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Peripheries: EDGES

Peripheries: EDGES

May 7th- 29th 2022

The Ceramic House
75 Stanmer Villas
Brighton
BN1 7HN
United Kingdom

Featuring work by Kadri Pärnamets

Peripheries launches EDGES, an ambitious international ceramic and sound art project between three nations at the western and eastern edges of Europe: Ireland, Estonia and the UK.

EDGES focuses on international exchange and residencies with artists collaborating across the disciplines of ceramics and sound art. Outcomes include exhibitions, presentations, performances, geo-located sound walks and community engagement activities.

Peripheries invites two sound artists from Ireland to collaborate with two ceramic artists from Estonia, the results of which will be exhibited as the centre piece at The Ceramic House offering this May, accompanied by an exhibition of contemporary ceramics by leading Estonian artists.

The exhibition is curated by artists and curators Kay Aplin and Joseph Young.

The results of the residency will be exhibited in In Camera Gallery, The Ceramic House’s white cube, and the Estonian ceramics show will be displayed throughout the house. All the exhibiting ceramic artists selected have an interest in exploring traditional techniques with a contemporary sensibility, offering UK collectors, specialists and artists a rare overview of the breadth of contemporary Estonian ceramic practice today. The month-long residency is funded by I-Portunus EU funding.

Peripheries is a pilot for EDGES, a 2 year-long investigation into meeting places, what it means to work at the edge of something, to be on the fringes, and understanding artistic practice as a so-called ‘cutting edge’, where boundaries are pushed back, and frontiers explored. EDGES will continue in 2023-24 with an exhibition of Irish ceramics at The Ceramic House, international residencies in Estonia and Ireland and culminating exhibitions at Watts Gallery, UK and Wexford Arts Centre, Ireland.

ABOUT KADRI PÄRNAMETS

Estonian, b. 1968, Rakvere, Estonia
lives and works in Cummington, MA

Kadri Pärnamets works in porcelain using traditional hand building and sculpting techniques to combine surface and form with narrative painting. Her biomorphic, organic forms provide a means to convey personal interests ranging from the fragile, natural environment to female identity. Focusing on gesture and expression, she selects known classics of female beauty by painters from the European Renaissance and Impressionist eras, like Lucas Cranach the Elder and Edouard Manet. Pärnamets has taught in the Estonian Art Academy and is a member of the Asuurkeraamika Studio, Estonian Artists Association, and Estonian Ceramist Association.

Pärnamets’ work has been shown internationally at Ferrin Contemporary, (North Adams, MA), the Estonian Museum of Applied Art and Design, (Tallinn, Estonia), and at the International Tea Trade Expo, (Shanghai, China). Since 1996, she has participated in symposiums in Latvia, Lithuania, Estonia, Switzerland, USA, Norway, and Hungary. In Pärnamets graduated from the Art Institute of Tallinn, Estonia in 1994 with a BA/MFA in Ceramics. Dividing her time between Estonia and USA, her primary studio is the USA at Project Art in Cummington, MA. She is represented by Ferrin Contemporary.

EVENTS

Opening reception

Thursday, May 5th
6-9pm

Peripheries was part of the Artists Open Houses festival.

Posted by Isabel Twanmo in Artist News, Blog, News
Beth Lipman: All In Time | Wichita Art Museum

Beth Lipman: All In Time | Wichita Art Museum

June 24- September 25, 2022

Wichita Art Museum
1400 West Museum Boulevard
Wichita, Kansas USA

Opening Day
June 25, 2022, 11am-3pm

Seeing More Clearly Through Glass Curator Talk
July 7, 2022, 6pm

In celebration of Beth Lipman–whose monumental, 3-ton sculpture Living History was recently unveiled in the museum’s Boeing Foyer–Wichita Art Museum presents All in Time, a mid-career retrospective of the artist featuring her work from the mid-2000s through today.

For over 20 years, artist Beth Lipman has used glass and other materials to create luscious and sumptuous still lifes. These still lifes feature everything from bowls of fruit to prehistoric plants to piles of books. For Lipman, each still life object speaks to identity–of an individual, a society, and of human culture in general. All in Time brings into focus Lipman’s long interest in using glass to explore issues of life, creation, decay, and death–the fleeting nature of human life and human history contrasted with the billions of years of geological time. What is the role of humanity and art in a world and universe that existed long before us? What do we create that endures?

