Archives: Projects

American Scenery and Souvenirs: Transferware by Paul Scott

American Scenery and Souvenirs: Transferware by Paul Scott

Lightner Museum
St. Augustine, FL

April 24, 2025 – October 27, 2025

NEW AMERICAN SCENERY: The Art of Paul Scott: Paul Scott’s New American Scenery will open at its 7th tour location on April 24th, 2025. The exhibition at the Lightner Museum marks the artist’s fifth solo show in the US, spanning 2019 to 2025.

ABOUT THE EXHIBITION


In American Scenery and Souvenirs British artist Paul Scott reanimates historical transferware to create new works depicting scenes from contemporary American life. 

In the nineteenth century, blue-and-white printed transferware plates portraying images of American scenery, cities, and their significant landmarks were mass-produced by potteries in Staffordshire, England for export to the US. By the turn of the twentieth century these works became tremendously popular collectibles, cherished by the American middle class as souvenirs of travel and experience. 

Paul Scott’s current work combines the visual vocabulary and processes of historical transferware with unexpected and incongruous vignettes of life in America today, engaging with themes of globalization, energy consumption, capitalism, social justice, immigration, and the environmental impact of human activity. In American Scenery and Souvenirs, nuclear power plants, decaying urban centers, abandoned industrial sites, wildfires, and border walls intrude amidst the traditionally bucolic landscape. These provocative scenes subvert the picturesque aesthetic traditionally associated with American transferware, challenging the viewer to reconsider the nation’s environmental and social realities. The exhibition presents Scott’s work in dialogue with vintage Rowland & Marsellus transferware from the Lightner Museum collection to showcase Scott’s technical and poignant interventions.

American Scenery and Souvenirs: Transferware by Paul Scott is presented at the Lightner Museum by the Community Foundation for Northeast Florida. Additional support comes from the St. Johns County Tourist Development Council and the St. Johns Cultural Council.

English, b. 1953, Darley Dale, Derbyshire, England
lives and works in Cumbria, UK

Paul Scott is a Cumbrian-based artist with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft and design, he is well known for research into printed vitreous surfaces, as well as his characteristic blue and white artworks in glazed ceramic.

Scott’s artworks can be found in public collections around the globe – including The National Museum of Art, Architecture and Design Norway, the Victoria and Albert Museum London, National Museums Liverpool, Carnegie Museum of Art, Pittsburgh and Brooklyn Art Museum USA. Commissioned work can be found in a number of UK museums as well as public places in the North of England, including Carlisle, Maryport, Gateshead and Newcastle Upon Tyne. He has also completed large-scale works in Hanoi, Vietnam and Guldagergård public sculpture park in Denmark.

A combination of rigorous research, studio practice, curation, writing and commissioned work ensures that his work is continually developing. It is fundamentally concerned with the re-animation of familiar objects, landscape, pattern and a sense of place. He was Professor of Ceramics at Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelors of Art Education and Design at Saint Martin’s College and Ph.d at the Manchester Institute for Research and Innovation in Art and Design in Manchester, England.

His current research project New American Scenery has been enabled by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. More on New American Scenery, here.

INQUIRE


Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

Jacqueline Bishop: NANA

Jacqueline Bishop: NANA

Nana

2024
Jamaican lacebark (chemise), 11 x hessian small sugar sacks with appliqué and embroidery; chemise: small woman’s size
~16 x 10″

NANA

ABOUT


More on Jacqueline Bishop HERE

In 2023, I had the wonderful opportunity to visit Accra, Ghana. Although I had previously visited Africa, living in Morocco as a Fulbright Fellow, this was my first time in West Africa and a country where my ancestry DNA test indicated direct lineage. The weeks I spent in Ghana were powerful, starting with the drive from the airport where vendors moved through traffic selling goods, much like in my native Jamaica. The market women outside my hotel, effortlessly balancing baskets on their heads, reminded me of my great-grandmother and grandmother, both formidable market women.

