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Notes and Happenings from Ferrin Contemporary:Ceramic Specialists

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
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
ART IN THE AGE OF INFLUENCE | Notes from Director, Leslie Ferrin

ART IN THE AGE OF INFLUENCE | Notes from Director, Leslie Ferrin

ART IN THE AGE OF INFLUENCE | Notes from Director Leslie Ferrin

ART IN THE AGE OF INFLUENCE
Art in the Age of Influence is a series of solo exhibitions presented by Ferrin Contemporary during 2020-21 season, considers the impact of artist’s source materials on their artistic process and practice.

Good news! Here in the Berkshires, fall foliage is peaking and the governor just announced we are in step 2 of phase 3. Our museums are open, we can enjoy live performances for up to 250 and travel from most nearby states is permitted. The gallery is open Friday and Saturdays, other times by appointment and we’re always up for sharing a meal, hot coffee or fresh beer with our guests under the tent in the courtyard.

VISIT – EAT – STAY

Peter Pincus‘s stunning exhibition is on view through October 11 and at nearby Porches Inn, we are showing a series of tile works by Giselle Hicks. For those who can’t get away, we are scheduling individual virtual tours on zoom, facetime and a closing event is in the works for the final week.

Read more & tour the exhibition HERE.

Leslie Ferrin, director Ferrin Contemporary

Check Out our NEWS SERIES for More Content

READ MORE HERE

Art in the Age of Influence: Peter Pincus | Sol LeWitt, features new works by Peter Pincus inspired by three of Sol LeWitt’s wall drawings, #340, #422 and #289, as seen first-hand in Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA.

Using color theory and formulaic design patterns as points of departure, Pincus creates brightly colored vessels and expansive tile murals. Inspired by Sol LeWitt’s distinctive style, this body of work takes on his influence in their vibrant patterns and forms. LeWitt’s Wall Drawing #422 specifically relates to Pincus’ exhibition centerpiece, a series of 15 large-scale columns that carry colors across the surface of each form which create a large-scale painting when aligned together.

Gallery director, Leslie Ferrin notes “Pincus’ work in this exhibition began during his first visit to our gallery located on the MASS MoCA campus for the opening of a group show, Glazed and Diffused. After a full day exploring Sol LeWitt: A Wall Drawing Retrospective, we had an animated discussion of how the LeWitt works related to his creative practice. Like LeWitt, Pincus often begins a new series using a premise to explore various possibilities of form and color within a shared framework.”

Pincus’s last solo exhibition in 2018, Channeling Josiah Wedgwood was also a result of direct research into the extensive collection at the Birmingham Museum of Art that informed a series of complex forms based on urns and challices. Now, five years later, Pincus’s work for this 2020 exhibition began with a series of premises based on the color theories and conceptual instructions of Sol LeWitt inspired by wall drawings he first saw in person in 2014. This body of work includes containers, vessels and wall tiles, each a result of extensive research and technical experimentation.

“There is a big difference between being influenced by and being in conversation with. As an artist and educator, I am eager to acknowledge those who have elevated my thinking through their work, and to consciously engage with influence as a productive, and insightful element of studio practice. This exhibition is an opportunity to celebrate LeWitt’s approach to making as a foundation, from which I can challenge myself to see new things and grow.” -Peter Pincus

Posted by AxelJ in Blog, NOTES FROM DIRECTOR

Peter Pincus Featured in Everson Museum of Art’s Virtual Class

Peter Pincus Featured in Everson Museum of Art’s Virtual Class

Everson Museum’s Online Classes and Studio Tours, featuring Peter Pincus

September 11, 2020, from 1-2:30 pm

Garth Johnson, the Everson Museum of Art’s Paul Phillips and Sharon Sullivan Curator of Ceramics was joined by Peter Pincus to discuss the exhibition ART IN THE AGE OF INFLUENCE: Peter Pincus | Sol LeWitt at Ferrin Contemporary, highlighting the influence of Sol LeWitt and the experience of how the show has developed during the Age of COVID.

