What types of art do you specialize in?

We specialize in contemporary ceramics from the 1950s onward, including clay and porcelain sculptures.

Do you offer collection services?

Yes, we work with private collectors and artist archives to organize, document, and appraise ceramic art collections for deacquisition or placement.

Can you help with exhibition development?

Absolutely, we collaborate with museums and cultural institutions to develop and present ceramic art exhibitions.

Do you provide touring programs?

Yes, we curate and organize touring exhibitions for contemporary ceramic artists.

What are legacy projects?

Legacy projects include customized services for artists, such as retrospective catalogs, exhibitions, and museum acquisitions.

Project Tag: ceramics gallery

Sep

2024

COURTNEY M. LEONARD in Shifting Shorelines: Art, Industry, and Ecology along the Hudson River

Shifting Shorelines: Art, Industry, and Ecology along the Hudson River

Wallach Art Gallery at Columbia University | New York, NY

October 5, 2024 – January 12, 2025

Featuring Courtney M. Leonard

ABOUT THE EXHIBITION

Shifting Shorelines brings together historic and contemporary art, visual culture, and environmental science to engage the history of human existence, commerce, and industry along the Hudson estuary. Focusing on the river’s edges from Albany southward to its flow into the Atlantic Ocean, the exhibition foregrounds the impact of local industry on the natural environment, highlighting the history of the river’s distinctive ecological features such as brackish and salt marshes, mudflats, and beaches, along with the docks, factories, and buildings that crowded them out. Through visual and material evidence, Shifting Shorelines demonstrates the various cycles of exploitation, damage, and reclamation.

Shifting Shorelines actively engages in a critical dialogue with images of the river as a natural paradise by showing these seemingly hegemonic portrayals alongside contrasting representations that consider the exploitation and environmental damage to the river that has accompanied many of the human endeavors along its shores. In so doing it offers a counter reading of the received art historical narratives—narratives overwhelmingly grounded on the work of white male artists—that aims for a rich and complex understanding of the legacy, life, and livelihoods along the river informed by the voices and experiences of a broad range of creators.

The exhibition will be accompanied by a publication as well as academic and public programming.

ARTISTS IN THE EXHIBITION

Henry Ary • Victor Gifford Audubon • Alvin Baltrop • Gifford Reynolds Beal • Julie Hart Beers • George Bellows • Daniel Putnam Brinley • Johann Hermann Carmienke • Frederic Edwin Church • Thomas Cole • Glenn O. Coleman • Samuel Colman • Thomas Commeraw • John V. Cornell • Jasper F. Cropsey • Henry Golden Dearth • Aaron Douglas • Joellyn Duesberry • Ernest Fiene • Kryn Frederycks • Reva Fuhrman • Emil Ganso • Marie-François-Régis Gignoux • Shi Guorui • David Hammons • Joost Hartgersz • Palmer Hayden • Edward Hopper • Donna Hogerhuis • Every Ocean Hughes • William Henry Jackson • Yvonne Jacquette • David Johnson • Abraham Leon Kroll • Athena LaTocha • Ernest Lawson • An-My Lê • Courtney M. Leonard • Marie Lorenz • George Benjamin Luks • John Marin • Reginald Marsh • Gordon Matta-Clark • Alex Matthew • Alan Michelson • Charles Frederick William Mielatz • Jacques Gerard Milbert • Thomas Moran • William H. Moschett • Ruth Orkin • Anthony Papa • Lisa Sanditz • Henry Schnakenberg • Jean-Marc Superville Sovak • Alfred Stieglitz • Joseph Vollmering • John Ferguson Weir • Worthington Whittredge

ABOUT COURTNEY M. LEONARD

Courtney Leonard Artist Portrait

Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonard’s current work embodies the multiple definitions of “breach”, an exploration and documentation of historical ties to water, whale and material sustainability.

In collaboration with national and international museums, cultural institutions, and indigenous communities in North America, New Zealand, Nova Scotia, and the United States Embassies, Leonard’s practice investigates narratives of cultural viability as a reflection of environmental record.

Jan

2024

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | STACCATO

Courtney M. Leonard:
BREACH: LOGBOOK 24 | STACCATO

University Museum of Contemporary Art at UMASS | Amherst, MA
February 14 – May 10, September 19 – December 9, 2024

RE-OPENING RECEPTION:

September 19, 5:30-8:30

5:00 p.m. Artist Talk in Frederick C. Tillis Performance Hall
UMCA and Bezanson Recital Hall

ABOUT THE EXHIBITION

The artist Courtney M. Leonard, a citizen of the Shinnecock Nation of Long Island, explores marine biology, Indigenous food sovereignty, migration, and human environmental impact through visual logbooks that investigate the multiple definitions of the term “breach.”

BREACH: LOGBOOK 24 | STACCATO is the result of a multi-year artist residency initiated by the UMCA in collaboration with the UMass College of Natural Sciences and partially funded by the National Endowment for the Arts. The installation will fill the UMCA’s Main, East and West Galleries. It includes paintings, sculptures, and video exploring the life and kinship ties of Staccato, a North Atlantic Right Whale killed by a ship strike in 1999, whose remains are housed in the UMass Natural History Collections.

BREACH: LOGBOOK 24 | STACCATO was created in partnership with the UMass College of Natural Sciences and is supported by the National Endowment for the Arts, The Office of the Provost, The Class of 1961 Artists’ Residency Fund, the Massachusetts Cultural Council, the UMass Natural History Collections and the UMassFive College Credit Union. Significant research and exhibition contributions came from Kathrine Doyle, staff in the UMass Biology Dept and Vertebrate Collections Manager for the UMass Natural History Collections, Tristram Seidler, Curator of the UMass Herbarium, and Michelle D. Staudinger, Ph.D., UMass Department of Environmental Conservation. Emily Volmar, a UMass undergraduate Natural Resource Conservation major, was a summer Art & Science research assistant for this project. Her work and that of UMass Postdoctoral Researcher Amy Teffer was supported by the Northeast Climate Adaptation Science Center.

View the press release HERE

EVENTS

OPENING RECEPTION:

Feb 21, 5:00 -7:00pm
Randolph W. Bromery Center for the Arts lobby & UMCA, Amherst, MA 01003
umass.edu/umca

Opening Reception & Talk: Wednesday, February 21 | 5:00 p.m. – 7:30 p.m.
Randolph W. Bromery Center for the Arts, 151 Presidents Drive, Amherst MA

Free and Open to All

5:00 p.m. Artist Talk in Frederick C. Tillis Performance Hall
All are invited to hear from artist Courtney M. Leonard in conversation with poet Abigail Chabitnoy, Assistant Professor, UMass MFA program for Poets & Writers, in the Frederick C. Tillis Performance Hall.