Learn more at wichitaartmuseum.org

Show Contract & Finance Independent of Ferrin Contemporary.

Beth Lipman, “Sphenophyllum and Chains”, 2019, glass, wood, metal, paint, adhesive, 54 x 38 x 50″ Courtesy of the artist. Photograph by Rich Maciejewski

EVENTS

Opening Day

June 25, 2022, 11am-3pm at Wichita Art Museum

View Full Schedule

Seeing More Clearly Through Glass

July 7, 2022, 7pm at Wichita Art Museum

Curator Talk with Dr. Carolyn Needell, Carolyn and Richard Barry Curator of Glass at the Chrysler Museum of Art in Norfolk, Virginia

Learn More

Beth Lipman explores aspects of material culture through still lives, site-specific installations, and photographs. Working primarily with glass, she creates portraits individuals and our society through inanimate objects that are often broken, “flawed,” or “perfect”.  Mortality, consumerism, materiality, and temporality, have been critical issues since the inception of the still life tradition in the 17th century, and continue to be relevant her in contemporary work.

Lipman has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. She recently completed One Portrait of One Man, a sculptural response to Marsden Hartley for the Weisman Art Museum (MN). Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Smithsonian American Art Museum (DC), and the Corning Museum of Glass (NY).

INQUIRE  •  HERE  • 

Posted by Becky Waterhouse in Artist News, Blog, News

Sergei Isupov’s Fire Sculpture & TurnPark Summer Event Featured in the Berkshire Eagle

“Two clay heads nestle cheek to cheek, hidden inside a tall outdoor wood-fired kiln that has burned since dawn. In the darkness of night, the sides of the kiln are lowered, like petals on a tulip, revealing a glowing red-hot 8-foot sculpture, flames licking at its base and shooting out of perforations in the form. Soon the kiln sides will close again, letting the artwork cool slowly before taking its place among the sculptures of TurnPark Art Space.

“Earth & Sky,” a rare fire sculpture by world-renowned Estonian/Ukrainian American artist Sergei Isupov…”

Sergei Isupov, “Fire Sculpture” Guildagergaard, July 2017. photo courtesy of Pricilla Mouritzen

Posted by AxelJ in Artist News, Blog, News, Press Coverage

Sergei Isupov: PAST & PRESENT Featured in the Berkshire Eagle

“Sergei Isupov’s newest sculptures are tiny universes filled with never-ending narratives in the round.

There are men and women engaged in intimate conversations, traveling in cars and on foot; a mechanic fixes a car; a cat looms large in the background as a couple lounges on a lawn gazing skyward. In all there is an air of urgency; of waiting for the other shoe to drop; of hope.

The work, he insists, is not in response to the war in Kyiv, Ukraine, where his parents, a brother, live and work.

“I made all of this listening to the stories on the radio and talking to my parents every day about what they are going through…”

Posted by AxelJ in Artist News, Blog, News, Press Coverage

MELTING POINT Featured in Destination Williamstown

“Since re-opening to the public, Ferrin Contemporary has welcomed a record number of visitors to the gallery on the MASS MoCA campus. Their show MELTING POINT is now open and as they prepared for their opening event on Saturday, July 24, we took a minute to catch up with Leslie Ferrin, founder & director of Ferrin Contemporary in North Adams and Project Art in Cummington.

DW: COVID-19 impacted so many industries, but the arts were especially hard hit. How has Ferrin Contemporary adapted to the shifting pandemic landscape?

LF: Last year was a huge challenge. We made zero sales for four months. Luckily, with PPP funding, we kept our staff fully employed and used the time to focus on the artists in our exhibition Nature/Nurture. That exhibition, featuring recent ceramics by 12 women artists, provided an opportunity to integrate digital tools. Every week we profiled an artist through virtual exhibitions and zoom programs pairing available studio work with works on view in the closed gallery. It was a nice way to flex creative muscle and learn some new tricks. …”

Leslie Ferrin, Director of Ferrin Contemporary

Posted by Lauren Levato in Artist News, News, Press Coverage

MELTING POINT Featured in the Berkshire Eagle

“Pale pink ferns drip down the side of a cornucopia, pooling in glass puddles besides the melting statue. Amber Cowan’s “Cornucopia in Shell” is on view as part of “Melting Point” at Ferrin Contemporary in North Adams.

