Ferrin Contemporary is pleased to present select works for sale from private collections.
These collections offer an opportunity to acquire important works from surveys of studio sculpture and decorative art.
Ferrin Contemporary is pleased to present select works for sale from private collections.
These collections offer an opportunity to acquire important works from surveys of studio sculpture and decorative art.
Boonwurrung Country
5 Malakoff Street
North Caulfield VIC Australia 3161
Featuring Stephen Bowers
This exhibition is full of vivid images portraying birds in colour-saturated settings where they overlap complex fragmentary backgrounds, many derived from engravings and textiles. The rich mash-ups of visual ideas on the backgrounds are playfully and skillfully rendered using meticulous brushstrokes often suggestive of those industrial process
View the illustrated catalogue for Stephen Bowers: A Conference of Birds, including an essay by Leslie Ferrin.
“I live in a small rural town settled in the 1700âs by English colonists on the land of the Indigenous people, the Norwottucks. Located at the Western end of Hampshire County in the foothills of the Berkshires, an area known as the Hilltowns, we are about 110 miles west of Boston and 180 miles North of New York City. As director of Ferrin Contemporary, from where I sit in my office, Australia is half a world away. Yet, as I look at images of works in this exhibition, I vividly recall my own residency and research in the place where these pieces have their genesis â Adelaide, South Australia.Â
The journey that brought me to Adelaide began in the summer of 2006, the year we established Project Art, a ceramic focused residency initiative located in an old historic river mill we had renovated on Main Street in Cummington, a small New England village. Stephen was well known to us through his exhibitions at art fairs, museums and galleries in the US â and he was one of the first guests at Project Art.”
âLeslie Ferrin
Stephen Bowers discusses his ceramic artwork, the inspirations and methods of production. In this exhibition A Conference of Birds, Stephen has created a ‘flock’ of ceramic plates depicting birds derived from historical illustrations, which were often completed from museum specimens. A focus for Stephen in this exhibition was to achieve a background of even saturated colour, which is a difficult feat to achieve. Certain plates break up the colour through the use of patterning or feature a sunburst effect, similar to that found on guitars. The plates are further adorned with roundels of patterns, looking to designs by English artists William Morris, a major figure of the Arts and Crafts movement of the 19th century and William Kilburn, a leading designer of the 18th century. This use of patterning explores the notion of patterns-in-nature and nature-in-pattern and how we appropriate nature, as well as speaking to Stephen’s environmental concerns, the fragments reflecting the disconnection between humanity and the natural world.
Stephen Bowers (b.1952, Sydney, lives and works in in Norwood, South Australia) is a self-taught artist working in ceramics- often focusing on strikingly decorative textiles, wallpapers, comic strips, natural history illustration found within the imagery of his childhood in the mid-1970âs. Close observation of his often seemingly innocent decorations of cockatoos, kangaroos, and willow patterns, reveals subtexts of irony, commentary, and social observation, inviting viewers to look beyond the bravura of the surface to discover a complex and layered world.
Bowers has participated in numerous international exhibitions within Australia and overseas, including the UK, Norway, Italy, Denmark and China and here in the states. His work is included in numerous permanent collections, including the Art Gallery of Western Australia, Peabody Essex Museum (Salem, MA), Brooklyn Museum of Art, (NY, NY), National Museum of Art Architecture and Design, (Oslo, Norway), Los Angeles County Museum of Modern Art, (LA, CA), Queen Victoria Museum and Art Gallery, (Launceston, Tasmania)Â Museum of International Ceramic Art, (Denmark), Australian National Gallery, (Canberra, Australia), Powerhouse Museum, (Sydney, Australia) National Museum of History, (Taipei Taiwan), Parliament House, (Canberra Australia), among many others.
Featuring Courtney M. Leonard
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 riverâs 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 narrativesânarratives overwhelmingly grounded on the work of white male artistsâthat 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.
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-RÊgis 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
Courtney Leonard Artist Portrait
Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonardâs current work embodies the multiple definitions of âbreachâ, 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, Leonardâs practice investigates narratives of cultural viability as a reflection of environmental record.
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.â
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 UMCAâs 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 | STACCATOÂ 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 Artistsâ 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.