6:00 p.m. – 7:30 p.m. Reception in Bromery Lobby and UMCA
Enjoy appetizers in the Bromery Lobby and chat with the artist. Meet the scientific team from the UMass College of Natural Sciences who worked on this multi-year collaboration and visit the exhibition in the museum.

RE-OPENING RECEPTION:

September 19, 5:30-8:30

5:00 p.m. Artist Talk in Frederick C. Tillis Performance Hall
UMCA and Bezanson Recital Hall

MORE INFO HERE

ABOUT COURTNEY M. LEONARD

Courtney Leonard Artist Portrait

Jan

2024

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | SCRIMSHAW

Courtney M. Leonard:
BREACH: LOGBOOK 24 | SCRIMSHAW

New Bedford Whaling Museum
New Bedford, MA

June 14 through November 3, 2024

ABOUT THE EXHIBITION

Courtney M. Leonard (Shinnecock, b.1980) is a multi-media installation artist, ceramicist, and filmmaker, who has contributed to the Offshore Art movement. In collaboration with museums, cultural institutions, and indigenous communities in North America, New Zealand, Nova Scotia, and the United States Embassies, Leonard’s practice investigates narratives of Indigenous food sovereignty, marine life, and human environmental impact.

Leonard’s largest body of work to date, titled BREACH, is an ongoing exploration of the historical and contemporary ties between place, community, whales, and the maritime environment. The various iterations of the project, created for individual institutions and settings, investigate the multiple definitions of the term “breach.” A “breach” is a break, a gap in a wall, a river overflowing to breach its banks. Legally, breach means the failure to abide by the law or observe an agreement; it is a violation or infraction, a breach of trust. Breach also describes the act of a whale breaking the surface to rise above the open water. To “step into the breach” implies moving into the unknown. BREACH is an ongoing artistic exploration of these multiple meanings, engaging environmental vulnerabilities and the settler state’s failure to uphold relations and treaties with coastal Indigenous nations.

Leonard’s works conjure the remains of whales, waterfront industrial infrastructure, and oyster shells, evoking community ties to water, Shinnecock scientific knowledge, and current practices for mitigating coastal erosion and water contamination. Such works enact healing and celebrate resiliency and joy on unceded lands and waters. Leonard will produce an entirely new body of work for the installation at the New Bedford Whaling Museum, which continues her interest in coastal communities and historical whaling, while engaging the museum’s history, collections, and community partnerships with culture bearers from the Mashpee Wampanoag tribe, also known as the People of the First Light.

BREACH: Logbook 24 | SCRIMSHAW will be opening with the twined exhibition “The Wider World and Scrimshaw,” which takes the Museum’s scrimshaw collection (objects carved by whalers on the byproducts of marine mammals) and places it in conversation with carved decorative arts and material culture made by Indigenous community members from across the Pacific and Arctic.

Courtney M. Leonard:
BREACH: LOGBOOK 24 | SCRIMSHAW

New Bedford Whaling Museum | New Bedford, MA
June 14 through November 3, 2024

EVENTS

Exhibition Opening Reception
Friday, June 14, 2024 | 5:00-7:00 pm

Members and invitees of the New Bedford Whaling Museum only
RSVP required
Members who would like to RSVP to the opening reception can email membership@whalingmuseum.org or call Gillian Fournier at 508-717-6853

BECOME A MEMBER OF THE NEW BEDFORD WHALING MUSEUM

CONVERSATION WITH ARTISTS COURTNEY M. LEONARD AND HOLLY MITITUQ NORDLUM

Friday, October 4, 2024 | 6pm
$10 for museum members, $20 for non-members

Join the New Bedford Whaling Museum on Friday, October 4 for a special edition of the New Bedford Whaling Museum’s First Friday series, featuring an artist talk, full access to the museum, a lite reception and more.

Presented in conversation with the exhibition, BREACH: Logbook 24 | SCRIMSHAW on view June 1 to November 3, 2024. Q&A to follow.

Leonard will be joined by artist HOLLY MITITQUQ NORDLUM, an Iñupiaq artist working to revitalize the tradition of Inuit tattoo in Alaska. Nordlum trained with Maya Sialuk Jacobsen, an Inuit tattooist from Greenland. A growing cadre of Indigenous female practitioners see the reclaiming of tattoo as a way to heal from colonization and as a statement of pride and cultural affiliation. Many are mentored through Nordlum’s Tupik Mi apprenticeship program.

Presented in conversation with the exhibition, BREACH: Logbook 24 | SCRIMSHAW on view June 1 to November 3, 2024. Q&A to follow.

The BREACH: Logbook 24 | SCRIMSHAW exhibition catalogue includes perspectives from both Nordlum and Leonard and will be available for purchase.

Special Tour & Book Launch at 4:00pm

Reception starts at 5pm

Artist talk starts at 6pm

PURCHASE TICKETS HERE

PRESS

Scrimshaw Takes Over the New Bedford Whaling Museum in Summer Exhibitions

The Wider World & Scrimshaw and Shinnecock artist Courtney M. Leonard’s BREACH: Logbook 24 | SCRIMSHAW explore sites of encounter and exchange across the Pacific and Arctic Oceans.

New Bedford Whaling Museum, June 3, 2024

READ THE FULL ARTICLE HERE

ABOUT COURTNEY M. LEONARD

Courtney Leonard Artist Portrait

Jan

2024

NEW AMERICAN SCENERY: The Art of Paul Scott

Exhibiting Internationally | 2019 – Present

NAS | ON VIEW
NAS | GUIDE
NAS | AT MUSEUMS
NAS | TOUR SCHEDULE
NAS | FEATURES & EVENTS

VIEW ALL EXHIBITIONS

CURRENT LOCATION

Shelburne Museum, Shelburne, VT (US)

May 11 – October 20, 2024

VIEW THE EXHIBITION PAGE

CONFECTED, BORROWED & BLUE: TRANSFERWARE BY PAUL SCOTT

Paul Scott, "Cumbrian Blue(s), New American Scenery, Sampler Jug No:10, Shelburne & Sugar", 2024, Transfer print collage on pearlware jug with platinum lustre,14.5 x 15.25 x 12.25", 360mm x 390mm x 290mm. Shelburne Museum Collection. Artwork by Paul Scott, Photography by Chris Lewis.

Paul Scott, "Cumbrian Blue(s), Indian Point cup plate, 4/50", 2021, transferware print on pearlware cup plate, 4.25 x 4.25 x .5". Collaborative work with Paul Holdway (former head of engraving at Spode). Tissue print transfer taken from a copper plate engraved by Paul Holdway, Paul Scott 2021.

NAS | GUIDE & GLOSSARY

New American Scenery has been exhibiting internationally since 2019.