Amber Cowan’s “Cornucopia in Shell” melts silently on a shelf in Ferrin Contemporary’s North Adams gallery. In New York City, at the Heller Gallery, her piece, “Fountain in Rosalene,” silently sits, its bright pink ferns and flowers drip and pool in the same manner. Although the pieces are hundreds of miles apart, they are part of the same show, “Melting Point,” a collaboration between Ferrin Contemporary and the Heller Gallery, featuring nearly 100 works by 22 artists in the two locations. …”

Artist Amber Cowan’s American pressed glass installation at Ferrin Contemporary, July 2021. Photo by John Polak.

Posted by Lauren Levato in Artist News, Blog, News, Press Coverage
BREAKING THE GLASS CEILING | Notes from Director Leslie Ferrin

BREAKING THE GLASS CEILING | Notes from Director Leslie Ferrin

Toshiko Takaezu, “Form Blue #31”, 1990, porcelain, 19″H

Beatrice Wood, “Men are not to be looked at”, 1978, colored pencil, pencil on paper, 10.625 H

Elsa Rady, “Four Zig Wings”, private collection

BREAKING THE GLASS CEILING | Notes from Director Leslie Ferrin

GLASS CEILINGS WERE BROKEN


 

As we emerge from the year spent sheltering in place, exhibitions are reopening, paused plans are taking form, and exhibitions for 2021 are getting scheduled. We’re seeing new artwork emerging from studios telling stories from this time, and we are watching profound change take place at record pace in institutions throughout the country.

In March 2020, we went into lockdown with an exhibition Nature/Nurture, that had just opened and featured a diverse group of twelve women artists working in ceramics. With support from PPP, we used the opportunity to focus on each artist and explore the role of gender, identity at this stage in their careers. Over the twelve weeks, we learned from each of them about the women artists who inspired, mentored, and blazed a path that fractured glass ceilings during their lifetimes. As the year progressed, our work with artist archives and private collections led to new discoveries and shifting priorities. As we work with curators and collectors, we are seeing increased visibility for artists whose work was overlooked and undervalued during their lifetimes and well-deserved attention.

During this year, profound social movements have put pressure on institutions to reflect on their origins, collections and programs through the lens of diversity and equity. As they address gaps in their collections, we are watching opportunities for both past and living artists grow. We are hopeful that changes that began with small fractures in glass ceilings have further broken through barriers based on gender and identity to include not just the collections and programming but also staff and leadership.

With this newsletter, we bring you some highlights of the work we’ve been doing and the exhibitions we’ve been learning about that are contributing to the change we are watching take place in our lifetimes and invite you to make plans to continue the discussion in person and see our summer exhibition The Melting Point a group show of artists working in ceramics and glass in partnership with Heller Gallery.

Director’s Notes – Leslie Ferrin – May 2021

 

TOSHIKO TAKAEZU
(American, 1922-2011)

In 2015, The Ceramic Presence in Modern Art: Selections from the Linda Leonard Schlenger Collection and the Yale University Art Gallery featured three spheres by Toshiko Takaezu in visual dialog with 20th paintings by Mark Rothko, Robert Motherwell, and Sylvia Plimack Mangold. At the time, it was one of the first survey ceramic exhibitions to integrate works associated with craft in galleries with contemporary fine art. Takaezu’s works continue to lead this dialog in museum exhibitions currently on view at MFA Boston, Crystal Bridges Museum of American Art.

An in-depth collection of her work can be seen at Racine Art Museum (RAM) from individual forms to multi-part installations and includes the Star Series, an installation comprised of 14 “human-sized” forms.

Toshiko Takaezu, Form (Makaha) Blue #31, 1990, porcelain, 19″H

ELSA RADY
(American, 1943–2011) known in the 1980s and 1990s for her exquisitely designed porcelain vessels. The Edge of Elegance: Porcelains by Elsa Rady solo exhibition on view at the Crocker Art Museum, Sacramento, CA through Nov 1.

Elsa Rady, Four Zig Wings, 1986, 9″H

BEATRICE WOOD

(American, 1893-1998) In addition to her ceramic works, Beatrice Wood maintained a daily drawing practice to explore the female form, desire, and sexuality – oftentimes using humor to poke fun at the traditional roles available to women during her time.

