Project Tag: Cristina Cordova

08
Oct
2017
THE WOMEN

THE WOMEN

THE WOMEN

Oct 28, 2017 – Apr 21, 2018

Ferrin Contemporary
1315 MASS MoCA Way, North Adams, MA

Click here for details.

Works on view include recent pieces by women whose primary medium is clay and selected works from private and artist archives by female potters and sculptors.

The Women provides Ferrin Contemporary an opportunity to highlight the range of work by women artists affiliated with the gallery program who are known for their work in ceramics.

Director Leslie Ferrin, a life long advocate for women in ceramics reflects on this moment, “It is gratifying to witness the attention to gender issues taking place throughout society.  These same forces are fueling the interest in examining and bringing recognition to the overlooked contributions of women to postwar visual arts. Many of our collectors who brought a female perspective to building their collections are contributing to the public dialog by acquiring new works and making gifts to institutions. Museums are responding by offering exhibition opportunities, site specific commissions and adding to permanent collections to fill in gaps. It is an exciting time to see these changes taking place and being able to participate in the process.”

Ceramic Art and Figural Sculpture

Robin Best
Christie Brown
Caroline Cheng
Cristina Córdova
Claire Curneen
Ruth Duckworth
Viola Frey
Giselle Hicks
Coille McLaughlin Hooven
Crystal Morey
Kadri Pärnamets
Elsa Rady
Caroline Slotte
Mara Superior
Toshiko Takaezu
Susan Thayer
Patti Warashina
Beatrice Wood
Elizabeth (Betty) Woodman

Studio Pottery and Design*
Works by
Laura Andreson
Dorothy Hafner
Karen Karnes
Jenny Mendez
Linda Sikora
*available in Ferrin Contemporary square shop

Robin Best, “The Knight of the Lions,” 2016, porcelain with on-glaze Xin Cai, 14.125 x 7.875 x 10.25″.
Christie Brown, “Ghost Portrait” 2015, ceramic, 19 x 10 x 9″.
Caroline Cheng, “Prosperity V” 2007, porcelain, fabric, 71 x 71″.
Claire Curneen, “Mary Magdalene” 2013, porcelain, gold lustre, 22.5″.
Viola Frey, “Untitled Platter”, 1982, earthenware, slip, glaze, 25″. photo: John Polak (Pennington)
Dorothy Hafner, “Teapot, Sugar, Creamer” 1988, porcelain, underglaze.
Coille Hooven, “Second Skin” 1986, stoneware, 14.75 x 6.5 x 5.5″.
Crystal Morey, “New Symbiosis: Pronghorn” 2017, porcelain, 10.5 x 6 x 4.5″.
Kadri Pärnamets, “Question of Honor — Lucretia, after Lucas Cranach the Elder, porcelain, slip, glaze, 11 x 10.5 x 5”. photo: John Polak
Elsa Rady, “Four Zig Wings”, private collection
Mara Superior, “Mother Nature Says, ‘Wake Up'” 2010, porcelain, glaze, wood, pearls, gold leaf, 17 x 22 x 2″.
Susan Thayer, “Return” 2016, teapot: porcelain, china paint, glazebase: lowfire stoneware, slip, 16 x 9 x 5″.
Patti Warashina, “Beating the Housewife Blues” 1977, white earthenware, glaze, 24 x 16 x 13.75″.
Beatrice Wood, “Not Married” 1965, clay, glaze, 16 x 17 x 13″.
Betty Woodman, “Planter” ceramic, glaze, 27 x 5.5 x 8.5″.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Beatrice Wood pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Kadri Pärnamets pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Mara Superior pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Mara Superior pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Robin Best pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Cristina Córdova pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Kadri Pärnamets pictured.
“The Women” at Ferrin Contemporary in North Adams, MA. Work by Caroline Slotte and Claire Curneen pictured.

RELATED NEWS, PUBLICATIONS + EVENTS

The Women

The Women

Ferrin Contemporary presents selected works by women artists whose primary medium is clay. On view in the gallery and online, we introduce new works by emerging and established artists along with masterworks available from private collections and artist archives.

READ MORE

STUDIO POTTER: WOMEN IN CERAMICS

Winter/Spring 2017
Women in Ceramics Vol. 45 No. 1

In this issue: nine essays remembering the life of Karen Karnes, a deep investigation of the legacy of women in wood-firing, several narratives about artists’ personal journeys in clay, essays on the lives of California artist Ruth Rippon and Swedish artist Hertha Hillfon, a dynamic discussion of contemporary motherhood, international perspectives from Canada, the United Kingdom, Turkey, and India, a look at fourth-wave feminism, and more.

Click for info on Studio Potter.

Click to request complimentary issue online.

“Ruth Rippon, Her Story”
by Nancy M. Servis

Rippon’s artistic production is extensive and leaves an indelible mark on the artistic landscape of Northern California. … The breadth of her work mirrors the artist herself: technically accomplished, experimental, conceptually grounded, and quietly emotive.

Click here for more.