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. â 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 HallÂ
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.
September 19, 5:30-8:30pm
5:00pm Artist Talk in Frederick C. Tillis Performance HallÂ
UMCA and Bezanson Recital Hall
Tuesday, November 12, 2024 | 5:30-7:30 pm
Join artist Courtney M. Leonard and a panel of UMass scientists for a thought-provoking discussion on the intersection of art and science. Leonardâs exhibition, BREACH: LOGBOOK 24 | STACCATO, currently on view at the University Museum of Contemporary Art, showcases the results of her collaboration with university researchers.
On Tuesday, November 12, they will delve into their collaborative process and share insights into using art as a powerful tool for scientific research and dialogue, particularly concerning climate change and marine biology.
This event is sponsored by the Women for UMass Grants program, dedicated to advancing initiatives that support students and empower women.
Donât miss this opportunity to learn about how art can influence pressing environmental issues!
Great Hall, Old Chapel
Amherst, MA
Courtney Leonard Artist Portrait
Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonardâs current work embodies the multiple definitions of âbreachâ, 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, Leonardâs practice investigates narratives of cultural viability as a reflection of environmental record.
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, Leonardâs practice investigates narratives of Indigenous food sovereignty, marine life, and human environmental impact.
Leonardâs 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 âbreach.â A âbreachâ 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 âstep into the breachâ implies moving into the unknown. BREACH is an ongoing artistic exploration of these multiple meanings, engaging environmental vulnerabilities and the settler stateâs failure to uphold relations and treaties with coastal Indigenous nations.
Leonardâs 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 museumâs 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 âThe Wider World and Scrimshaw,â which takes the Museumâs 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.
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
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 IĂąupiaq 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 Nordlumâs 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.
Reception starts at 5pm
Artist talk starts at 6pm
Courtney Leonard Artist Portrait
Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonardâs current work embodies the multiple definitions of âbreachâ, 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, Leonardâs practice investigates narratives of cultural viability as a reflection of environmental record.
New American Scenery has been exhibiting internationally since 2019.Â
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 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 âAmericanâ 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. Scottâs 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 makerâs 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 aestheticâthe unpicturesque picturesqueâand 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.
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.
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
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 inmatesâ 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”
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″.
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 cityâs dangerously inflated wealth gap.
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 Halseyâs classic âNew York on Dark Blue Staffordshire Potteryâ. 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.
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, Keatâs & Palm Too⌠511 Too⌠Chicken PlaceâŚMexicana⌠Laundry Project 23, ChelseaHypermarket, Chelsea Square⌠Canal StreetâŚ. Stairs 361⌠Hot DogsâŚ. Village Pizza⌠Pizza Park⌠Rayâs Pizza, Jakes Saloon, Meatballs.
souvenir plate addresses ecological precarity by referencing the most severe wildfire season in Californiaâs 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”.
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 âCup Platesâ, tiny coasters used to protect furniture from marks whilst the diner drank coffee or tea from the cupâs 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.
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)
I grew up in Birmingham, Britainâs âMotor Cityâ, where the local economy relied on car manufacturersâŚ. Austin, Morris (later British Leyland), Mini, Rover and all the associated motor suppliers. As a student in the early 1970âs, holiday working included âindustrial cleaningâ 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 panelsâŚ
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″.
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”
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.
Visit these museums in the US that have recently acquired work from Scottâs 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
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
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.
â RISD installation photography by Erik Gould. All other photography by John Polak.
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.
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 Isupovâs creative versatility and process, have led to new works on paper, prints and wall installations combining ceramics with other materials.
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.
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 2004â2023 at The Heckscher Museum and BREACH: Logbook 23 | ROOT at Planting Fields Foundation.Â
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.
Leonardâs powerful work in ceramics, painting, video, and installation engages with Long Islandâs colonial history; celebrates Indigenous knowledge and resilience; and addresses urgent ecological issues. The exhibition debuts Contact, 2,023âŚ, 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, “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.
Courtney M. Leonard is an exhibition catalogue that documents Leonardâs 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.
Saturday, October 21, 2023
10:30 â 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. Leonardâs 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.
Saturday, October 21, 2023
11:30 â 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.
Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonardâs current work embodies the multiple definitions of âbreachâ, 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, Leonardâs practice investigates narratives of cultural viability as a reflection of environmental record.
Bridgewater State University, Bridgewater, MA
November 1 â February 24, 2025
Isupovâs ANCESTOR unites the collection of figurative works that show the evolution of ideas in his work. As expressed in the characters he portrays, the sculpturesâ eyes and gestures activate relationships that are universal and timeless. Isupov explores narratives from the past as well as the present in multiple pieces, bridging memory and place into displays of his work. Born into a family of Russian artists during the USSR, he spent his childhood in Kyiv, Ukraine, educated in Tallinn, Estonia and now lives and works in Western Massachusetts.Â
âRegardless of our backgrounds or wherever in the world we came to be, our shared experiences as humans are interwoven and passed on from generation to generation. The exhibition Ancestor allowed me to reflect on these works and my sources of inspiration and motivation ⌠When I think of myself and my works, Iâm not sure I create them, perhaps they create me.â â Sergei Isupov
“Art is a life style for me. Everything that surrounds and excites me is automatically processed and transformed into the final result: an artwork. It is fascinating to watch the transitions from life to art. The essence of my work is not in the medium or the creative process, but the in human beings and their incredible diversity. When I think of myself and my works, Iâm not sure I create them, perhaps they create me.
I find ceramic to be the most versatile material and it is well suited to the expression of my ideas. Â I consider sculpture to be a canvas for my paintings. All plastic, graphic and painting elements of the piece function as complementary parts of the work.
In this series of two-legged figures, Statuettes, the form is classical but the characters are comical. I like the contrast of serious to humorous – the front is cartoon like but the back of each figure features an intimate painting of the beingâs spirit. Â
While each one expresses an individual personality or character, as a group, they become a population, inhabitants of my imaginary world or visitors from my imagination.”
2009 | “Androgyny: New Work by Sergei Isupov”, Daum Museum of Contemporary Art, Sedalia, MO, October 3 – December 6, 2009
2009 | “Androgyny”, Mesa Contemporary Arts Center, Mesa, AZ, April 10 – August 2, 2009
2008 | âAndrogyny, The Preview, Solo Exhibition: Sculpture, Painting, Drawing”; Ferrin Gallery, Pittsfield, MA
âMy work is about contrasts and relationships. I explore contrasts of human condition with my story lines such as male-female and human-animal relationships, and accompanying emotions of warmth and aggression, love and rejection, and nurture and abandonment. Dynamic and interactive narratives are developed using two and three dimensions at the same time with the sculpted form and painted surface. I use a visual vocabulary and classic tools of design, proportion, perspective and silhouette to both sculpt and paint. Eyes show emotional relationships. Facial and figural gestures develop personalities. Illusionary objects and perspectives suggest motion. As a viewer moves around the work, they see each angle and focus point leading to new chapters and story lines. Combined, these clues tell an overall story.â
Humanimals, transform anthropomorphic sculptures that explore human relationships by blending the expression and gesture of the combined species.
A sculptural surrealist, Isupov first created works in the Humanimal Series around 2011, with a set of âstanding figuresâ (animal/human hybrids) and âridersâ (animal figures on animal/human hybrids)
In 2015 Isupov returned to his iconic form of the Humanimal, a series of standing oversized figurines. New groups and works emerge as the artist delves into the right form for each of his concepts. Close Your Eyes Open Your Eyes, Burden II, Butterfly Catcher, Life’s Work, and Strong hail from multiple eras in the artist’s exploration of the series.
âThe animal faces and features represent the beast or natural animal instincts that are often in conflict with reason and intellect.
The hand represents the hand of a human or god â both a comforting support for humanity and a force of opposition or challenge to animal instincts.
The two sculptures explore these ideas of opposing forces of nature and humanity, man and beast, integral and constant throughout life. There is nothing literal intended in the choice of imagery or narrative. The images and expressions are of male/female/animal â symbolic, metaphoric, and intended to provide for individual interpretation. â
Ceramic sculptures are presented with both a multi-dimensional, mixed-media wall installation and independent pedestal-based works. Isupov and Ferrin Contemporary have had exhibitions internationally since 1996. This was the artist’s third solo show in our North Adams gallery location.