Beatrice Wood Selected Works is in the viewing room at Andrew Kreps Gallery.

Tête-à-Tête-à-Tête: Drawings by Beatrice Wood is on view at Everson Museum of Art through August 8.

Beatrice Wood, Men are not to be looked at, 1978, colored pencil, pencil on paper, 10×13″

COILLE HOOVEN

(American, b.1939) Ferrin Contemporary is pleased to present the Coille Hooven Legacy Project. The archive collection offers an opportunity to acquire documented, historical works from a famously feminist ceramicist, whose work combines sculptural narrative and blue and white porcelain traditions.

For Now or Future Retrieval features “In God We Trust”, 1978 at the Cincinnati Art Museum through Aug 22.

Coille Hooven, Petite Fille, 1986, porcelain, 9.75″H

CRYSTAL BRIDGES: CRAFTING AMERICA

On view through May 31.

Crafting America presents a diverse and inclusive story of American craft from the 1940s to today, featuring over 100 works in ceramics, fiber, wood, metal, glass, and more unexpected materials.

READ … Celebrating Women Artists in Crafting America

“I didn’t want a flat surface to work on but a three-dimensional one” – Toshiko Takaezu, featured with Helen Frankenthaler and Joan Mitchell

MFA BOSTON: WOMEN TAKE THE FLOOR

“Women Take the Floor” challenges the dominant history of 20th-century American art by focusing on the overlooked and underrepresented work and stories of women artists. This reinstallation—or “takeover”—of Level 3 of the Art of the Americas Wing advocates for diversity, inclusion, and gender equity in museums, the art world, and beyond.

READ … Women take the floor: an exhibition that shifts the male gaze of art history – At the Museum of Fine Arts in Boston, female artists throughout history are being given their due in a vital new exhibition … The Guardian – Nadja Sayej

 

Posted by AxelJ in Blog, News, NOTES FROM DIRECTOR
CRAFTING AMERICA | Crystal Bridges

CRAFTING AMERICA | Crystal Bridges

February 6 – May 31, 2021

Crystal Bridges Museum of American Art
600 Museum Way
Bentonville, AR

Featuring a newly commissioned work of art by Beth Lipman

Featuring over 100 works in ceramics, fiber, wood, metal, glass, and more unexpected materials, Crafting America presents a diverse and inclusive story of American craft from the 1940s to today, highlighting the work of artists such as Ruth Asawa, Peter Voulkos, Jeffrey Gibson, Sonya Clark, and more. Craft has long been a realm accessible to the broadest range of individuals, providing an opportunity to explore personal creativity, innovation, and technical skill. This exhibition foregrounds varied backgrounds and perspectives in craft, from the vital contributions of Indigenous artists to the new skills and points of view brought by immigrants to the United States.

Learn more at crystalbridges.org

Show Contract & Finance Independent of Ferrin Contemporary.

Beth Lipman, “Belonging(s)”, 2020, glass, ceramic, gold lacquer, enamel paint, salt, sand, adhesive, 27 x 40.5 x 23″. Crystal Bridges Museum of American Art, Bentonville, Arkansas, 2021.3. Photo by Ironside Photography.

Beth Lipman explores aspects of material culture through still lives, site-specific installations, and photographs. Working primarily with glass, she creates portraits individuals and our society through inanimate objects that are often broken, “flawed,” or “perfect”.  Mortality, consumerism, materiality, and temporality, have been critical issues since the inception of the still life tradition in the 17th century, and continue to be relevant her in contemporary work.

Lipman has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. She recently completed One Portrait of One Man, a sculptural response to Marsden Hartley for the Weisman Art Museum (MN). Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Smithsonian American Art Museum (DC), and the Corning Museum of Glass (NY).

INQUIRE  •  HERE  • 

Posted by Becky Waterhouse in Artist News, Blog, News
Virtual Closing | ART IN THE AGE OF INFLUENCE: Peter Pincus | Sol LeWitt

Virtual Closing | ART IN THE AGE OF INFLUENCE: Peter Pincus | Sol LeWitt

ZOOM Virtual Closing Event

Friday, October 9th at 5 pm EST

NORTH ADAMS, MASSACHUSETTS — Art in the Age of Influence: Peter Pincus | Sol Lewitt culminates with a virtual closing event on Friday, October 9th at 5pm, with additional public programming available online.