Posted by AxelJ in Artist News, Blog, Highlights, News
FERRIN CONTEMPORARY PARTICIPATES IN CERF+ BENEFIT AUCTION

FERRIN CONTEMPORARY PARTICIPATES IN CERF+ BENEFIT AUCTION

FERRIN CONTEMPORARY JOINS

CERF+ BENEFIT AUCTION

With Over 300 Works of Art Set for Ebay Auction, The International Ceramic Arts Community Join Forces to Raise Funds for Artists Affected by COVID-19.

During this period of economic and social disruption, a group of galleries, collectors, artists and art-related businesses have joined together in an online ceramic auction to provide direct monetary support to artists and organizations in the craft community and, in doing so, unite the ceramics community in our shared values.

The auction, running on Ebay from Friday, June 19th and ending on Sunday, June 28 at 4 p.m. PDT (https://www.ebay.com/usr/studiopottery ), hosted by Jeffrey Spahn, Jeffrey Spahn Gallery) ).  An online public preview cocktail party, hosted by Everson Museum’s ceramics curator Garth Johnson, brings together donors, artists and the beneficiaries on Thursday, June 25th 7pm EST via Zoom. 

VIRTUAL EVENT

Thursday, June 25, 7 pm EST

Hosted by Garth Johnson, Everson Museum

Guests include Cornelia Carey, CERF+, artists Christa Assad, Lauren Mabry and others involved with the auction as donors and receiving organizations. This program will be live and include conversations about the artworks in the auction from studios and donating galleries.

CERF+ Auction Preview
Join Zoom Meeting
Meeting ID: 987 2092 8898

ARTWORKS IN THE AUCTION

ADDITIONAL ARTISTS IN THE AUCTION

Betty Woodman, Lucie Rie, Josef Albers, Ruth Duckworth, Jun Kaneko, Linda Lopez, Lauren Mabry, Warren Mackenzie, Sergei Isupov, Rose Simpson, Peter Voulkos, Akio Takamori, John Reeve, Jesse Small, Shin-Yu Wang, Patti Warashina, Adrian Saxe, David MacDonald, Ashwini Bhat, and Bobby Silverman, are just several of the world-renowned ceramic artists whose works will be on eBay, to raise funds for artists in need. Bidding begins Friday, June 19th, and ends Sunday, June 28th, at 4:00 pm PDT. The Jeffrey Spahn Gallery created a flipbook, which includes a number of the artists whose work will be in the auction.

The purpose of this auction is two-fold. One, to raise direct funds for artists in need. Two, to unite the ceramics community in solidarity for our shared values. Collectors, gallerists, and artists have united the ceramics community with the majority of proceeds going to the Craft Emergency Relief Fund (CERF+) along with several other beneficiaries including the Arizona State University Art Museum Ceramic Research Center, Everson Museum of Art, Howard Kottler Scholarship Fund at Cranbrook Art Academy, National Council on Education for the Ceramic Arts, and The Studio Potter.

Participating Galleries

Cross Mackenzie Gallery, Duane Reed Gallery, Ferrin Contemporary, Harvey Preston Gallery, Jeffrey Spahn Gallery, Lucy Lacoste Gallery, Mindy Solomon Gallery, Rago-Wright Auctions and Trax Gallery, with contributions from Peter Held Appraisals and the LEF Foundation.

Posted by AxelJ in Artist News, Blog, Highlights, News
BLACK LIVES MATTER | A Note from Director Leslie Ferrin

BLACK LIVES MATTER | A Note from Director Leslie Ferrin

“Choice Matters.”

BLACK LIVES MATTER | Notes from Director Leslie Ferrin

Due to the extended run of Nature/Nurture, we have the opportunity to reflect on paths taken, connections made and shared experiences in our weekly series of FC News & Stories with each issue focusing on an individual artist in the exhibition. The ON NURTURE statements written by each artist acknowledges family, artist mentors, education and, particularly for Linda Sikora, reflects upon social and political spaces. 

But… when poised to release this newsletter featuring Sikora’s work, achievements, and writing, all of us at Ferrin Contemporary mutually agreed to pause all programming, social media and online communications in solidarity with the Black Lives Matter movement while we and the nation mourned the murder of George Floyd and protests took place throughout the world.

