Project Tag: 2022

MAKING PLACE MATTER | The Clay Studio

MAKING PLACE MATTER | The Clay Studio

April 23, 2022 – October 2, 2023


THE CLAY STUDIO

Philadelphia, PA

Featuring Work by Kukuli Velarde

ABOUT THE EXHIBITION


Making Place Matter is an ambitious and experimental exhibition, symposium, and publication that will accompany the opening of The Clay Studio’s newly built home located in Philadelphia’s Kensington neighborhood at 1425 North American Street. On April 8, The Clay Studio will enter into a new chapter of its nearly 50-year history, with the concept of ‘place’ taking on critical importance as the organization grows into its new home. Larger classrooms, state-of-the-art studios, an outdoor sculpture garden, a rooftop event space, and luminous new gallery spaces will meet the increased demand from students, artists, and visitors. Just as significant, building a resonant conversation between clay, artists, and audiences in the new Jill Bonovitz Gallery, Making Place Matter is organized around the complex meanings of place in our contemporary social conversation. The exhibition will open on April 23 and run through October 2, 2022, and is free to the public.

Using clay and cultural heritage as sources of inspiration, Making Place Matter will feature Philadelphia-based, Peruvian-born artist Kukuli Velarde, American-born, Massachusetts-based artist Molly Hatch, and Egyptian American artist Ibrahim Said, now based in North Carolina. Each artist explores the idea of place with regard to personal history, cultural heritage, and social justice. Clay is the material embodiment of place. Made of the earth we stand on, clay has the capacity to articulate cultural perspectives, social engagement, and artistic intentions. By using clay as a means to investigate ideas of place, Making Place Matter will create powerful tools to share with the new and established community, creating a feeling of belonging within the Jill Bonovitz Gallery for The Clay Studio’s various constituencies.

ABOUT THE A MI VIDAΒ PROJECT


Kukuli Velarde’s A Mi Vida project includes a sculptural installation, painting, performance, and off-site interventions. The series focuses on the artist’s desire to prolong the sensation of holding her now elementary-age daughter Vida in her arms as a baby. It also embodies her anguish at the family separation at the U.S. – Mexico border. Like many of Velarde’s works, these clay sculptures entangle reality and dreamscape, blending influences from contemporary life and ancient indigenous Peruvian imagery and patterning.

FEATURED ARTIST IN THE EXHIBITION


KUKULI VELARDE

Kukuli Velarde is a Peruvian-American artist who specializes in painting and ceramic sculptures made out of clay and terra-cotta. Velarde focuses on the themes of gender and the consequences of colonization in Latin American contemporary culture. Her ceramic work is a visual investigation of aesthetics, cultural survival, and inheritance.

Velarde has had multiple solo exhibitions, most recently including Kukuli Velarde: The Complicit Eye at Taller PuertorriqueΓ±o (Philadelphia, PA), Kukuli Velarde at AMOCA (Pomona, CA), and Plunder Me, Baby at Peters Project Gallery (Santa Fe, NM). Her work may also be found in numerous public institutions, including the Museum of Fine Arts (Houston, TX), the John Michael Kohler Arts Center (Sheboygan, WI), and the Museo de Art Contemporaneo de Lima, (Lima, Peru).

Velarde is the recipient of numerous grants, including a John Simon Guggenheim Fellowship, a Pollock Krasner Foundation Grant, a United States Artists Knight Fellowship, and a PEW Fellowship in Visual Art. She was awarded the Grand Prize for her work exhibited at the Gyeonggi International Ceramic Biennale in Icheon, South Korea. Velarde holds a BFA (magna cum laude) from Hunter College of the University of New York. Velarde lives and works in Philadelphia, PA.

VIEW MORE ON KUKULI

INQUIRE β€’Β  HEREΒ  β€’

Kukuli Velarde, “A Mi Vida III”, 2017, earthenware underglaze, paint, resin, 24 x 10 x 6″

MORE ON THE CLAY STUDIO


THE CLAY STUDIO


1425 N American Street, Philadelphia, PA 19122

Β 

The Clay Studio is a nonprofit arts organization with internationally renowned artist residency programs, classes and events, exhibitions, community engagement programs, a shop, and more. They serve as a place where established and emerging artists come to shape their careers, a vital resource for arts education at local schools and community organizations, and a destination where people from every neighborhood in Philadelphia and all over the world can explore the vast world of clay. Visit theclaystudio.org for more information.