At a slave site, I wrapped my arms around myself and thought of the nameless faceless ancestor of mine, who had been at a place like this. I shivered as I thought of her in a horrendous ship’s hold, then imagined as she stumbled out on the other side of the Atlantic balancing a basket on her head. When my market woman forebear arrived in Jamaica, she was allotted a small plot of land to grow food to feed herself and her progeny. In time, she exchanged or sold the excess food grown in weekend markets which led to the development of an internal, and subsequently an external, marketing system. The market woman is one of the most direct links to our West African forebears. She has become my muse.

It was slavery, sugar and sugarcane cultivation which brought the West African to the plantation societies of the Caribbean. In one part of the work that I am presenting here, I have embroidered and appliqued images of Caribbean market women on West Indian sugar sacks [41]. In doing I hope to show that despite the inhumanity of the plantation system, these women maintained agency and autonomy, particularly as needleworkers and seamstresses, privileged positions within plantation society. Black needleworkers not only met the clothing needs of the enslaved but also earned extra income, empowering themselves.

On one of the sacks there is an exchange of knowledge and information between a West African market woman and an Indigenous woman. This work represents the intimate ties between the Indigenous and West African groups that met in Caribbean societies where both shared botanical and medical knowledge. The work Nana is meant to represent the meeting of indigeneity and West African knowledge systems on the island of Jamaica. To illustrate my point, I will tell a little story. One day I was talking to my uncle Moses about my great grandmother Celeste, a market woman par excellence. This time, however, instead of talking about my great-grandmother’s marketing skills, I was talking about her immense knowledge of Jamaican herbs and bushes. I mentioned to my uncle that I remembered hearing as a child that my great-grandmother delivered babies. My uncle corrected me and said it was Celeste’s friend who delivered the babies, but my great-grandmother assisted because, as a market woman, she knew all the herbs and bushes to aid in the process.

I was intrigued.

“What about mid-wives?” I wanted to know.

“They did not exist”, my uncle answered. “What you had instead were Nanas. And that isn’t even an English word. That word sounds ‘African’ to me.”

I was even more intrigued.

The area where my family hails from is home to a legendary freedom fighter and to date Jamaica’s sole female National Heroine. Her name is Grandy Nanny. I began to see where her name came from. For you see Grandy Nanny too was a Nana, a herbalist, a botanist, a woman born in West Africa, transported to Jamaica who refused to submit to slavery and became a fighting Maroon and subsequently a mother of all Jamaica’s children.

Inspired, I conceptualized a ‘Nana blouse’ to honour market women, Jamaica’s botanical legacy, Grandy Nanny, my great-grandmother, and other influential women [41]. Using an enslaved chemise as a prototype, I incorporated lacebark, a material from the Lagetta lagetto tree, native to Jamaica, Cuba, and Hispaniola. This fine netting was used in Victorian times to make various products. Embroidered on sugar sacks surrounding the chemise are herbs used by Nanas for birthing and fertility control during enslavement and afterward. This patchwork marries Indigenous and West African botanical knowledge, reflecting the roots of Caribbean culture.

Through my work, I aim to show that despite the brutal realities of slavery, market women and needleworkers retained some control over their lives, contributing to the cultural and economic fabric of their societies. These women, both historically and in my family, exemplify resilience and agency, shaping the legacy of Caribbean and African heritage.

What I have done in this body of work is trace this history of the market woman’s use of abortifacients from the period of slavery until today in a tea set. If a viewer looks closely at the imagery on the tea set, they will see that I have placed my work in conversation with the earliest paintings that were done of Jamaica which shows the market woman as a figure with a basket on her head, or on the dusty streets of Kingston, her child at her side, sitting and selling. One of the most meaningful images for me is a meeting between a market woman and an indigenous woman demonstrating an exchange of botanical and other information and knowledge between both women. Not only is that image recreated on one of the largest pieces in the tea set, but I have had the piece created on West Indian Sea Island Cotton, one of the most refined cottons in the world to reinforce the themes of the work. The indigenous Taino of the island of Jamaica were master cotton weavers, a skill passed on to the enslaved; as well the cotton flower was an important abortifacient, and this is perhaps knowledge passed on by indigenous women to enslaved women. Intertwined on the tea set with the market women are various abortifacient plants along with sugar used to make the drink that would engender the abortions, but sugar also being an integral part of the history of enslavement. All of this is showcased in a tea set outlined in gold making the point that enslavement, colonialism, slavery gave rise to luxury commodities enjoyed and enjoined in Europe as is this porcelain tea set.

