Highlights from the Carol and Shelton Gorelick Collection and Face Jugs from the Permanent Collection
Rotated Annually | Schaefer Gallery
Stacy Lambert (Winston-Salem, NC). Kissing Jar, 2007. Ceramic. Collection of Carol and Shelton Gorelick, on loan from the Gorelick family.
The Gorelick Collection
Carol Gorelick (d. 2019) began building her collection of pottery with a purchase of work from Jane Peiser in 1970. Her husband, Shelton (d. 2014), was a collector, as well, although he initially collected glass. Carol appreciated glass, but found herself more drawn to the tactility and textures of ceramics. Together, over several decades, the Gorelick's built a substantial collection of pottery, most of which was made in North Carolina.
The Gorelick's purchased what they liked. Carol once said, "I collect by the seat of my pants." The couple formed long lasting friendships with the artists from whom they purchased works. Through the years, Carol and Shelton amassed a collection of work from many of North Carolina's most prominent ceramicists, including Mark Hewitt, Charlie Lisk, Michel Bayne, Matt Jones, Josh Copus, Burlong Craig, A.V. Smith, Donna Craven, Steve Abee, Cristina Cordova, Kim Ellington, Daniel Johnston, Herb Cohen, Stacy Lambert, Alex Matisse, the Owens family, and others.
The Gorelick's would regularly travel to pottery shows across the state, from Penland and Hickory, to Catawba Valley and Seagrove. Carol became so knowledgeable of North Carolina pottery that she also served on the Mint Museum of Craft + Design's Founders' Circle in Charlotte, NC. At the core of it all, the Gorelick's were philanthropists, supporting multiple arts organizations and the Jewish community.
Today, the Gorelick Collection is managed by Carol and Shelton's children, Wendy and Jeff. BRAHM is excited to present a small selection of works from the Gorelick Collection, with an extended exhibition of the collection opening at the museum in Fall 2021. Special thanks to Wendy Weiner and Jeff Gorelick for their loan of this work to our museum.
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Face Jugs from the Permanent Collection
These mysterious creations have become a hallmark of Southern pottery. Early accounts of these vessels indicate that they were originally created by slaves working on plantations, who pulled stylistically from their west African roots. Theories suggest the jugs were used as grave markers to ward off evil spirits. These jugs have been found along routes of the Underground Railroad, which further reinforces this theory.
White potters began to pick up this practice around 1925, when the influx of factory made pottery forced many local potteries out of business. Tourists would purchase these vessels as souvenirs and novelty items. Many people used them during Prohibition to store whiskey. The scary, often grotesque faces were known to frighten children, influencing them to keep away from the contents inside.
Face jugs reached peak popularity in the 1970s when customers of renowned potter, Burlon Craig, requested them and inspired him to revive the craft. The teeth of these vessels are often made from pieces of broken dishes. The style of each jug varies greatly, each with its own unique personality.