Both of Isupov’s 2022 exhibitions include works in porcelain and mixed-media drawings produced at Project Art in Cummington, MA.Â
Challenged by opportunities to expand his scale, Isupov’s recent exhibition Alliances featured a wall relief sculpture using the carved plywood printing plate (left) and the resulting print (right) bringing together ceramic sculpture, assemblage, and printmaking practices to show the full scope of creative versatility and process. Towering larger than life figures and animated life size tableaus anchor his solo exhibitions in galleries and museums.Â
Fire sculptures, public art, engage the public in community based projects.Â
Visible from Main Street, Isupov currently has 3 public works on view along Main Street in Cummington, MA and more around the world. Works are visible by car or foot, neighboring other temporary and permanent public works on Main Street as part of the Cummington Cultural District Art Walk.
To learn more about the Cummington Cultural District and other public art sculptures along Main Street: @cummmingtonculturaldistrict
Sergei worked on a series of prints at Littleton Studios in 2000 and produced the limited edition prints shown in the galleries below.
Each Littleton Print is a Vitreograph, Siligraphy print from glass plate, using Digital Transfer techniques.
The printing process varies from edition to edition. Â The labor involved in the process, the quality of the paper, and the edition size all affect the price of the print.
Sergei Isupov Artist Portrait, 2021, Photo Credit: John Polak
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 ArtsâBoston, Museum of Fine ArtsâHouston, 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.
ON HIS WORK
Often called an erotic Surrealist for his daring representations of sexuality, relationships, and human encounter, Isupov takes narrative subject matter and merges it with ceramic sculptural form. Drawing on personal experience, and human observation, he creates works that integrate autobiography with universal narrative.
He states, âEverything that surrounds and excites me is automatically processed and transformed intoâŚan artwork. [âŚ] The essence of my work is not in the medium or the creative process, but in the human beings and their incredible diversity. When I think of myself and my works, Iâm not sure I create them, perhaps they create me.â
While the robust, and racially distinct facial traits make each sculpture unique, they also make the body of work capable of representing universal experiences. The bold color palette, heavily tattooed faces, and textured surfaces relate these works to the aesthetics of traditional Russian art, as well as to contemporary styles of illustration.
“My work portrays characters placed in situations that are drawn from my imagination but based on my life experiences. Â My art works capture a composite of fleeting moments, hand gestures, eye movements that follow and reveal the sentiments expressed. Â These details are all derived from actual observations but are gathered or collected over my lifetime. Â Through the drawn images and sculpted forms, I capture faces, body types and use symbolic elements to compose, in the same way as you might create a collage. Â These ideas drift and migrate throughout my work without direct regard to specific individuals, chronology or geography. Â Universalism is implied and personal interpretation expected. Â Through my work I get to report about and explore human encounters, comment on the relationships between man and woman, and eventually their sexual union that leads to the final outcome â the passing on of DNA which is the ultimate collection â a combined set of genes and a new life, represented in the child.”
2009 | “Androgyny: New Work by Sergei Isupov”, Daum Museum of Contemporary Art, Sedalia, MO, October 3 – December 6, 2009
2009 | “Androgyny”, Mesa Contemporary Arts Center, Mesa, AZ, April 10 – August 2, 2009
2008 | âAndrogyny, The Preview, Solo Exhibition: Sculpture, Painting, Drawing”; Ferrin Gallery, Pittsfield, MA
“Art is a life style for me. Everything that surrounds and excites me is automatically processed and transformed into the final result: an artwork. It is fascinating to watch the transitions from life to art. The essence of my work is not in the medium or the creative process, but the in human beings and their incredible diversity. When I think of myself and my works, Iâm not sure I create them, perhaps they create me.
I find ceramic to be the most versatile material and it is well suited to the expression of my ideas. Â I consider sculpture to be a canvas for my paintings. All plastic, graphic and painting elements of the piece function as complementary parts of the work.
In this series of two-legged figures, Statuettes, the form is classical but the characters are comical. I like the contrast of serious to humorous – the front is cartoon like but the back of each figure features an intimate painting of the beingâs spirit. Â
While each one expresses an individual personality or character, as a group, they become a population, inhabitants of my imaginary world or visitors from my imagination.”