Our online stillness was not silence. Instead, we devoted the week to direct, individual conversations about race in America – human to human – within our various communities – our neighbors, families and among the artists, art professionals and collectors with whom we work. Reflecting on the past recognizes that, despite efforts to diversify and reform patterns of exclusion, it has not been enough. 

In this week’s director notes, Leslie Ferrin shares what we’ve learned from these discussions, provides links to what we are reading and the causes we are supporting. We encourage you to join us in our efforts by making donations and committing to support the changes that must take place.

“Silence is complicit.”

During the pause, we read, listened and took a staggering step back as our nation’s social and political spaces again revealed themselves as the stage for something that made everyone stand still…

Silence is complicit. 

Our online stillness and silence allowed us the time to reflect on the past and recognize that, despite efforts to diversify and reform patterns of exclusion, it has not been enough. 

Structural change is underway that will combat these established systematic patterns. During every conversation, we hear of priorities shifting to commitments and to pledges to create new opportunities. 

Choices matter. 

With each choice we make, we prioritize time and resources on who and what we read, listen to, learn from and ultimately choose to support economically through action, donation and purchases. 

While we cannot go back and change past complicity, we are all accountable for what happens tomorrow. The choices we make each and every day are within our immediate control and will lead us to the ultimate change needed in our political system on November 4, 2020. 

I want to personally thank Anina Major, one of the artists in this exhibition, for engaging in numerous, frequent and long conversations about race that began when we first met in 2018. These conversations have helped inform and guide me and continued throughout the past week. She inspires me to speak out and use the platforms we have – our gallery program and our social network – to open up these uncomfortable, difficult, but necessary conversations about race, about how to effect change, and what we can each do based on the commitment to racial justice and equality. 

Leslie Ferrin, director Ferrin Contemporary

Posted by AxelJ in Blog, NOTES FROM DIRECTOR

NATURE OF NURTURING | Notes from Director, Leslie Ferrin

NATURE OF NURTURING | Notes from Director Leslie Ferrin

A renewed awareness and galvanizing commitment for change is surging through American cultural and academic institutions, organizations, and businesses of every sort, exposing the crying need for structural change. Specifically, this includes the advancement of equality for artists of all genders, eliminating the sexual harassment, wage discrimination, and the other forms of sexism that continue to affect the lives of women, transgender and non-binary individuals. As part of the movement to reverse and rebalance priorities as well as open new doors, it is crucial to offer opportunities to artists who have been historically marginalized.

Ferrin Contemporary has invited twelve female artists to pause and reflect on the role gender plays in their artistic practice, to consider the impact of the #MeToo movement, and/or to examine how the constructs of gender and gendered behavior impact their personal and professional lives. Nature assigned these artists who identify as female on a given path, whereas nurture is an accumulation of experiences and influences has had both positive and negative impact on their personal and professional lives.

Individual artworks do not always offer specific references to identity through direct content. However, a close look at the career paths in the short biographies and written statements in this exhibition, Nature/Nurture reveals information about how each of these artists – members of several different generations – has sustained her creative practice. The ceramic artworks in Nature/Nurture converge in a dialogue and accumulation of experiences and influences; they reflect on positive and negative forces shaping contemporary female and non-binary identities. Together, through the artwork, statements and biographies, these women artists who identify as female and are at various stages of their careers, convey different experiences defined by their gender, age, geographic and cultural identities.

Mara Superior, Sally Silberberg, Tricia Zimic have had decades-long careers that began before the two youngest, now in their 30’s were born. Unlike the women who began their career in the 70’s, Crystal Morey and Lauren Mabry and others born in the 80’s are already well established with museums actively acquiring important mid-career works. Linda Sikora and Linda Sormin have balanced their international artistic practices with teaching in University programs. As a graduate student, Linda Sikora was unable to attend a program led by a female professor. Linda Sormin, of the generation following, pursued graduate studies specifically with three leading women artists Linda Sikora, Andrea Gill and Anne Currier. Likewise, Giselle Hicks and Cristina Córdova had the advantage of powerful female faculty and confidence that led to independent paths, establishing their own studio practice supported by periodic short term teaching, unhindered by the politics of full-time academia. International artists, Kadri Pärnamets (Estonia), Rae Stern (Israel) and Anina Major (Bahamas)

have located their practices in the USA where residencies have welcomed them, supported the development of their work and proximity to the marketplace.