View Artworks & Expanded Series

Initially guided by the images depicted in the historic transferware, Paul traveled to cities, explored natural landscapes, met collaborators, and produced a body of work now known as PAUL SCOTT: New American Scenery. First shown in the newly renovated porcelain room at RISD Museum curated by Elizabeth Williams, the exhibition traveled next to Albany Institute of History & Art in 2022 and selected works featured in exhibitions at other locations in both the USA and UK and four open now in the USA.

Paul Scott, New American Scenery Artwork Series Brochure, 2023, Pg 3-4, Spread featuring about Paul Scott with a portrait of the artist with a ceramic sampler jug, a row of two plates, and a paragraph of captions for the artworks in the brochure.

Paul Scott, New American Scenery Artwork Series Brochure, 2023, Pg 1-2, featuring article by Jo Dahn on left with ceramic sampler jug

Paul Scott, New American Scenery Artwork Series Brochure, 2023, Pg 2, featuring 3 rows of sets of plates from the series.

Paul Scott, New American Scenery Artwork Series Brochure, 2023, Pg 2, featuring 3 rows of the backs of sets of plates from the series

VIEW/READ PDF

Paul Scott is a leading figure in the international field of ceramics and print. He is known for his manipulation of transfer-printed designs on factory-made domestic tablewares, which thus become vehicles for socio-political commentary. New American Scenery is permeated with his response to the ‘American’ transfer-printed tablewares that were produced in Staffordshire during the first part of the nineteenth century, exclusively for export to America. They have a common format of a central motif framed within an ornamental border and are decorated with imagery that celebrates the new republic. Scott’s New American Scenery work often maintains the same traditional format, while his surface imagery highlights a range of contemporary themes and issues. On the reverse of each piece can be found his maker’s mark, information about the printed edition to which it belongs and his signature; several pieces also offer substantial narrative accounts of the subjects depicted.

Paul Scott: New American Scenery, was made possible by an Artist In Residence grant from the Alturas Foundation, with additional support from Ferrin Contemporary, RISD Museum, Arts Council England, and Albany Institute of History & Art.

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 highlighted title below represents a sub-series containing multiple iterations and/or designs.

New American Scenery Expanded Series & Information:

Across the Borderline

Series of platters depicting the border between the US and Mexico using imagery culled from the Wedgwood archive and popular media to address the theme of immigration.

READ MORE/VIEW PDF

Paul Scott, “Cumbrian Blue(s), New American Scenery, Trumpian Campaigne, Legacy No:1, (Across the Borderline, Portland, Black Lives Matter)”, 2021, in-glaze decal collage on pearlware platter (after Enoch Wood), 15.4 x 12.2 x 2″, 39 x 30.5 x 5cm.

Paul Scott, Cumbrian Blue(s), New American Scenery, Across the Borderline (4) (Trumpian Campaigne), 2020

The Angola 3

souvenir plate drawing reference to inmates in the Louisiana State Penitentiary who were held in solitary confinement for the longest period in American history. It is suspected that this unethical treatment was retaliation for the inmates’ connection to the Black Panther Party.

Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, Angola 3″ 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11 x 11 x 1”.

Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, The Angola 3″ back, 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11x 11 x 1”

Albany (Souvenirs & Views of New York)

souvenir plate of an urban landscape viewed through a roadside screen of trees and brush.

Scott’s Cumbrian Blue(s), New American Scenery, “View of Albany”, 2019, In-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11 x 11 x 1″, 28 cm dia.

Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, Near the Oxbow (after Thomas Cole)”, 2019, in-glaze screen print (decal), on shell-edged pearlware platter c.1850, 13.5 x 16.75 x 2″.

Fleur.de.Sel's New York

Fleur.de.Sel’s New York

series of souvenir plates depicting New York City streetscapes drawn from the Instagram account @Fleur.de.Sel that appear timeless, illustrating the small businesses and cultural diversity that are increasingly at risk with the city’s dangerously inflated wealth gap.

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“New American Scenery, New York and Transferwares”

In the early part of the nineteenth century, tens of thousands of printed blue and white tablewares from England were exported to North America. Scenes of the newly independent United States were used in a myriad of designs and were characterized by a deep blue semiotic. Alongside printed wallpapers and textiles these transferwares formed part of the new media of their day. Pictorial in nature, their vitrified designs remediated prints from book or magazine illustration, melding them with floral and botanical borders. By the end of the century, they became highly collectible and the subject of a number of books, including RT Haines Halsey’s classic ‘New York on Dark Blue Staffordshire Pottery’. Published in 1899, the limited edition tome plotted the history of the genre, illustrated by sumptuous photogravures in blue depicting a comprehensive range of pictorial transferwares. 120 years later, in my New American Scenery series of artworks I updates some of these early subject matters of New York using 21st century alternatives.

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Scott’s Cumbrian Blue(s), New American Scenery, “Fleurs.de.sel’s New York”, 2019, (set of twelve plates), In-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze., 11 x 11 x 1″, 11″ or 28 cm diameter (each plate)

Stop, Keat’s & Palm Too… 511 Too… Chicken Place…Mexicana… Laundry Project 23, ChelseaHypermarket, Chelsea Square… Canal Street…. Stairs 361… Hot Dogs…. Village Pizza… Pizza Park… Ray’s Pizza, Jakes Saloon, Meatballs.

California Wildfires

souvenir plate addresses ecological precarity by referencing the most severe wildfire season in California’s history that occurred in 2020.

Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.

Back of Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.

Cup Plates

“Cup Plates”

In the early part of the nineteenth century, transfer printed blue and white tablewares from Staffordshire were exported to North America in their tens of thousands. Pictorial in nature, their vitrified designs remediated print from book or magazine illustration, melding with floral and botanical borders. Scenes of the newly independent United States formed a significant part of this material. These transferwares included ‘Cup Plates’, tiny coasters used to protect furniture from marks whilst the diner drank coffee or tea from the cup’s accompanying saucer. Measuring between 9 to 11 cm (3.5 to 4 inches) across, the plates are characterised by deep cobalt blue prints melted into a pearlware glaze. Images and patterns were sometimes specifically designed and made for the small form, others (above) were collaged from tissue print details of larger patterns. Because of their small scale, flaws in the prints or their application are more obvious than on larger wares and they have their own aesthetic.

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Cumbrian Blue(s), Indian Point cup plate, 4/50. Transferware print on pearlware cup plate, 104mm. dia. Collaborative work with Paul Holdway (former head of engraving at Spode). Tissue print transfer taken from a copper plate engraved by Paul Holdway, Paul Scott 2021.