-Jacqueline Bishop

NEWS

RECENTLY ON VIEW

Jacqueline Bishop in: RISE UP | RESISTANCE, REVOLUTION, ABOLITION

2025 | The Fitzwilliam Museum | Cambridge, UK

February 21, 2025 – June 1, 2025

View the exhibition page HERE

Jacqueline Bishop: THE KEEPER OF ALL THE SECRETS | London, UK

Jacqueline Bishop: THE KEEPER OF ALL THE SECRETS | London, UK

The Keeper of All The Secrets (Edition of 3)
2024
digital print on porcelain, gold lustre
12.5″

ABOUT THE EXHIBITION


CATALOG


The Keeper of All the Secrets: Jacqueline Bishop’s Ceramic Tea Service Paperback – July 18, 2025

Jacqueline Bishop’s ceramic tea service The Keeper of All The Secrets is a new commission that will go on display in the Queen’s House at Royal Museums Greenwich in early 2025. Featuring the image of the market woman and various plants known to induce abortion, the service is a comment on colonialism, empire and the position of women in society. The figure of the market woman is a well-known symbol of the plantation system, but little has been written on her significance. She performed an illicit resistance to the plantation system, secretly assisting in the regulation of menstrual cycles and illegally terminating unwanted pregnancies, many of which are known to have been the result of rape by enslavers. This book, also featuring new poetry by Bishop and an interview, situates the market woman within the context of Caribbean enslavement and the tea trade. The tea service will be considered alongside other items in the Museum’s collection relating to colonialism and empire and provides a lens through which contemporary debates on the present-day impacts of these issues can be explored.

 

PURCHASE THE CATALOG & LEARN MORE

PROGRAMMING


Workshop: Sips of Wisdom

Celebrating the knowledge of African Caribbean herbs for women’s health

Saturday, March 22, 2025 | 11:30am–1:30pm

This workshop is an introduction to herbal traditions, exploring the history of African Caribbean herbs, their connections to African and Indigenous practices, and their importance for women’s health.

Inspired by artist Jacqueline Bishop’s ‘Keeper of All Secrets’ tea set, the workshop will delve into the theme of the Market Woman and her role in sharing knowledge about herbs.

As part of the session you’ll design and paint your own cup and saucer to take home. The session will include:

  • Discussion and sharing of the uses of African Caribbean herbs.
  • A guided reflection meditation on connecting to inner resilience, empowerment and ancestral knowledge across all lands.
  • Painting a cup and saucer, inspired by the knowledge learnt and shared on the day.

 

PURCHASE TICKETS HERE

JOIN THE ACC IN LONDON, ENGLAND WITH JACQUELINE BISHOP

You’re invited to join the American Ceramics Circle for a three day trip to London, Cambridge and Norwich, March 19-21, 2025 to explore collections and current exhibitions.

We begin in London with a welcome reception at E & H Manners gallery on Tuesday the 18th

On Wednesday we will travel by train to Norwich where we will visit Norwich Castle Museum and the Sainsbury Centre. Friday, we will travel again by train to Cambridge where we will visit the Fitzwilliam Museum and Kettle’s Yard.

Thursday, we are invited to join the English Ceramic Circle at the Victoria & Albert Museum for a Wedgwood study day . We will meet with ceramic historian Caroline McCraffrey Howarth who will share her research on the important nineteenth-century collector Lady Charlotte Schreiber and her majestic donation of 18th-century ceramics to the V&A. We also have the opportunity to meet with V&A curator Alun Graves and visit the museum’s studio pottery collection.That evening, we are invited to attend the launch and reception of Jacqueline Bishop’s “Keeper of All The Secrets” at the Queen’s House in Greenwich.