For the two artists who began their careers in the 70’s, their education took place in institutions with male-dominated programs. As they began their careers, the studio craft movement provided independent economic security and a “workaround” for women whose chosen media, ceramics, had yet to be embraced by the fine art world. For those who followed beginning their careers in the 90’s and until the market crash in 2008, the glass ceiling showed cracks. Women were hired in academic positions, replacing retiring male faculty as programs were rebalanced to achieve diversity.

Starting in the eighties, studio craft was avidly collected by private collectors through fairs, galleries and directly from the artists themselves. The ultimate goal of self-support through sales was viable for a large number of artists but that ended with the recession. For those who began their professional careers at a time when the market system had collapsed, these artists were ultimately fortunate as a new path opened for work in ceramics when the groundbreaking survey exhibition in 2009, “Dirt on Delight” jettisoned ceramics into the broader field of contemporary fine art in the USA. In addition, the explosion of international biennales inclusive of ceramics and craft that provided context for material based artworks in the broader art scene.

This wide acceptance for ceramics and the other female associated media, fiber arts, has settled the Art vs. Craft debate. For both emerging and established artists whose chosen primary material was previously segregated and independent from the mainstream, these new opportunities for their works have begun to balance the gender and cultural gap of representation at galleries and museums. Foundation support for diversity initiatives have had a significant impact through awards for artist fellowships and new scholarship. For those whose work took the form of vessels or studio pottery, a new generation of curators have embraced their work by making connections between practicing contemporary artists and past masterworks in the areas of decorative arts and design.

Inspired by the important work of Judith Butler and Helen Longino, the artists in this show were invited to explore the influence of ‘Nature/Nurture’ within their practice. Their work ranges from more direct interpretations of the natural world, to more abstract notions, such as the construction of gender, and endowed role of women.  “Possibility is not a luxury; it is as crucial as bread.” ― Judith Butler, Undoing Gender, 2004

Seen as a whole, this group of twelve women artists who live and work throughout the USA, is representative of the rising tide of professional opportunities. While significant earnings and advancement gaps remain, a course correction is underway through the increasing number of gender and culturally specific exhibitions. As priorities shift for museum collections, educational public programming and private collectors, these efforts to course-correct are bringing recognition to artists previously overlooked and undervalued and to undocumented legacies. Nature/Nurture seeks to contribute to and further this recognition.

Leslie Ferrin, director Ferrin Contemporary

NATURE/NURTURE
a group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice.

Read the NATURE/NURTURE series

NATURE/NURTURE | Group Show of 12 Women Artists
LESLIE FERRIN | Director Notes | Nature of Nurturing
CRISTINA CORDOVA | Nature/Nurture | PBS Craft in America – Identity
GISELLE HICKS | Tiles & Vessels | Teaching Online in the Time of COVID19

LAUREN MABRY | Nature/Nurture | Cylinders & Flow Blocks
ANINA MAJOR | Nature/Nurture | No Vacancy in Paradise
CRYSTAL MOREY | Nature/Nurture | Museum Acquisitions
KADRI PÄRNAMETS | Nature/Nurture | Small Matters and Roots & Pollinators
LINDA SIKORA | Nature/Nurture | On Nurture: Our Social and Political Spaces
MARA SUPERIOR | Nature/Nurture | Museum Acquisitions
RAE STERN | Nature/Nurture | In Fugue
TRICIA ZIMIC | Nature/Nurture | Sins & Virtues

READ MORE HERE.

MORE ON THE ARTISTS

Posted by AxelJ in Blog, News, NOTES FROM DIRECTOR

Linda Sikora Honored with United States Artists Fellowship

USA Fellowships are annual $50,000 unrestricted awards recognizing the most compelling artists working and living in the United States, in all disciplines, at every stage of their career.

Alfred University Professor of Ceramic Art Linda Sikora has been named a recipient of a 2020 United States Artists Fellowship recognizing her creative accomplishments and vision in the field of Craft.