Paul Scott, “Cumbrian Blue(s), New American Scenery, Indian Point (detail)

Flint, Belle Island, & The Ghost Gardens of Detroit

“New American Cites, Flint, Belle Island & The Ghost Gardens of Detroit”

I grew up in Birmingham, Britain’s ‘Motor City’, where the local economy relied on car manufacturers…. Austin, Morris (later British Leyland), Mini, Rover and all the associated motor suppliers. As a student in the early 1970’s, holiday working included ‘industrial cleaning’ in the huge Austin works in Longbridge… then two summers were spent in an engineering factory in Balsall Heath, assembling brake pipe adjuster clamps (amongst other things). When car production eventually ceased in the city, unemployment, and the impoverishment of communities swiftly followed. I clearly recall the dereliction, then later demolition of huge industrial sites, and the yawing empty spaces. A few years later, similar scenes also became familiar to me in the Staffordshire pottery towns as the British ceramics industry all but collapsed. I was thus well aware, from first hand experience, of the effects of deindustrialisation on urban environments and communities. A series of early Cumbrian Blue(s) artworks reflected the ruin and decay of my home town in prints and tiled panels…

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Paul Scott, “Cumbrian Blue(s), New American Scenery, Detroit Ghost Gardens No:2″, 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 12 x 12 x 1.25”, 30.48 x 30.48 x 3.18cm.

Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, Belle Island Bridge, Detroit” 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11 x 11 x 1″.

Pattern Samplers

Paul Scott, “Cumbrian Blue(s), New American Scenery, Pattern Sampler No:4 (Adams)”, 2019, in-glaze decal collage on shell-edge, pearlware platter c.1820, 10 x 13 x 1.5″.

Paul Scott, “Cumbrian Blue(s), New American Scenery, Pattern Sampler No:1″, 2019, in-glaze screenprint (decal) on pearlware shell-edged platter c.1820, 11.75 x 14.75 x 1.5”

Posy Vases

Cumbrian Blue(s) New American Scenery, Set of five posy vases. Comprising, Fleurs de Sel’s New York Canal Street & Village Pizza, Souvenir of Portland (Black Lives Matter) & Selma, Broken Treaties & Leonard Peltier, No Human Being is Illegal & Across the Borderline San Antonio, Fracked & California Wildfires. Each vase 165mm x 125mm x 85mm. Paul Scott 2022.

VIEW FULL GLOSSARY PDF
MORE ON PAUL SCOTT

NAS | PROGRAMMING

PAUL SCOTT | ARTIST NEWS

PRESS & PUBLICATIONS

VIDEOS & LECTURES

PAUL SCOTT | ARTIST CATALOGS

CURRENT + RECENT EXHIBITIONS

NAS | TOUR SCHEDULE

FOR MORE

View Paul Scott’s Artist Profile

NAS | ALL LOCATIONS

PAUL SCOTT | CURRENT & RECENT

OUR AMERICA/WHOSE AMERICA? | group exhibition
FEB 20 – APR 21, 2024
at The Valentine Museum, Richmond, VA
Rivers Flow/Artists Connect | group exhibition
FEB 2 – SEP 1, 2024
at the Hudson River Museum, Yonkers, NY
CLAYSCAPES | group exhibition
APR 13 – OCT 20, 2024
at the Everson Museum, Syracuse, NY
50 Years in the Making – Alumni Exhibition | group exhibition
JUN 13th – SEP 1st, 2024
at The Clay Studio, Philadelphia, PA

NEW AMERICAN SCENERY IN THE US

“Paul Scott: New American Scenery” at the Albany Institute of History & Art, Albany, NY, August 13, 2022 to December 31, 2022.

“NEW AMERICAN SCENERY: The Art of Paul Scott”at the Albany Institute of History & Art

Visit these museums in the US that have recently acquired work from Scott’s American Scenery series.

Birmingham Museum of Art
Boston MFA
Brooklyn Museum
Carnegie Museum of Art
Chipstone Foundation
Crocker Art Museum
Hood Museum of Art
Los Angeles County Museum of Art
Montgomery Museum of Fine Arts
Mount Holyoke Art Museum
Newark Museum
RISD Museum
Shelburne Museum
Yale Art Museum

IN PUBLIC COLLECTIONS

Mount Holyoke College Art Museum: (right) George Inness, American (1825-1894), “Saco Ford: Conway Meadows” 1876, oil on canvas. (center top) Homer Dodge Martin, American (1836-1897), “A Glimpse of Lake Placid,” 1887, oil on canvas. (center bottom) Paul Scott, “Scott’s Cumbrian Blue(s), American Scenery, Hudson River, Indian Point No. 4, ” 2015, ceramic transfer decal. (left) Albert Bierstadt, American (1830-1902), “Hetch Hetchy Canyon,” 1875, oil on canvas

ADDITIONAL US COLLECTIONS

Alturas Foundation, San Antonio, TX
Arizona State University Art Museum, Tempe, AZ
Boston Museum of Fine Arts, Boston MA
Birmingham Museum of Art, Birmingham, AL
Brooklyn Museum, Brooklyn, NY
Carnegie Museum of Art, Pittsburgh, PA
Chipstone Foundation, Milwaukee, WI
Copeland Borough Council Collection, Oregon College of Art and Craft Collection, Portland, OR
Crocker Art Museum, Sacramento, CA
Denison University, Granville, OH
Kohler Company, Kohler, WI
Los Angeles County Museum of Art, Los Angeles, CA
Montgomery Museum of Fine Arts, Montgomery, AL
Mount Holyoke College Art Museum, South Hadley, MA
New York Historical Society, New York, NY
Newark Art Museum, Newark, NJ
Peabody Essex Museum, Salem, MA
Philadelphia Museum of Art, Pennsylvania, PA
RISD Museum, Providence, RI
Renwick Gallery of the Smithsonian American Art Museum, Washington, DC

NAS | AT MUSEUMS

PAST EXHIBITIONS

Pearlware, Polish, and Privilege: Artwork by Paul Scott

AT LSU MUSEUM OF ART | Baton Rouge, LA | October 27, 2022 to February 26, 2023

“Pearlware, Polish, and Privilege: Artwork by Paul Scott”, Featuring works from New American Scenery, on view October 27, 2022–February 26, 2023 at LSU Museum of Art, Baton Rouge, LA.

Paul Scott: New American Scenery

at Albany Institute of History & Art | Albany, NY | August 13, 2022 – December 31, 2022

“NEW AMERICAN SCENERY: The Art of Paul Scott” at the Albany Institute of History & Art, 2022-2023. Installation images by John Polak Photography.

New American Scenery: Printed Ceramics by Paul Scott at Aberystwyth Arts Centre

Aberystwyth University, Aberystwyth, England | July 9, 2022 – September 25, 2022

Paul Scott, Installing New American Scenery at Aberystwyth Arts Centre, July 1 2022.