Organized by Leslie Ferrin, Christina Prescott-Walker and Rachel Gotlieb

Fee: $45 for members, $60 for guests

All travel, meals, entry fees and hotel costs are “a la carte” – to be paid directly by attendees. The organizers will negotiate group entries, and make detailed recommendations for travel and hotels as required.

 

LEARN MORE & REGISTER

PORCELAIN LOVE LETTERS: The Art of Mara Superior

PORCELAIN LOVE LETTERS: The Art of Mara Superior

UPCOMING: Opening May, 2025


Curated by Kory Rogers
Francie and John Downing Senior Curator of American Art

SHELBURNE MUSEUM
Shelburne, VT

Ceramics Gallery, Variety Unit

ABOUT THE EXHIBITION


Porcelain Love Letters: The Art of Mara Superior

Mara Superior’s porcelain art combines intricate painted imagery and sculptural forms to explore themes of art history, domesticity, and environmentalism. Often described as “love letters to the world,” Superior’s works invite viewers to engage with their timeless beauty and layered narratives. 

Opening May 10, 2025

SHELBURNE MUSEUM
6000 Shelburne Road
PO Box 10
Shelburne, VT

ARTWORKS


Preview

Homes & Gardens

The Planet

PROGRAMMING


Webinar: Artistic Eye – Seeing the World through Mara Superior’s Ceramic Art

Tuesday, April 8, 2025
12:00 pm – 1:00 pm
Zoom
Mara Superior, acclaimed ceramic artist known for blending delicate ceramic pieces with sharp social commentary, joins curator Kory Rogers for an engaging hour-long webinar discussion about her life, her art, and her creative inspirations. Discover how Mara’s passion for art history and world travel shapes her work, how historical subjects inspire contemporary conversations, and how she reimagines traditional forms like teapots into striking 3D sculptures. Don’t miss this exploration of creativity and innovation and learn more about Mara prior to the opening of her 2025 exhibition, Porcelain Love Letters: The Art of Mara Superior.

Join via Zoom on April 8 at 12:00 pm EDT. A live Q & A will close the program.

Free. Advance registration required.

REGISTER HERE

American, b. 1951, New York, NY
lives and works in Williamsburg, MA

Mara Superior is an American visual artist who works in porcelain. Her ceramic high relief platters and sculptural objects reflect the artist’s passion for art history and the decorative arts, and her painterly motifs range from the pleasures of the domestic to serious political and environmental issues as points of departure to comment on contemporary culture and its relationship to history. Superior has received numerous awards including a National Endowment for the Visual Arts Fellowship, the prestigious Guldaggergård Residency in Denmark, and numerous individual artist grants from the Massachusetts Cultural Council.

Superior has exhibited at the American Museum of Ceramic Art, (Pomona, CA), Scripps Women’s College, (Claremont, CA), and the Fuller Craft Museum, (Brockton, MA) among many other institutions. Her work can be found in the Renwick Gallery of the Smithsonian American Art Museum, (Washington, DC), the Museum of Arts and Design, (New York, NY), the Peabody Essex Museum, (Salem, MA), Philadelphia Museum of Art, (Philadelphia, PA) the Los Angeles County Museum of Art, (Los Angeles, CA), White House Collection of American Craft, (Little Rock, AK). In 2018, through the generous support of the Kohler Foundation, gifts of art by Mara Superior were made to fifteen museums throughout the USA, increasing the public holdings of Superior’s artworks  and including an in depth collection acquired by the Racine Art Museum, (Racine, WI) and shown in 2020 in Collection Focus: Mara Superior. In 2010 she was interviewed for the oral history program of the Smithsonian’s Archives of American Art, (Washington, DC).

Superior studied at the Pratt Institute and Hartford Art School, completing her BFA in painting from the University of Connecticut followed by a MAT in ceramics from the University of Massachusetts in Amherst. She is represented by Ferrin Contemporary.

ABOUT THE SHELBURNE MUSEUM


Shelburne Museum is an unparalleled and unique experience of American history, art, and design. Designed to allow visitors the pleasure of discovery and exploration, the Museum includes thirty-nine distinct structures on forty-five acres, each filled with beautiful, fascinating, and whimsical objects. Come play in our gardens and open our many doors. You are welcome here.