ALFRED, NY ­– Alfred University Professor of Ceramic Art Linda Sikora has been named a recipient of a 2020 United States Artists Fellowship recognizing her creative accomplishments and vision in the field of Craft. Each year, USArtists awards individual grants of $50,000 to 50 artists working in the disciplines of Architecture & Design, Craft, Dance, Film, Media, Music, Theater & Performance, Traditional Arts, Visual Art, and Writing. The granting organization’s goal is to recognize each nominated artist who “stands out as a visionary influence in their respective field.”…

READ MORE

Linda Sikora USA Artists Fellowship, Craft Now 2020 Award Recipient

Posted by AxelJ in Artist News, Blog, News
LIFE IN THE TIME OF COVID | Commemorating Earth Day’s 50th Anniversary

LIFE IN THE TIME OF COVID | Commemorating Earth Day’s 50th Anniversary

ART & THE CANARY SYNDROME

Earth Day 2020

LIFE IN THE TIME OF COVID
Commemorating Earth Day’s 50th Anniversary


Today, on Earth Day’s 50th Anniversary, while hunkered down in our pods, we are viewing a live stream of powerful images illustrating issues related to the environment and COVID-19. These images are delivered 24/7 via the internet, video, on our phones and the most powerful ones are imprinted permanently in our minds as we try to wrap our heads around this moment. We appreciate, more than ever, the importance of creative work done by artists, photographers, writers, musicians, filmmakers and performers as they fill our days in isolation with beauty and eloquence, and provide truly necessary, brilliant cultural entertainment. While we cannot physically “see” art in person, we are enjoying creative activity of our own and the opportunity to explore culture delivered virtually. It is amazing to watch this lifeline emerge with lectures, classes, and exhibitions – all of it illustrated, scripted and conceived of by creative artists – our “canaries in the mines.”

On Earth Day in 2020, we revisit our 2018 exhibition Canary Syndrome, featuring recent works by international artists from US, AU and UK. Inspired by the saying “canary in the coal mine”, we hypothesized that artists, much like caged canaries once used by coal miners to warn of dangerous gases, are hypersensitive to the adverse conditions and forces that jeopardize human existence. At the time, the exhibition and the works in it focused on climate change and environmentalism. Now, two years later, as a result of COVID-19, we are seeing the shut down of travel delivering clean air to polluted cities and allowing animal migration to resume to their ancestral habitats.

This week in FC News & Stories, we look back at Canary Syndrome and feature works by artists who are considering the environment and man’s impact on the planet we all call home.

Be Safe – Be Well – Stay in Touch

Leslie Ferrin, director Ferrin Contemporary

Life in the Time of Covid
Read MORE here.


Above: Mara Superior, Only One Planet Earth, 16″d, featured in “Nature/Nurture”, Ferrin Contemporary, North Adams, MA


VIEW FULL NEWSLETTER HERE

“The very act of creating provides artists with an outlet for the anxiety caused by relentless exposure to contemporary conflicts. They are compelled to address environmental and societal issues through their practice and are sounding the alarm in the form of beautiful and compelling pieces of art.”

View online exhibition HERE.

The urgency has never been greater, and the stakes have never been higher – we are now in an environmental emergency and a climate breakdown.  We have two crises: One is the COVID-19 coronavirus pandemic. The other is a slowly building disaster for our climate.

  • On Earth Day 2020, we say enough is enough.
  • We say we believe in science. We say that everyone can make a difference.
  • We say that the protection of our planet and the wellbeing of the people who live upon it are the top priorities.
  • On Earth Day 2020, we say that we’re committing to vote, we’re registering to vote and we’re showing up to vote.

FERRIN CONTEMPORARY presents contemporary ceramic art for exhibition and sale at 1315 MASS MoCA Way in North Adams, MA; at ProjectArt at 54 Main Street in Cummington, MA and at galleries and museums around the world.

COVID-19 | Closed until MASS MoCA reopens regular hours.
GALLERY HOURS: Wednesday – Saturday 11 – 5:00
+ by appointment
+ by chance

PROJECT ART supports and promotes local and international ceramic art and artists through artist residencies, internships, workshops, studio rentals, events and exhibitions at 54 Main Street in Cummington, MA.


forward to a friend | inquire about a work

Posted by AxelJ in Blog, NOTES FROM DIRECTOR