Paul Scott, New American Scenery installation at Aberystwyth Arts Centre, July 1 2022.

Paul Scott, Installing New American Scenery at Aberystwyth Arts Centre, July 1 2022.

Detail, New American Scenery installation at Aberystwyth Arts Centre, July 1 2022.

Paul Scott, New American Scenery installation at Aberystwyth Arts Centre, July 1 2022.

Paul Scott is internationally known for his provocative ceramics that highlight political and cultural issues. Familiar designs associated with traditional domestic tableware are subversively manipulated to comment on our life and times. The exhibition includes exciting new work inspired by the blue and white ‘American’ transferware-printed earthenware that was made in Staffordshire during the 19th century and decorated with celebratory views of the emergent American republic.

Many of the pieces on display have resulted from periods of travel and research in the USA, where Paul’s activities were, in his words, ‘driven by issues and institutions as much as a desire to experience particular landscapes.’ He studied examples of American transferware in museum collections and visited many of the locations depicted, subsequently producing up-dated views that reflect current events as well as historical, environmental and social change. These ceramics have often involved a high degree of technical wizardry, whereby visual motifs are magically altered and meanings are transformed. The exhibition marks 20 years since Paul Scott first showed his work in the Ceramics Gallery at Aberystwyth Arts Centre.

Research in the USA supported by the Alturas Foundation.

Research in the archives at Wedgwood, Spode and the Victoria and Albert Museum, London, supported by Arts Council England.

Raid the Icebox Now with Paul Scott: New American Scenery

at RISD MUSEUM |Providence, RI | September 13, 2019 – December 31, 2021

Rhode School of Design Museum, Raid the Ice Box Now, Paul Scott, “New American Scenery” 2019, Installation view.

Paul Scott, New American Scenery, Installation at RISD, design by Hans Teensma

This installation juxtaposes early 19th-century Staffordshire ceramic transferwares drawn from the shelves of the RISD Museum storage with new Cumbrian Blue(s) artworks. Replacing the porcelain works typically on view in the Lucy Truman Aldrich gallery, New American Scenery melds historic printed tablewares, altered antique ceramics, and reclaimed Syracuse China plates with new screenprints to update early transferware subjects for the 21st century.

In the early nineteenth century, imported Staffordshire blue-and-white printed transferwares formed part of the new media of their age. Collected at the beginning of the twentieth century as iconic depictions of the early, independent United States, many were later donated to public art museums inspiring a new wave of pictorial wares.

Over the last five years, Paul Scott has been investigating these transferwares as well as the contemporary landscape of the United States. An ongoing dialogue between documentary, historical, travel and artistic research has led to the creation of a new substantive body of artwork, New American Scenery.

In it, Scott references archives, objects, the motives, and thinking of original collectors as well as the post-industrial landscapes of twenty-first-century America. The new work deals with issues surrounding globalization, energy generation and consumption, capitalism and immigration, and other legacies of history. The artwork includes antique tablewares re-worked by selective erasure, re-glazing, and the addition of newly printed decals. Others involve the re-use of cut, broken fragments using collage and traditional restoration processes, as well as prints and other works on paper.

– RISD installation photography by Erik Gould. All other photography by John Polak.

• RISD K-12 VIRTUAL CURRICULUM

• FC IN CONVERSATION | MELTING POINT, RISING WATERS: Courtney M. Leonard, Paul Scott, Norwood Viviano, and curator Jami Powell, PhD

• FC IN CONVERSATION | RAID THE ICEBOX: Paul Scott, Beth Katleman, and curator Elizabeth A. Williams

• Founders’ Hour featuring Paul Scott introduced by Mint Museum’s curator of decorative arts, Brian Gallagher

• LECTURE & TOUR: presented by The Pottery and Porcelain Club at RISD, Providence, RI

• LECTURE: Paul Scott, Artist: New American Scenery, Transferwares for the 21st century presented by American Ceramic Circle 2019 Symposium

VIEW SELECT PAST RISD EVENTS

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NAS | PAST

ABOUT THE EXHIBITION

Virtual Tour by 3d Virtual Spaces
Courtesy of The Bowes Museum

THE BOWES MUSEUM

Barnard Castle, County Durham, England | September 26, 2020 – April 11, 2021

Paul Scott by the main display case of his ‘New American Scenery’ installtion at the Bowes Museum, Barnard Castle, September 2020.

Detail, Central Case, end view 2, ‘New American Scenery’ at the Bowes Museum, Barnard Castle County Durham, UK, September 26, 2020 – January 9, 2022

Detail, ‘New American Scenery’ at the Bowes Museum, Sampler Jug, California Wildfires and Rowland Marsellus jug.

Detail, ‘New American Scenery’ at the Bowes Museum, Barnard Castle County Durham, UK, September 26, 2020 – January 9, 2022

Detail, Souvenir Wares, ‘New American Scenery’ at the Bowes Museum, Barnard Castle County Durham, UK, September 26, 2020 – January 9, 2022

New American Scenery showcases the latest ceramic works by the contemporary Cumbrian artist Paul Scott, featuring works of historical transferwares that have been updated for today’s audience.

Scott spent five years investigating early blue and white transferwares that were shipped from Staffordshire to the United States in the 19th century. He works with familiar blue and white ceramics, which were available cheaply so more commonly used than collected, to tell modern stories based on his trips around America. He reworks antique wares, erasing, adding and recreating new patterns by reusing cut and broken fragments or adding newly printed decals.

The exhibition will allow visitors to see the contrasts between the old and new shapes and forms and think about decoration and what it means.

Dec

2023

SERGEI ISUPOV: ALLIANCES Exhibition Catalog

PURCHASE THE CATALOG HERE

SERGEI ISUPOV: ALLIANCES Exhibition Catalog

Thorne/Sagendorph Art Gallery

Ferrin Contemporary is proud to present new works from internationally renowned sculptor Sergei Isupov. SERGEI ISUPOV: ALLIANCES

Isupov’s artworks form alliances with one another as they move between media, explore scale, and are presented in curated exhibitions. Recent opportunities to create public works like his fire sculpture production and performances, along with solo exhibitions that show the full scope of Isupov’s creative versatility and process, have led to new works on paper, prints and wall installations combining ceramics with other materials.

Catalog release: December 1, 2023.
15-page, full-color catalog
Installation Images & Artwork Highlights, All images by John Polak Photography
Exhibition Essay by Leslie Ferrin, Show Statements & Editorial by Ferrin Contemporary
Design by Erica Pritchett.

Special thanks to co-curators, Paul McMullan, professor at Keene State College and Leslie Ferrin, director, Ferrin Contemporary and for editorial support by Alexandra Jelleberg, associate director, Ferrin Contemporary.