Click to Read More HERE

SHELBURNE MUSEUM

6000 Shelburne Road
PO Box 10
Shelburne, VT 05482

INQUIRE


Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

PAUL SCOTT: Viewing America

PAUL SCOTT: Viewing America

Cincinnati Art Museum
Cincinnati, OH

October 10, 2025 – January 4, 2026

NEW AMERICAN SCENERY: The Art of Paul Scott: Paul Scott’s New American Scenery at the Cincinnati Art Museum will open at its 8th tour location on October 10th, 2025. “PAUL SCOTT: Viewing America” marks the artist’s sixth solo show in the US, spanning 2019 to 2026. 

ABOUT THE EXHIBITION


Exhibition Details In Development

In New American Scenery, Scott scrutinizes the American landscape from a contemporary perspective, one that grapples with issues of globalization, energy generation and consumption, capitalism, social justice, immigration, and the human impact on the environment. The images that Scott creates for his ceramics depict unsettling views of nuclear power plants, aging urban centers, abandoned industrial sites, wildfires, and isolating walls. As representations of the American landscape, they suggest a subversion of the picturesque aesthetic—the unpicturesque picturesque—and a new, disturbing norm.

“NAS” includes the following bodies of work, many of which were conceived on location and/or with insights from significant collaborators. Each title below represents a sub-series containing multiple iterations and/or designs: American Cities & Landscapes, Broken Treaties, Energy & Environment, Posy Vases, Race, Indigeneity & Immigration, Samplers, Sampler Jugs, Souvenirs, Views of New York.

English, b. 1953, Darley Dale, Derbyshire, England
lives and works in Cumbria, UK

Paul Scott is a Cumbrian-based artist with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft and design, he is well known for research into printed vitreous surfaces, as well as his characteristic blue and white artworks in glazed ceramic.

Scott’s artworks can be found in public collections around the globe – including The National Museum of Art, Architecture and Design Norway, the Victoria and Albert Museum London, National Museums Liverpool, Carnegie Museum of Art, Pittsburgh and Brooklyn Art Museum USA. Commissioned work can be found in a number of UK museums as well as public places in the North of England, including Carlisle, Maryport, Gateshead and Newcastle Upon Tyne. He has also completed large-scale works in Hanoi, Vietnam and Guldagergård public sculpture park in Denmark.

A combination of rigorous research, studio practice, curation, writing and commissioned work ensures that his work is continually developing. It is fundamentally concerned with the re-animation of familiar objects, landscape, pattern and a sense of place. He was Professor of Ceramics at Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelors of Art Education and Design at Saint Martin’s College and Ph.d at the Manchester Institute for Research and Innovation in Art and Design in Manchester, England.

His current research project New American Scenery has been enabled by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. More on New American Scenery, here.

INQUIRE


Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

Emily Cole: Ceramics, Flora, and Contemporary Responses

Emily Cole: Ceramics, Flora, and Contemporary Responses

ABOUT THE ARTISTS


b. Shinnecock, 1980
lives and works in Northfield, Minnesota

More on Courtney M. Leonard

FEATURING

“BREACH | Logbook 21 | CONVOKE”
2021
multi-ply birch wood and acrylic, coiled and woven earthenware, coiled micaceous clay, oyster shells
various dimensions
John Polak Photography

b. 1971, Kingston, Jamaica
lives and works in New York, NY

More on Jacqueline Bishop

FEATURING

“Fauna (Tea Service)”
2024
digital print on porcelain, gold lustre, Tea Set with Teapot, Cup, Saucer, Cream Pitcher, Sugar Pot, Rectangular Plate, Oval Plate; Teapot
various dimensions
John Polak Photography

Jacqueline Bishop in: RISE UP | RESISTANCE, REVOLUTION, ABOLITION

Jacqueline Bishop in: RISE UP | RESISTANCE, REVOLUTION, ABOLITION

The Fitzwilliam Museum of Art

Trumpington Street
Cambridge
CB2 1RB

February 21, 2025 through June 1, 2025

ABOUT THE EXHIBITION


Discover the multifaceted history of the fight to end transatlantic slavery through the stories of the people, communities and anti-slavery movements who campaigned for abolition in the face of oppression and opposition.