Humanimals, transform anthropomorphic sculptures that explore human relationships by blending the expression and gesture of the combined species.
A sculptural surrealist, Isupov first created works in the Humanimal Series around 2011, with a set of âstanding figuresâ (animal/human hybrids) and âridersâ (animal figures on animal/human hybrids)
In 2015 Isupov returned to his iconic form of the Humanimal, a series of standing oversized figurines. New groups and works emerge as the artist delves into the right form for each of his concepts. Close Your Eyes Open Your Eyes, Burden II, Butterfly Catcher, Life’s Work, and Strong hail from multiple eras in the artist’s exploration of the series.
âThe animal faces and features represent the beast or natural animal instincts that are often in conflict with reason and intellect.
The hand represents the hand of a human or god â both a comforting support for humanity and a force of opposition or challenge to animal instincts.
The two sculptures explore these ideas of opposing forces of nature and humanity, man and beast, integral and constant throughout life. There is nothing literal intended in the choice of imagery or narrative. The images and expressions are of male/female/animal â symbolic, metaphoric, and intended to provide for individual interpretation. â
Sergei Isupov, Moments from Eternity Banner
2025 | Solo Exhibition at District Clay Center | Washington, DC
April 25 â May 25, 2025
“Sergei Isupov: Ancestor”, Exhibition in the Anderson Gallery at Bridgewater State University, November 1 through February 18, 2025
2024 | Solo Exhibition at Anderson Gallery at Bridgewater State University | Bridgewater, MA
November 1 â February 18, 2025
50 Years in the Making: Alumni Exhibition at The Clay Studio, June 13th â September 1st, 2024, featuring Sergei Isupov, Paul Scott, and Lauren Mabry
2024 | Group Exhibition at The Clay Studio | Philadelphia, PA
featuring work by Paul Scott, Sergei Isupov, and Lauren Mabry
June 13th through Sep 1st, 2024
This Alumni Exhibition showcases artwork to reflect the current practice of the This Alumni Exhibition showcases artwork to reflect the current practice of the over 150 artist who have participated in The Clay Studio’s Resident Artist Program, Guest Artist Program, and Associate Artist Program over the 50 years since its founding.
Kadri Pärnamets, “Fragments of Waves”, 2024, porcelain, slip, glaze
2024 | Group Exhibition at Claytopia at Guldagergaard | SkÌlskør, Denmark
featuring work by Sergei Isupov & Kadri Pärnamets
July 10th through August 10th, 2024
Claytopia is Guldagergaardâs initiative geared towards engaging the public, offering a unique space within the beautiful park surrounding Guldagergaard.
Among Claytopiaâs activities are outdoor art exhibitions, concerts, discussion salons, and a design boutique.
Ferrin Contemporary presents Paul Scott in “Our America/Whose America?”. Installation for NCECA Richmond, 2024 at the Wickham House at The Valentine Museum, Richmond, VA. Image courtesy of The Valentine Museum.
2024 | Group Exhibition in the Wickham House at the Valentine Museum | Richmond, VA
February 20, 2024 â April 21, 2024
Our America/Whose America? Is a âcall and responseâ exhibition between contemporary artists and historic ceramic objects.
Ferrin Contemporary “Our America/Whose America?” Dining Room Installation at the Wickham House, Richmond, VA, 2024
Sergei Isupov, “Ancestor”, 2023, oil ink print on paper, 98 x 98″. Photo by John Polak Photography.
2024 | Solo Exhibition at Thorne-Sagendorph Art Gallery, Keene State College | Keene, NH
October 25, 2023 â December 9, 2023
Sergei Isupov’s 22nd Solo Exhibition, Featuring artworks from the artist’s archive and new productions from his studio.
Installation Title Wall, featuring the artist’s tools and drawings from Sergei Isupov’s “Lips, Eyes, Ears, Eyebrows” and works in progress drawing series. Sculptures include “Crazy”, “Duel” (2006), and “Midnight Son” (2009). Photo by John Polak Photography. “SERGEI ISUPOV: Alliances”, Exhibition Installation at Thorne-Sagendorph Art Gallery, Keene State College, Keene, NH, October 25-December 6, 2023.