After a very successful show, the closing event will take place on Zoom and feature a virtual studio visit with the artist, Peter Pincus.

Other programming, such as artist presentations and curatorial conversations with the Everson Museum and the Birmingham Museum of Art are available HERE.

Time: Oct 9, 2020 05:00 PM Eastern Time (US and Canada)

Join Zoom Meeting: JOIN HERE
Meeting ID: 840 5700 0457
Passcode: FCTalks

One tap mobile
Meeting ID: 840 5700 0457
Passcode: 4265636
Find your local number: HERE

Pincus will be broadcasting from his studio in Penfield, NY, and asks all to join him for virtual cocktails and a kiln opening, revealing the third set of jars from his “Jar Drawing” series, inspired by Sol LeWitt.

This is the Pincus’ summer of 2020 favorite cocktail – join us in mixing it at home using the recipe from

LACK BUTTON DISTILLING

Rochester’s First and Finest grain-to-glass distillery since prohibition

EL DIABLO

  • ¾ oz Gin
  • ¾ oz Blanco Tequila
  • ¾ oz Crème de Cassis
  • ½ oz Lime Juice
  • Shake with ice & strain
  • Top with 3 oz Ginger Beer
  • Lime wheel garnish

Leslie Ferrin will be on-site in the gallery, streaming a live view of the exhibition: ART IN THE AGE OF INFLUENCE: Peter Pincus | Sol LeWitt, and celebrating the closing along with all virtual & socially distanced attendees.

Posted by AxelJ in Artist News, Blog, Events, News
Chris Antemann in Exposition Ceramiques Gourmandes at Fondation Bernardaud, France

Chris Antemann in Exposition Ceramiques Gourmandes at Fondation Bernardaud, France

FONDATION BERNARDAUD | Limoges, France

June 21, 2019 – October 31, 2020

When art becomes epicurean, voracious, pie-eyed with the pleasures of the palate—inventing dishes, desserts, pieces montées or banquet scenes—sinking its teeth into an examination of our relationship with food (guilty, sensual, problematic)—we have Céramiques gourmandes, an exhibition cooked up by the Fondation Bernardaud, featuring fourteen international artists with a taste for ceramic: the crème de la crème!

Fired clay and fine fare have long been companions. Gustatory pleasure has inspired artists in every era: what we eat says so much about humankind, its environment and its excesses. The feasts we see here are technical feats, to be savored visually, virtually. Like a mouthwatering promise. You can almost hear the “mmmm”s, “yum”s, and “more”s.

In the 18th century, during the vogue for naturalism, ceramicists played with trompe l’oeil. Fantasies in faience and porcelain, decorated plates or trick displays, were wildly popular through Europe—England, Hungary, Germany, and France. There were reproductions of radishes, artichoke quarters, and hard-boiled eggs, sometimes doused in mayonnaise. Kilns yielded compotiers full of olives and bouchées à la reine. There were terrines in the form of pheasants, ducks, roosters; plates disguised as hearts of lettuce or bunches of asparagus; bonbonnières as lemons. Bestiary and kitchen garden were called upon to decorate festal tables.

Delectation is always a question of taste. Gluttons are scourged; gourmets’ refinement encouraged. What we eat reveals what we are. And in our consumer societies, now grown obese, the question of food is at the heart of sanitary, political, and ecological issues.

Olivier Castaing, Exhibition curator

Hélène Huret, Director of the Fondation Bernardaud

Artists:
Chris Antemann (USA)
Bachelot & Caron (France)
Anna Barlow (UK)
Charlotte Coquen (France)
Christina Erives (Mexico)
Jae Yong Kim (Korea)
Juujuu Kim (Korea)
Yuko Kuramatsu (Japan)
Kaori Kurihara (Japan)
Shayna Leib (USA)
Susan Nemeth (UK)
Marie Rancillac (France)
Dong Won Shin (Korea)
Jessica Stoller (USA)

Contact Presse Hélène Huret : hhuret(at)bernardaud.com

Chris Antemann’s DINING IN THE ORANGERY at Bernardaud

Posted by AxelJ in Artist News