Bringing together historic artworks and objects in conversation with works by contemporary artists, Rise Up explores the battle to abolish the British slave trade and end enslavement between 1750 and 1850, as well as the aftermath, its legacies and the ongoing struggle for equality and social justice today.

Focusing on the individuals whose contributions were vital to the British abolition story, our latest exhibition shines a light on the often-forgotten Black Georgians and Victorians, and commemorates the resistance leaders and revolutionaries across the Caribbean, Europe and the Americas; from Jamaican freedom fighter, Nanny of the Maroons to Nigerian-born, British-based writer and abolitionist Olaudah Equiano.

PROGRAMMING


Lunchtime Lecture | Meet the Artist: Jacqueline Bishop

Price: ÂŁ10
Date/time: Saturday, March 22, 2025 | 1–2pm
Location: Seminar Room

Join Jacqueline Bishop as she talks about her new work Nana (2024), currently on display in The Fitzwilliam Museum’s Rise Up exhibition. Bishop’s sculptural work celebrates the countless unrecorded Jamaican market women of West African heritage whose skills, knowledge and empowerment ‘exemplify resilience and agency’ and helped ‘shape the legacy of Caribbean and African heritage’.

Jacqueline Bishop is an accomplished writer, academic, and visual artist with exhibitions in Belgium, Morocco, Italy, Cape Verde, Niger, USA, and Jamaica. In addition to her role as Clinical Full Professor at New York University, Jacqueline Bishop was a 2020 Dora Maar/Brown Foundation Fellow in France; 2008-2009 Fulbright Fellow in Morocco; and 2009-2010 UNESCO/Fulbright Fellow in Paris. Bishop has received several awards, including the OCM Bocas Award for her book “The Gymnast & Other Position”, The Canute A. Brodhurst Prize for short story writing, The Arthur Schomburg Award for Excellence in the Humanities from New York University, A James Michener Creative Writing Fellowship, as well as several awards from the Jamaica Cultural Development Commission. Jacqueline’s recent ceramic work consists of brightly colored bone China plates used symbolically in Caribbean homes and explores how they hid the violent legacy of slavery and colonialism in the Atlantic world.

Sergei Isupov: MOMENTS FROM ETERNITY

Sergei Isupov: MOMENTS FROM ETERNITY

District Clay Center

2414 Douglas St NE
Washington, DC

April 25 – May 25, 2025

ABOUT THE EXHIBITION


This April, District Clay Center (DCC) is honored to invite you to a solo exhibition and weekend workshop with internationally-renowned artist Sergei Isupov.

Moments from Eternity features a selection of free- standing ceramic sculptures alongside a new wall installation created for the exhibition. FIGURE: Form + Surface, the corresponding workshop, will allow participants to learn the techniques Isupov uses to sculpt these porcelain masterworks.

PROGRAMMING


OPENING RECEPTION

Friday April 25, 6-8 PM
District Clay Center

Join District Clay Center for the opening reception of “Moments from Eternity” ​with Sergei Isupov! Attendees will hear Isupov discuss his work on view.

The reception will take place at 6 PM on April 25 at District Clay Center in central Washington DC. During the reception, Isupov will give an introductory artist talk and discuss his work on view. Following the lunch break on Saturday, Sergei will give an illustrated talk featuring images of his studio practice and feature select works from throughout his career. Both talks will provide context for the techniques students learn during the workshop. The reception and artist talk will be open to the public.

RSVP HERE

Illustrated Artist Talk

Saturday, April 26, 1 PM
District Clay Center

FREE | All Are Welcome

FIGURE: Form + Surface with Sergei Isupov

April 26-27, 2025, 10:00 AM – 5:00 PM
District Clay Center

In this weekend workshop with internationally renowned artist Sergei Isupov, students will learn how to build form and develop surfaces to create a portrait bust in clay. The workshop begins with a Friday night public gallery reception prior to demonstrations and hands-on instruction on Saturday and Sunday.