EVENTS


Making Place Matter Symposium

Saturday, June 4th | 9am – 5pm

Buy tickets here

CHRIS ANTEMANN: An Occasion to Gather

CHRIS ANTEMANN: An Occasion to Gather

In conjunction with the exhibitionΒ The Luxury of Clay: Porcelain Past and Present, organized by Rebecca Tilles, Curator of 18th-century Western European Art, a selection of contemporary ceramics by artist Chris Antemann can be viewed interspersed among the objects from Hillwood’s permanent collection in the dining and breakfast rooms on the first floor of the mansion. The installation is the fourth in a series of Hillwood collaborations with contemporary ceramicists including Eva Zeisel (2005), Bouke de Vries (2019), and Vladimir Kanevsky (2021). On view through June 26, 2022.

Images courtesy of HillwoodΒ & Ferrin Contemporary

An Occasion to Gather


Installation at Hillwood Estate, Museum, & Gardens

Chris Antemann’s elaborate porcelain centerpieceβ€”depicting a host of partially clad revelers gathered around a table under an impressive porcelain templeβ€”is a celebration of the eighteenth-century banqueting craze among European elites. Antemann takes inspiration from historical engravings and eighteenth-century Meissen centerpieces, including the Temple of Love, designed by Johann Joachim KΓ€ndler while the factory’s chief modeler.

A Stage for Dessert


Installation at Hillwood Estate & Gardens

“An Occasion to Gather”Β Chris Antemann’s porcelain centerpiece, is filled with 18th-century style ceramic sweets, takes inspiration from the garden sculptures and eighteenth-century design of Hillwood’s French parterre. As with the dining room table display, here Antemann references eighteenth-century dining culture and the porcelain centerpieces commonly used as table decoration by European elites.

In the adjacent breakfast room,

Harbor (AP)


More on the Collaboration with MEISSEN Β β€’Β  HEREΒ  β€’

I am fascinated by 18th-century porcelain figures and what made them so popular: a culture of ritual at the court, with its costumes, powdered wigs, painted faces, and that infatuation with banquets and the extremely complex way of presenting serving platters β€˜Γ  la franΓ§aise’ at feasts or receptions. I use the esthetic of those figurines, very modish in France at that time, to recount and parody the relationship between men and women in society or seduction.

-Chris Antemann

MORE ON CHRIS ANTEMANN


View More by Chris Antemann Β β€’Β  HEREΒ  β€’

Chris Antemann is known for work inspired by 18th-century porcelain figurines, employing a unity of design and concept to simultaneously examine and parody male and female relationship roles. Characters, themes, and incidents build upon each other, effectively forming their own language that speaks about domestic rites, social etiquette, and taboos. Themes from the classics and the romantics are given a contemporary edge; elaborate dinner parties, picnic luncheons, and ornamental gardens set the stage for her twisted tales to unfold.

DACHA & MANSION INSTALLATIONS


PAST PROGRAMMING

The allure of porcelain has beguiled collectors and others for centuries. Challenging as well as costly to produce, porcelain’s material qualitiesβ€”impermeable, extremely hard, translucent, and a brilliant whiteβ€”brought it great esteem early on. Porcelain originated in China, and the competition to manufacture it in Europe was fierce. European manufactories often appropriated designs from one another and recruited workers from their rivals with knowledge of the long-guarded formula.

The Luxury of Clay: Porcelain Past and PresentΒ traces the discovery and early history of porcelain in western Europe and Russia in the eighteenth and nineteenth centuries while also highlighting Marjorie Merriweather Posts’s interest in porcelain objects and the pieces she acquired. Juxtaposed to historical porcelain wares are a selection of contemporary ceramics taking cues from porcelain traditions and historical models from Europe and Asia.

Throughout the exhibition works by the contemporary artists and ceramists Cindy Sherman (b. 1954), Bouke de Vries (b. 1960) and Chris Antemann (b. 1971) underscore the continued inspiration and influence of historical porcelain on artists today.

EXHIBITING ARTISTS


Hillwood Estate, Museum & Gardens Related Programs

Explore stories behind porcelain past and present.

 

In this lecture celebrating the installation of two elaborate centerpieces in the dining and breakfast rooms as part ofΒ The Luxury of Clay: Porcelain Past and Present, artist Chris Antemann describes the development of her ceramic artwork inspired by eighteenth-century porcelain figures.

Rebecca Tilles, curator, explores the porcelain collections of Consuelo Vanderbilt (1877-1964), Anna Thompson Dodge (1871-1970), and Marjorie Merriweather Post (1887-1973), Hillwood’s founder.