Jul

2023

COURTNEY M. LEONARD

The Heckscher Museum of Art and Planting Fields Foundation are pleased to present the work of artist Courtney M. Leonard (b. Shinnecock, 1980), on Long Island this summer, through COURTNEY M. LEONARD: Logbook 2004–2023 at The Heckscher Museum and BREACH: Logbook 23 | ROOT at Planting Fields Foundation.

Visit Heckscher.org and Plantingfields.org for more information about these two dynamic exhibitions, including new commissioned work by Leonard, and related programming at each location.

Leonard’s powerful work in ceramics, painting, video, and installation engages with Long Island’s colonial history; celebrates Indigenous knowledge and resilience; and addresses urgent ecological issues. The exhibition debuts Contact, 2,023…, a new work that The Heckscher Museum has commissioned from Leonard. The large-scale work is a map of Long Island made up of thousands of individual porcelain thumbprints resembling shells. Leonard glazed them in colors and patterns that reference both wampum and delftware. The exhibition also features loans from the artist and from public and private collections.

Courtney M. Leonard: Logbook 2004–2023

The Heckscher Museum of Art | 2 Prime Avenue, Huntington, NY 11743
June 10, 2023 – November 12, 2023

BREACH: Logbook 23 | ROOT

Planting Field Foundation | 1395 Planting Fields Road, Oyster Bay, NY 11771

FEATURED ARTWORK: CONTACT 2,023

Courtney M. Leonard, “Contact, 2,023…”, 2023, porcelain, enamel and red iron oxide transfers, artificial sinew, canvas, brass, 4 x 8 x 2′.

The Heckscher Museum of Art. Museum Purchase: Partial Funding from the Town of Huntington Art Acquisition Fund. Photo courtesy of The Heckscher Museum Art.

EXHIBITION CATALOG

Courtney M. Leonard is an exhibition catalogue that documents Leonard’s site-specific commission at Planting Fields, as well as a mid-career retrospective at the Hecksher Museum of Art. It also features an interview with Courtney M. Leonard, new photography, and essays from various contributors. The book was designed by Jeffrey Jenkins, edited by Gina J. Wouters, and features contributions from Courtney M. Leonard, Shavonne Smith, Karli Wurzelbacher, Emily Leger, and more. New photography of the site-specific commission at Planting Fields and the exhibition at the Heckscher Museum of Art were captured by David Almeida.

Courtney M. Leonard is available for purchase ($25 plus tax) in-person at the Planting Fields Foundation Visitor Center. It it also available on the Ferrin Contemporary online shop.

PURCHASE THE CATALOG HERE

READ MORE ABOUT THE CATALOG HERE

PAST PROGRAMMING

Panel: Shinnecock Art & Activism

Saturday, October 21, 2023
10:30 – 11:30 am

Shinnecock artist Courtney M. Leonard and Full Spectrum Indigenous Birth Worker (doula), Ahna Red Fox, discuss how motherhood has informed their work as activists. Leonard’s powerful work in ceramics, painting, video, and installation addresses urgent ecological issues and explores historical ties to water, land, and material culture. Her first retrospective exhibition, COURTNEY M. LEONARD: Logbook 2004-2023, is currently on view at The Heckscher Museum.

Members Free; Shinnecock Nation Members Free; Non-Members $10

Space is limited, advance registration required.

LEARN MORE HERE

EVENT: Book Signing with Courtney M. Leonard

Saturday, October 21, 2023
11:30 – 12:30 pm

Meet Courtney M. Leonard as she signs copies of her exhibition catalogue, published by Planting Fields Foundation and The Heckscher Museum of Art. Books available for purchase, $20 Members and $25 Non-Members.

PRESS

“Loving whales, Shinnecock artist explores climate change through Indigenous knowledge” | WSHU Public Radio | 6.22.2023

VIDEO: “Shinnecock artist Courtney Leonard showcases work at Heckscher Museum of Art” | NewsdayTV | 6.2023

15 Art Shows to See in New York This September | Hyperallergic | 9.13.23

ABOUT COURTNEY M. LEONARD

Jan

2023

The Clay Studio: Figuring Space Exhibition Catalog

Figuring Space Exhibition Catalog

The Clay Studio: Figuring Space Publication Date: January 2023. This catalog features highlights on the artists in the exhibition and includes commentary by Jennifer Zwilling, Curator & Director of Artistic Programs at TCS, and Dr. Kelli Morgan, who are working together to make Figuring Space relevant to our audiences and the art historical record. Dr. Morgan is a curator, educator, and social justice activist who specializes in American art and visual culture has worked with TCS in the past. Her scholarly and activist work combine to make her incredibly qualified to examine the issues of racial politics and the artistic use of the figure in this exhibition. Morgan has developed and championed new curatorial methodologies that privilege the voices of museum audiences, breaking the misconception that museums should hold all the authority dictating how to experience art. Collaboration with colleagues of varied experiences produce expansive curatorial perspective. Together, we are endeavoring to create an exhibition that can offer truly meaningful experiences for every person who walks into the gallery at The Clay Studio.

2023 Catalog
The exhibition catalog also includes color photography of select works in the exhibition.
8 x 10 x .5
Available for purchase for $15.00
Item:TCS-2252

Dec

2022

Raymon Elozua: STRUCTURE & DISSONANCE Exhibition Catalog

View Catalog on ISSUU

Raymon Elozua: STRUCTURE & DISSONANCE
Everson Museum of Art exhibition catalog

Structure/Dissonance celebrates nearly five decades of work by New York-based artist Raymon Elozua, who first came to prominence in the 1970s with detailed trompe l’oeil ceramic sculptures of decaying industrial landscapes. Elozua’s first major museum exhibition since his 2003 retrospective at the Mint Museum, Structure/Dissonance focuses on three conceptual bodies of work that explore the combined physical properties of three elemental materials: ceramic, glass, and steel. This exhibition contextualizes these vital sculptures within Elozua’s intellectual landscape through the inclusion of a series of collections and research projects that are inextricably linked to his artistic output.

September 10—December 31, 2022 at the Everson Museum of Art in Syracuse, NY – curated by Garth Johnson
Catalog features essays by Johnson, Maria Porges, and Thyrza Nichols Goodeve, 2022
Published on Dec 27, 2022

Raymon Elozua: STRUCTURE & DISSONANCE | Everson Museum of Art Exhibition Catalog

Video by the Everson Museum of Art/ Music by: The High Llamas

CATALOG CELEBRATION

Garth Johnson Artist Portrait, photo credit Julie Herman

Raymon Elozua Artist Portrait

Tuesday, March 7 – NOON EST

A Celebration event for the release of the catalog for Raymon Elozua: Structure/Dissonance. Elozua was joined by the three writers who shaped the catalog, Maria Porges, Thyrza Nichols Goodeve, and Garth Johnson. Each writer reflected on the exhibition and shared some of their insights about Elozua’s work. Below, Johnson is pictured left and Elozua on the right.