Intermediate, Ages 18 year+

$540.00 | $486.00(members)

MORE DETAILS & REGISTRATION 

Estonian-American, b. 1963 Stavropole, USSR,
lives and works between Cummington, MA, USA and Tallinn, Estonia

Sergei Isupov is an Estonian-American sculptor internationally known for his highly detailed, narrative works. Isupov explores painterly figure-ground relationships, creating surreal sculptures with a complex artistic vocabulary that combines two- and three-dimensional narratives and animal/human hybrids. He works in ceramics using traditional hand-building and sculpting techniques to combine surface and form with narrative painting using colored stains highlighted with clear glaze.

Isupov has a long international resume with work included in numerous collections and exhibitions, including the National Gallery of Australia, Museum Angewandte in Kunst, Germany, and in the US at the Carnegie Museum of Art, Crocker Art Museum, Everson Museum of Art, Fine Arts Museum of San Francisco, Museum of Arts and Design, Museum of Fine Arts–Boston, Museum of Fine Arts–Houston, Mint Museum of Art, and Racine Art Museum. In 2017, his solo exhibition at The Erie Art Museum presented selected works in a 20-year career survey titled Hidden Messages, followed by Surreal Promenade e, another survey solo in 2019 at the Russian Museum of Art in Minnesota.

INQUIRE


Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

ARTIST ARCHIVES

Available Selections from Artist Archives

Ferrin Contemporary works with represented artists, both living and deceased, to manage and offer works from their archives and estates. Artworks are available for secondary market sale. Please email info@ferrincontemporary.com to inquire about available works and pricing. 

American

b. 1939, New York, NY
d. 2024, Berkeley, CA

INQUIRE

Coille Hooven
“Puppie Slice”
1987
porcelain
7.25 x 7.5 x 2.5″

Coille Hooven
“The Gamblers”
1978
porcelain
5.25 x 5 x 4″

Coille Hooven
“Doggone”
1992
porcelain
3 x 11 x 3.75″

Coille Hooven
“Fly By Night”
1976
porcelain
11.25 x 7.25 x 7.5″

b. 1947, Springfield, MN
d. 2021, Athens, GA

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Michael Simon
“Three-legged Jar (Black Horse)”
2022
salt glaze
~ 10 x 9 x 9″

Michael Simon
“Jar in the Persian Style”
salt glazed stoneware
5 x 3.5 x 3.5″

American

b. 1934, New York, NY
d. 2013, Williamsburg, MA

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Roy Superior
“Il Re Dei Proscutti”
2010
mixed media
14 x 8 x 3″

Roy Superior
“Formaggio Italiano Shrine”
2010
mixed media
14 x 8 x 3″

Roy Superior
“The Human Condition”
1987
birdseye maple, red narra, English brown oak, lignum vitae, mountain laurel, exotic hardwoods, ebony, birch bark, brass, bone, antique ivory
36 x 25 x 21″

Roy Superior
“Shaker Dragster”
1984
wood, metal, leather, wax, string
9.75 x 24 x 8.75″

American

b. 1939, Minnesota
worked in Marlboro, VT; lives in Shelburne, VT

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Malcolm Wright
“Heart Muscle (#1)”
2009
bronze
8 x 6.75 x 6.25″

Malcolm Wright
“Sea Creature #5″
2011
wood fired brick clay
8.75 x 11.75 x 7.75”

Malcolm Wright
“Two Story House #2″
2014
wood fired brick clay
12 x 12 x 11”

Chris Antemann: An Occasional Craving

Chris Antemann: An Occasional Craving

Chris Antemann: An Occasional Craving


Dixon Gallery & Gardens
4339 Park Ave
Memphis, TN

February 9 – April 6, 2025

Join the ACC at the Dixon Gallery & Gardens, Memphis, TN

March 2-3, 2025

You’re invited to join the American Ceramic Circle for a two-day trip to Memphis, March 2-3, 2025 to explore the Dixon Gallery and Gardens collections and current exhibitions.

