The topic of process is endemic to craft scholarship and exhibitions, yet few artists so passionately and transparently convey process through their works as Annabeth Rosen. Conceptually linked with Lynda Benglis, Mary Heilmann, and Peter Voulkos, Rosen’s works create a unique intersection between feminist labor, transmedia connections between painting and ceramics, while also rupturing the materiality of ceramics and its history as a precious object. The creative breadth and energetic intensity created by this intersection propelled Rosen’s success and recognition as she received two Fellowships from the National Endowment for the Arts, a Pew Fellowship, and her current position as the Robert Arneson Endowed Chair of the UC Davis Department of Art and Art History. A graduate of Cranbrook Academy of Art (MFA Ceramics, 1981), Rosen returns to Cranbrook for the first substantive retrospective of her career, Annabeth Rosen: Broken, Fired, Gathered, Heaped. Debuting at the Contemporary Arts Museum Houston, the show originated under the direction of Senior Curator Valerie Cassel Oliver. The twenty-year scope of the show, its interpretive focus on process, and diverse evolution of Rosen’s

中文翻译：

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安娜贝丝·罗森：破碎、被解雇、聚集、堆积

过程的主题是工艺奖学金和展览的特有话题，但很少有艺术家像安娜贝丝·罗森那样通过他们的作品如此热情和透明地传达过程。Rosen 的作品与 Lynda Benglis、Mary Heilmann 和 Peter Voulkos 的概念联系在一起，在女性主义劳动、绘画与陶瓷之间的跨媒体联系之间创造了独特的交集，同时也打破了陶瓷作为珍贵物品的物质性及其历史。这一交叉点所创造的创造性广度和精力充沛推动了罗森的成功和认可，因为她获得了国家艺术基金会的两项奖学金、一项皮尤奖学金，以及她目前担任加州大学戴维斯分校艺术系罗伯特·阿内森基金会主席的职位和艺术史。毕业于克兰布鲁克艺术学院 (MFA Ceramics, 1981)，罗森回到克兰布鲁克参加她职业生涯中的第一次实质性回顾展，安娜贝丝罗森：破碎、被解雇、聚集、堆积。该展览在休斯顿当代艺术博物馆首次亮相，由高级策展人瓦莱丽·卡塞尔·奥利弗 (Valerie Cassel Oliver) 指导。展览的二十年范围，其对过程的解释重点以及罗森的多样化演变