Register HERE for the Talk

Dec

2022

FIGURING SPACE

JANUARY 12th to APRIL 16th 2023

at The Clay Studio| Philadelphia, PA

Featuring work by Cristina Cordova and Sergei Isupov

ABOUT THE EXHIBITION

The Clay Studio Presents FIGURING SPACE, an Exhibition of Full-scale Figurative Sculptures by a Dozen Top Ceramic Artists Based in America

The Clay Studio (1425 N. American St), Philadelphia’s preeminent ceramic arts and resident artist’s center, will present Figuring Space, a new exhibition comprised of full-scale, figurative sculptures by 12 leading ceramic artists based in the United States. Each of the artists explores their individual cultural identity and what it means to be human through their figurative sculptures. The powerful figures will serve as a body of evidence to lay bare the issues that permeate American art and social culture. Figuring Space will open on January 12, 2023, and will be on display in The Clay Studio’s Jill Bonovitz Gallery through April 16, 2023.

The body, as a concept, is intimately tied to ceramic art. Clay is often used as a proxy for the physicality of flesh and has the capacity to articulate cultural perspectives, social engagement, and artistic intention. Furthermore, figurative sculptures have been at the center of public debate as monuments honoring individuals with dark histories are being reexamined and sometimes removed. Figuring Space uses that conversation – who gets to be seen and celebrated – as the backdrop to present a collection of works used to usurp the painful history of bodies on display in American history. Together, the artists will assert their autonomy and subjectivity by presenting cultural critiques through lenses of their own choosing, including race, gender, class, and anti-war ideas as inspiration for their own powerful stories.

Each of the artists selected for Figuring Space is known for creating contemporary, representational work that incorporates concepts and designs inspired by their cultural heritage.

FIGURING SPACE

The Clay Studio | 1425 N American Street, Philadelphia, PA

Cristina Córdova, “EVA XV”, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.

Upcoming

MAR & APR

Clay & Conversations: Season 5

bi-weekly zoom conversations (in person and on zoom) at 1 pm on Thursdays

CRISTINA CORDOVA

Native to Puerto Rico, Cristina Córdova creates figurative compositions that explore the boundary between the materiality of an object and our involuntary dialogues with the self-referential. Images captured through the lens of a Latin American upbringing question socio-cultural notions of gender, race, beauty, and power. Córdova has received numerous grants including the North Carolina Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, and a prestigious United States Artist Fellowship award in 2015.

EVA XV

Cristina Córdova, “EVA XV”, detail, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

Cristina Córdova, “EVA XV”, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

Cristina Córdova, “EVA XV”, detail, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides
60 x 18 x 22″

ON EVA & MATERIAL EXPERIMENTATION

I have been sculpting my daughter since she was 9. This 15-year-old version of Eva is unglazed and finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides. They came specifically from two areas, one in Fajardo near the coast, where the rainforest is, and one from Orocovis in the mountainous center. Written on her back are the words “de monte y mar” ( “from mountain and sea” ) in gold, a phrase from the song Verde luz by El Topo (Antonio Cabal Vale), which became a symbol of national Puerto Rican pride and an anti-colonialist anthem.

In my practice, the image of Eva is the embodiment of change and possibility. It speaks to the inevitability of transience and the inherited threads of code that perpetuate both genes and identity. This piece seeks to perform both as a symbol and a relic by holding in its materiality a part of the Island that has thematically bound this whole series through the years, exploring the riches and vulnerabilities of this small Caribbean nation that is my home.

DOWNLOAD STATEMENT PDF

SERGEI ISUPOV

Isupov is the son of a painter and sculptor. While born in Stravapole, Russia in 1963, Isupov was raised in Ukraine from 1964, educated in Kyiv and moved to attend the university of art in Tallinn, Estonia in 1984 at a time when these now separate countries were part of the USSR. Isupov’s family, his father, mother and brother, all established artists, currently reside in Kyiv, Ukraine. With the backdrop of the current war there and threats of Russian aggression in Estonia, Isupov’s studio work took on an urgency to counter the overwhelming anxiety and concern for his family facing down threats to their safety and the loss of their formerly peaceful lives. Now, with his wife, artist Kadri Pärnaments and their daughter Roosi, they divide their time between two studios/homes in the USA and Estonia.

ON THE WAY

Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.

2020, large-scale figure, porcelain, slip, glaze, 58.5 x 38 x 18″

ON THE WAY & IMPACT OF WORLD EXPERIENCE

On the Way is one of a pair of related, multi-figured, life-sized sculptures produced over several months in 2019-2020. These works strangely, foreshadow the present situation in Ukraine. “Most of my work depicts human relationships through contrasts and comparisons which makes it easy for anyone to find messages or meanings that may or may not be my original intention. Upon reflection, it is easy to connect the expressions, gestures and movements to current events but in reality, all my work comes out of my life experience – growing up during USSR, experiencing its breakup and the establishment of fifteen independent countries – followed by coming to America as a young artist in the 90’s.”

Isupov is a master of nonlinear narration. Combined with his unmatched, masterful skills as both painter and sculptor, the resulting works draw from the past and reflect on the present. Semiautobiographical, Isupov’s intimate narratives interweave poignant representations of men and women, parents and children, shown alongside one another, their pets pointing to the naive sense of security we hold in our daily lives. These works explore individual, interior landscapes and the continually expanding dualities of the self within complex psychological relationships. Intensely personal yet universal, these works in the context of the present day, remind and call upon us to value, protect and preserve the precarious balance we all stand to lose at any present moment.

DOWNLOAD STATEMENT PDF

PROGRAMMING

*Exhibition Catalog can be ordered HERE.

Figuring Space Exhibition Catalog

2023 Catalog
The exhibition catalog also includes color photography of select works in the exhibition.
8 x 10 x .5
Available for purchase for $15.00
Item:TCS-2252

Upcoming | MAR & APR

Clay & Conversations: Season 5

bi-weekly zoom conversations (in person and on zoom) at 1 pm on Thursdays

Clay & Conversations: Season 5

Series of conversations and get-togethers with ceramic artists, curators, scholars, and friends.

Join The Clay Studio in person at their fourth-floor Conference Room or dial in on Zoom.

OPENING RECEPTION | Thursday, January 12

The Clay Studio will host a special opening reception to launch Figuring Space on Thursday, January 12, from 5 to 8 p.m.