LEARN MORE & REGISTER

ABOUT THE EXHIBITION


In 2011, American ceramic artist Chris Antemann formed what would become a fruitful partnership with the centuries-old Meissen porcelain manufactory that continues today. With a profound respect for the innovation and artistry of Meissen porcelain, Antemann re-envisions the concept of porcelain figural groupings with a wink of her twenty-first-century eye. Chris’ colorful, imaginative, and often cheeky ceramic sculptures parody the dynamics between men and women, much as they did in the eighteenth century. And while viewers of rococo porcelain figural groupings would have been cognizant of the coded innuendos that abound in the art of that era, Antemann is much more explicit in her representations (and parodies) of human sexuality.

Chris Antemann: An Occasional Craving presents a variety of Antemann’s works, from her early MEISSEN collaborations to more complex dramatic table-top centerpieces produced in her studio in Joseph, OR. Inspired by the Dixon’s own Warda Stevens Stout Collection of Eighteenth-Century German Porcelain, by the vitality of our beautiful gardens, and by the Berthe Morisot painting in our collection, Peasant Girl among Tulips, Antemann is creating a pair of tulipieres specifically for the Dixon Gallery and Gardens. Visitors to the exhibition will be charmed by her sculptures, which walk a fine line between lighthearted and profound, and come away with a deeper understanding of the nuances of historic German porcelain.

EVENTS


ACC at the Dixon Gallery & Gardens, Memphis, TN

You’re invited to join the American Ceramic Circle for a two-day trip to Memphis, March 2-3, 2025 to explore the Dixon Gallery and Gardens collections and current exhibitions. We will also visit the studio of contemporary artist and University of Memphis professor, Kate Roberts, and the private home of renowned collectors of European porcelain.

At the Dixon, we will go behind the scenes on guided tours of the museum and gardens with curators and horticulturists. We will enjoy a special tour with artist Chris Antemann and Julie Pierotti, curator of the solo exhibition, An Occasion to Gather, featuring a site-responsive commission, masterworks produced in her US studio, and selected vignettes produced during her 10-year collaboration with the Meissen Porcelain Manufactory in Germany.

A discounted rate is available for registered attendees.

Registration: $45 for ACC members, $55 for guests + Eventbrite fees; registration includes admission to the Dixon.

Please note that attendees are responsible for their own accommodations, transportation and meals.

Limited to 20.

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ABOUT CHRIS ANTEMANN


American
b. 1970 Albany, NY
lives and works between Joseph, OR and Meissen, Germany

Chris Antemann is an American artist known for her frolicking, contemporary feminist parodies of 18th century porcelain figurines. For more than a decade, Antemann has worked collaboratively with the Meissen Porcelain Manufactory in Meissen, Germany to create increasingly ornate and elaborate variations on her lifelong love of the narrative, porcelain figurine. Recent years have seen a tremendous culmination of her time working with MEISSEN. Between 2015-2019, her large-scale installation Forbidden Fruit: Porcelain Sculptor Chris Antemann toured the US, Germany, and culminated at the State Hermitage Museum, Russia. In 2022, her largest, most complex sculpture to-date was unveiled at Hillwood Estate, Museum, & Gardens in Washington, DC; An Occasion to Gather reveals its sumptuous narrative across an eight-foot-long, four-foot-high dining room centerpiece. The relationship with MEISSEN continues and a decade of collaboration will be celebrated with an exhibition at the Meissen Porcelain Museum in Meissen, Germany from July 15, 2022 – February 26, 2023.

Antemann earned her MFA from the University of Minnesota and her BFA in Ceramics and Painting from Indiana University of Pennsylvania. She has exhibited extensively in the United States, Europe, Russia, and Asia. Her work can be found in many private and public collections, including the Crocker Art Museum, High Museum of Art, Museum of Arts and Design, the Portland Art Museum, among many others. Her awards include the Virginia A. Groot first prize, and residencies with the Archie Bray Foundation, the John Michael Kohler Arts Center, and the Sitka Center for Art and Ecology.