum of Fine Arts Boston, Philadelphia Museum of Art, and Virginia Museum of Fine Arts, among others. She has received a Guggenheim Fellowship, Pew Artists fellowship, Joan Mitchell Artists Award, and United States Artists award. Rosen is a professor of art at University of California, Davis. (en)
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- Annabeth Rosen (born 1957) is an American sculptor best known for abstract ceramic works, as well as drawings. She is considered part of a second generation of Bay Area ceramic artists after the California Clay Movement, who have challenged ceramic traditions involving expression, form and function and helped spur the medium's acceptance in mainstream contemporary sculpture. Rosen's sculptures range from monumental to tabletop-sized, and emerge out of an accumulative bricolage process combining dozens or hundreds of fabricated parts and clay fragments and discards. Reviewers characterize her art as deliberately raw, both muscular and unapologetic feminine, and highly abstract yet widely referential in its suggestions of humanoid, botanical, aquatic, artificial, even science-fictional quali (en)
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