RSVP HERE

Figuring Space Workshop Creating Expressive Facial Features | Friday, January 13, from 1 to 4 p.m.

For those looking for an in-depth look at Figuring Space, The Clay Studio will host the Figuring Space Workshop – Creating Expressive Facial Features, a special workshop led by featured artists Sergei Isupov and Jonathan Christensen Caballero. On Friday, January 13, from 1 to 4 p.m., participants of all skill levels will watch the two highly-acclaimed figurative artists give demonstrations as they explain their techniques for creating expressive facial features in clay. The Creating Facial Features in Clay workshop is an in-person-only event.

Tickets to attend are $100 each and available for purchase HERE.
Please contact Josie Bockelman (josie@theclaystudio.org) for discount information for this workshop.

Figuring Space Symposium | Friday, January 13, from 9:30 a.m. to 3:30 p.m.

To further expand on the ideas and themes of this exhibition, The Clay Studio will host a special Figuring Space symposium on January 13, where guests can hear lectures and panel discussions from the artists and curators. From 9:30 a.m. to 3:30 p.m., attendees will hear from the twelve featured artists about what making full-scale figurative sculptures means to their art practice. The co-curators, Dr. Morgan and Zwilling, will also share their ideas about figurative sculpture in contemporary art through the lens of social activism as well as the form’s evolution throughout American art history.

Both of these events are free and open to the public. Audiences can also register to participate in the Figuring Space symposium virtually by registering HERE .

VIDEO

Clay & Conversation with Tip Toland and Sergei Isupov | Youtube | April 18th, 2023

Tip Toland and Sergei Isupov are two of the dozen artists whose work appears in Figuring Space, an exhibition of life-size ceramic figurative sculpture. We are thrilled to have these talented artists as guests to ask them about their inspirations for the ideas and styles of their work.

Clay and Conversation with Cristina Córdova| Youtube | May 17th, 2023

Cristina is one of the dozen artists whose work appears in Figuring Space, an exhibition of life-size ceramic figurative sculpture. We are thrilled to have this talented artist as a guest to ask her about her inspirations for the ideas and styles of her work.

Nov

2022

Sergei Isupov: PAST & PRESENT Exhibition Catalog

Sergei Isupov: PAST & PRESENT
Exhibition Catalog

Ferrin Contemporary is proud to present new works from internationally renowned sculptor Sergei Isupov. Sergei Isupov: PAST & PRESENT features new ceramic sculptures presented with both a multi-dimensional, mixed-media wall installation and independent pedestal-based works. Isupov and Ferrin Contemporary have been working together and presenting exhibitions internationally since 1996 and this will be the artist’s third solo show in our North Adams gallery location.

Catalog release: November 1, 2022.
26-page, full-color catalog
Installation Images & Artwork Highlights
Exhibition Release, Show Statements, & Artist Bio-CV

Shifting Shorelines: Art, Industry, and Ecology along the Hudson River

Wallach Art Gallery at Columbia University | New York, NY

October 5, 2024 – January 12, 2025

ABOUT THE EXHIBITION

ARTISTS IN THE EXHIBITION

ABOUT COURTNEY M. LEONARD

Courtney M. Leonard: BREACH: LOGBOOK 24 | STACCATO

University Museum of Contemporary Art at UMASS | Amherst, MA February 14 – May 10, September 19 – December 9, 2024

ABOUT THE EXHIBITION

EVENTS

OPENING RECEPTION:

ABOUT COURTNEY M. LEONARD

Courtney M. Leonard: BREACH: LOGBOOK 24 | SCRIMSHAW

New Bedford Whaling Museum New Bedford, MA

June 14 through November 3, 2024

ABOUT THE EXHIBITION

Courtney M. Leonard: BREACH: LOGBOOK 24 | SCRIMSHAW

New Bedford Whaling Museum | New Bedford, MA June 14 through November 3, 2024

EVENTS

CONVERSATION WITH ARTISTS COURTNEY M. LEONARD AND HOLLY MITITUQ NORDLUM

PRESS

Exhibiting Internationally | 2019 – Present

CURRENT LOCATION

Shelburne Museum, Shelburne, VT (US)

May 11 – October 20, 2024

NAS | GUIDE & GLOSSARY

New American Scenery Expanded Series & Information:

The Angola 3

Albany (Souvenirs & Views of New York)

Fleur.de.Sel’s New York

California Wildfires

Pattern Samplers

Posy Vases

NAS | PROGRAMMING

NAS | TOUR SCHEDULE

FOR MORE

View Paul Scott’s Artist Profile

NAS | ALL LOCATIONS

PAUL SCOTT | CURRENT & RECENT

NEW AMERICAN SCENERY IN THE US

IN PUBLIC COLLECTIONS

NAS | AT MUSEUMS

PAST EXHIBITIONS

NAS | PAST

ABOUT THE EXHIBITION

Virtual Tour by 3d Virtual Spaces Courtesy of The Bowes Museum

The Heckscher Museum of Art | 2 Prime Avenue, Huntington, NY 11743 June 10, 2023 – November 12, 2023

Planting Field Foundation | 1395 Planting Fields Road, Oyster Bay, NY 11771

FEATURED ARTWORK: CONTACT 2,023

EXHIBITION CATALOG

PAST PROGRAMMING

Panel: Shinnecock Art & Activism

EVENT: Book Signing with Courtney M. Leonard

PRESS

Video by the Everson Museum of Art/ Music by: The High Llamas

CATALOG CELEBRATION

JANUARY 12th to APRIL 16th 2023

Featuring work by Cristina Cordova and Sergei Isupov

The Clay Studio | 1425 N American Street, Philadelphia, PA

Upcoming

MAR & APR

MORE ON THE FEATURED ARTISTS

EVA XV

ON EVA & MATERIAL EXPERIMENTATION

ON THE WAY

ON THE WAY & IMPACT OF WORLD EXPERIENCE

PROGRAMMING

Upcoming | MAR & APR

VIDEO

Courtney M. Leonard:
BREACH: LOGBOOK 24 | STACCATO

University Museum of Contemporary Art at UMASS | Amherst, MA
February 14 – May 10, September 19 – December 9, 2024

Courtney M. Leonard:
BREACH: LOGBOOK 24 | SCRIMSHAW

New Bedford Whaling Museum
New Bedford, MA

Courtney M. Leonard:
BREACH: LOGBOOK 24 | SCRIMSHAW

New Bedford Whaling Museum | New Bedford, MA
June 14 through November 3, 2024

Virtual Tour by 3d Virtual Spaces
Courtesy of The Bowes Museum

The Heckscher Museum of Art | 2 Prime Avenue, Huntington, NY 11743
June 10, 2023 – November 12, 2023