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  3. Double Grandmother
Double Grandmother, Viola Frey, 1978–79
VViola FreyAmerican

Double Grandmother

1978–79 · Sculpture, Ceramics

May one see it?

Not receiving at present

Minneapolis Institute of Art

Minneapolis, United States

It belongs to the collection, but is not on display at present.

Checked
3 days ago
In this state since
Sep 25, 2026
Source
The museum
On the mapMuseum page

About the sculpture

Along with artists Robert Arneson and Peter Voulkos, Viola Frey is one of the most influential clay sculptors of the period in California, though her work is distinctly different from Voulkos's aggressive constructions or Arneson's politically charged pieces. A native of Lodi, California, she attended the innovative California College of Arts and Crafts (now the California College of Arts) in the 1950s, where she first took ceramics courses. She earned her M.F.A. at Tulane University, where she worked briefly with abstract artist Mark Rothko. During a brief stint in New York she continued to study ceramics, though by 1960 the pull of her native state brought her back to the fertile clay art scene in the Bay area, where she taught at CCAC for over thirty years.

Read on

Double Grandmother is from an iconic series she began in the late 1970s, when she first experimented with creating life-size figures. Probably inspired by Frey's own strong grandmother, and with facial features very similar to Frey's Double Self of 1978, the two figures exude the sense of properness, control, and immediacy that Frey sought:

I like the idea of doubles because the eyes compare and check out the slightest difference…I also like the idea of doubles which play on doubles. Double grandmothers for instance. I do double grandmothers, but they never look alike. I like them when they get tough. The tough grandmothers are the great ones.

Double Grandmother also exhibits the artist's sensitive interest in color and pattern; the two figures hold objects and wear clothing and accessories modeled from her flea-market finds. Frey later sculpted and fired her figures in sections, which gave her artistic license to work on a monumental scale: eight to nine feet and beyond.

Minneapolis Institute of Art

Particulars

Accession number
81.29.1-3

In the catalog

SculptureTerracotta and ceramicsContemporary art20th centuryUnited States

Sources

  • Minneapolis Institute of Art
  • Image: Minneapolis Institute of Art — Art © Artists' Legacy Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

More by Viola Frey

All works
Woman and Small World, Viola Frey, 1999

Woman and Small World

1999 · Not on view · Minneapolis Institute of Art

Me Man, Viola Frey, 1983

Me Man

1983 · Not on view · Whitney Museum of American Art

Western Civilization Drawing #2, Viola Frey, 1987

Western Civilization Drawing #2

1987 · Not on view · Whitney Museum of American Art

Neighbors at Minneapolis Institute of Art

Museum page
Olive Trees, Vincent van Gogh, 1889

Vincent van Gogh

Olive Trees, 1889

Grainstack, Sun in the Mist, Claude Monet, 1891

Claude Monet

Grainstack, Sun in the Mist, 1891

Lucretia, Rembrandt van Rijn, 1666

Rembrandt van Rijn

Lucretia, 1666

Self-Portrait with Dr. Arrieta, Francisco José de Goya y Lucientes, 1820

Francisco de Goya

Self-Portrait with Dr. Arrieta, 1820

Study for Improvisation V, Vassily Kandinsky, 1910

Vasily Kandinsky

Study for Improvisation V, 1910

Tahitian Landscape, Paul Gauguin, 1891

Paul Gauguin

Tahitian Landscape, 1891

Chestnut Trees at Jas de Bouffan, Paul Cézanne, c. 1885–86

Paul Cézanne

Chestnut Trees at Jas de Bouffan, c. 1885–86

The Union of England and Scotland (Charles I as the Prince of Wales), Peter Paul Rubens, 1633–34

Peter Paul Rubens

The Union of England and Scotland (Charles I as the Prince of Wales), 1633–34