VIDEOS FEATURING CHRIS ANTEMANN


Rebecca Tilles, curator, explores the porcelain collections of Consuelo Vanderbilt (1877-1964), Anna Thompson Dodge (1871-1970), and Marjorie Merriweather Post (1887-1973), Hillwood’s founder.

In this lecture celebrating the installation of two elaborate centerpieces in the dining and breakfast rooms as part of “The Luxury of Clay: Porcelain Past and Present,” artist Chris Antemann describes the development of her ceramic artwork inspired by eighteenth-century porcelain figures. She will discuss how she drew inspiration from Hillwood’s French parterre, porcelain collection, and interiors, as well as many other sources for her sculptural tableaux and complex process of constructing them. Learn how Chris crafts new narratives from historical forms, informed by her ten-year collaboration on unique and limited edition artworks with MEISSEN, Europe’s oldest porcelain manufactory.

RAYMON ELOZUA AT PORCHES INN

RAYMON ELOZUA AT PORCHES INN

NOT SO STILL LIFES: Photography

Presented at
The Porches Inn at MASS MoCA
231 River St. North Adams, MA 01247

ABOUT THE FEATURE

Ferrin Contemporary curates changing art by gallery artists at Porches Inn, often concurrent with the exhibitions. Porches Inn is a short walk from the gallery on the MASS MoCA campus in North Adams.Β 

FERRIN CONTEMPORARY is pleased to present Raymon Elozua at Porches Inn. The series of photographs in the dining room and reception areas are selected from various series of still lifes and abstractions drawn from years of research, object study collections and photographic documentation of industry and decay.Β 

Raymon Elozua is a transdisciplinary visual artist working in the Catskills region of New York. His extensive studio practice consists of large-scale sculpture in ceramic, steel and glass, photography, visual research and archiving, web-based projects, and other forms of documentation. Elozua’s work often references the vessel, abstract expressionism, industrial decline and decay, and regionalism.Β 

Elozua has been awarded three grants from the National Endowment for the Arts, a New York State Foundation for the Arts Grant, and a Virginia A. Groot Foundation Grant. His work has been exhibited at The Carnegie Museum of Art, Metropolitan Museum of Art, The Mint Museum of Art and The Mint Museum of Craft and Design, Museum of Fine Arts (Houston), and Yale University Art Gallery, among others. He has taught at The California College of Arts & Crafts, Louisiana State University, New York University, Pratt School of Design, and The Rhode Island School of Design. Elozua’s solo exhibition Structure/Dissonance opens at The Everson Museum of Art in Fall 2022.Β 

MUTUAL AFFECTION: The Victoria Schonfeld Collection

MUTUAL AFFECTION: The Victoria Schonfeld Collection

EXHIBITION: 2021 – 2022

Select Works Gifted to the Museum in a Permanent Named Collection

Victoria Schonfeld (1950-2019) was a prominent New York lawyer, collector, and philanthropist whose discerning eye was matched only by the fierceness of devotion to her family and friends. From the time she began collecting ceramics in the 1990s, Schonfeld developed lasting friendships with the artists who caught her eye. Schonfeld was particularly devoted to championing female artists, including Betty Woodman, Alison Britton, and Carol McNicoll, as well as younger artists like Lauren Mabry and Rain Harris. Her taste encompassed everything from classical beauty to pointedly political works, all linked by her boundless curiosity.

Long before her untimely death, Schonfeld began donating works by artists she admired to museums across the United States, including the Everson Museum of Art. It is with the deepest gratitude that the Everson accepts key works from the Schonfeld collection that will endure as a tribute to her generosity and lasting network of friendships.Β Mutual AffectionΒ marks the debut of the Victoria Schonfeld Collection at the Everson, fleshed out by additional works loaned by her family. Each object in this exhibition stands on its own merit, but also represents a node in Schonfeld’s vast network of reciprocal relationships.

Everson Museum of Art


Syracuse, NY | July 24, 2021 – February 20, 2022

VICTORIA SCHONFELD

SELECT COLLECTION HIGHLIGHTS

Betty Woodman, American (1930-2018)
Minoan Pillow Pitcher B, 1980
Earthenware and terra sigilata stain
Lent by the Victoria Schonfeld Collection

Ruth Duckworth, British (1919-2009)
Untitled No. 656100, 2000
Porcelain
Lent by the Victoria Schonfeld Collection

Myashita Zenji, Japanese (1939-2012)
Triangular, 2003
Stoneware and colored clay
Lent by the Victoria Schonfeld Collection

Kate Malone, British (b. 1959)
Small Lidded Flower Jar and Waddesdon Bird, 2016
Crystalline-glazed stoneware and porcelain
Lent by the Victoria Schonfeld Collection