2023 | Group Exhibition at Ferrin Contemporary | North Adams, MA
October 25, 2023 â December 9, 2023
Isupov and Ferrin Contemporary have had exhibitions internationally since 1996, including key exhibitions and monumental installations that display various themes and series, which Isupov builds upon and pulls from to compose new environments and show content.
Isupov’s exhibitions include works in porcelain and mixed-media drawings produced at Project Art in Cummington, MA.Â
Are We There Yet? 2023, Chris Antemann, Sergei Isupov, Lauren Mabry
Sergei Isupov: Past & Present, 2022, Installation View
2022 Solo Exhibition | Ferrin Contemporary | North Adams, MA
Ferrin Contemporary at The Wickham House
The Valentine Museum, Richmond, VA
February 20 – April 21, 2024
Anderson Gallery, Bridgewater State University
November 1 â February 24, 2025
Ferrin Contemporary at The Wickham House
The Valentine Museum, Richmond, VA
February 20 – April 21, 2024
Thorne-Sagendorph Art Gallery at Keene State College | Keene, NH
October 25 â December 9, 2023
Sergei Isupov: Ancestor, 2024 Catalog Cover Page
DESCRIPTION
Special thanks to Jay Block, Â associate director of collections and exhibitions at Bridgewater State University.
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DESCRIPTION
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.
Isupovâs 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 Isupovâs creative versatility and process, have led to new works on paper, prints and wall installations combining ceramics with other materials.
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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.
Collection Focus: Sergei Isupov at RAM
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28-page, full-color 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 worksContinue reading →
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 historicalContinue reading →
Mastering Sculpture: The Figure in Clay Explore the human form in-depth, from concept sketches and armatures to detailed instructions for constructing legs, torso, arms, hands, and head from clay. In Mastering Sculpture: The Figure in Clay, renowned sculptor and instructor Cristina CĂłrdova teaches everything you need to know to replicate the full human figure usingContinue reading →
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 sinceContinue reading →
About Face: Contemporary Ceramic Sculpture About Face: Contemporary Ceramic Sculpture  This catalog features a foreword by Director Angie Dodson and two essays: one by Glenn Adamson, an expert in craft, ceramic, and contemporary art, and one by MMFA Curator of Art Jennifer Jankauskas, Ph.D. The exhibition catalog also includes color photography of select works inContinue reading →
ABOUT THE EXHIBITION February 23 - June 8, 2014 Racine Art Museum, Racine, WI A mid-career retrospective for an innovative artist who has pushed the possibilities of clay by combining two-dimensional narrative with three-dimensional ceramic form. Isupov explores the human condition. His vocabulary includes human beings and animals, gender, identity, and relationship issues, autobiography, artContinue reading →
EXPOSED: Heads, Busts, and Nudes figural ceramic sculpture from 1970 to the present Work by 25 contemporary artists âworking in clay and for whom the figure has been a rich and enduring motif.â Catalog includes work from the exhibit at Ferrin Contemporary as well as pieces available from private collections and artist studios. Introduction byContinue reading →
Sergei Isupov, "Ring of Fire", 2004, porcelain, 20 x 10 x 8". Sergei Isupov: 1996-2006 Published in 2006 by Ferrin Gallery, Lenox, MA This visual survey marks the tenth anniversary of the working relationship between the artist and Ferrin Gallery. Features works from 1996â2006 with short biographical essay and curriculum vitae. Sergei Isupov Catalog 1996-2006Continue reading →
Sergei Isupov, "Say Nothing", 2008, stoneware, stain, glaze, 33 x 16 x 11". Sergei Isupov: Androgyny Published in 2009 by Mesa Contemporary Arts Center, Mesa AZ ⢠Essay by Sonya Bekkerman, Senior Vice President, Russian Art, Sothebyâs ⢠Introduction by Patty Haberman, Curator, Mesa Contemporary Arts ⢠Project Summary by Leslie Ferrin, Director, Ferrin GalleryContinue reading →
Additional works may be available to acquire, but not listed here.
If interested in lists of all works and series: Send us a message