Artist Salon – Nancy M. Servis
Wednesday, November 8
at 6–8:30 pm

Project Art
54 Main St, Cummington, Massachusetts 01026

Join visiting scholar, Nancy M. Servis, from Sacramento, California, for an image-illustrated presentation ‘State of Clay: Bay Area Ceramics,’ followed by a potluck at Project Art.

From pottery to sculptural expression, Servis unveils the dynamic variety of ceramics found in Northern California. Long recognized as a vital and populous state with extensive clay deposits, California has been the home of refined vessel-makers and artistic rule-breakers for over 75 years, particularly in the San Francisco Bay Area.

Her lecture contextualizes clay’s extensive use that includes stylistic architecture in Oakland, impassioned potters like Antonio Prieto and Marguerite Wildenhain from the 1950s, and unabashed practitioners like Peter Voulkos and Robert Arneson. They along with select others like Viola Frey, Ruth Rippon, and Ron Nagle laid Nancy Servis’ groundwork for what exists today – a population of fine artist-makers whose work coexists with those who embrace sculpture or even defy ceramic tradition.

Nancy is a recognized art historian, gallerist, and author. She has served as curator, educator and arts administrator in the greater San Francisco Bay Area for over twenty years.

Click for facebook page.

22
May
2017
CRISTINA CÓRDOVA

CRISTINA CÓRDOVA

ARTWORK

FEATURED ARTWORK

EVA XV

ON EVA & MATERIAL EXPERIMENTATION

Cristina Córdova, Photo by Chad Weeden.

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.


“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″

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ADDITIONAL ARTWORKS & INSTALLATIONS

EL PUENTE | Group Exhibition | 2025

A metaphorical bridge, El Puente, exists between Puerto Rico and the US, which share a complex and often misunderstood political and cultural relationship. How do we express El Puente through the lens of Puerto Rican artists?

This exhibition centers on legacy and culture, focusing on multi-generational artists in dialogue with the US through their education, residencies, and career opportunities. Co-curator Cristina Córdova characterizes this phenomenon as a continuous loop of communal encounters and mutual influence, followed by a momentary respite in which the encounters are assimilated and transformed within the artistic community. This pattern has taken place over many years and generations, moving back and forth between two territories inextricably connected yet distinctly separate, sometimes with intention and at times unconsciously. What are the influences of this bridge on the insular art community in Puerto Rico and how do the experiences evolve in the vacuum of an underresourced arts community?

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ALTAR | Installation


“ALTAR”
2019
ceramic and photograph installation,
83 x 75 x 82″

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JUNGLA | Solo Exhibition | 2018

At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations.

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COSMOLOGÍA ISLEÑA | Installation

“Cosmología isleña (Island Cosmology)”
2021
ceramic, metal, resin, wood
figure and pedestal: 90 x 45 x 44″
figure assembled with Plantains: 60 x 27 x 26″

Theological cosmologies explain the origin, evolution, and destiny of the universe through the lens of a specific religion or culture. It is deities who are the center of these stories, embodying qualities that resonate with a community’s shared history and helping them make sense of the world. Cosmología Isleña imagines such a deity amidst an astronomical expanse. A symbol intended to counter the undercurrents of a nation’s collective trauma.

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DEL BALCÓN | Solo Exhibition | 2018

Cristina Córdova Del balcón Installation View
Cristina Córdova Del balcón Installation View

Del balcón, a solo exhibition of new work by Cristina Córdova, featuring large and small figurative sculptures exploring the relationship between the human and geographic connections within her native Puerto Rican landscape.

Working directly from the human form, Córdova’s hand builds often life-size ceramic figures that gaze at, or through the viewer, asking them to consider what’s behind the eyes. A reference to landscape, both large and small, is introduced, creating tropical tableaux for the figure to reside within. 

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MIXED MEDIA | 2D WORKS

ABOUT

CRISTINA CÓRDOVA

CRISTINACÓRDOVA.COM

CV

BIO

CENTER FOR THE STUDY OF FIGURATIVE CERAMICS 

ABOUT

Puerto Rican, b. 1976, Boston, MA
lives and works in Penland, NC

Cristina Córdova is a contemporary artist and teacher native to Puerto Rico. She completed her BA at the University of Puerto Rico, and received her MFA from the New York State College of Ceramics at Alfred University.

Cristina Córdova is featured in the permanent collection of the Smithsonian American Art Museum, the Figge Museum, the Everson Museum, the Mint Museum of Craft + Design, the Museum of Contemporary Art of Puerto Rico, the Asheville Art Museum and the Mobile Art Museum, among others. She is the recipient of the Maxwell-Hanrahan Craft Award for 2024, the Herbert Adams Memorial Medal from The National Sculpture Society in 2023, the NC Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, and a United States Artist Fellowship award. In 2021, Cordova published Mastering Sculpture: The Figure In Clay by Quarry Books. Her work is widely published in all major ceramics and arts media including the cover of Ceramics Monthly, and was featured by Craft in America on PBS in their episode on identity.

Cristina has taught and demonstrated around the world. Her residencies, workshops, and classes include Harvard University, the University of California, the University of Nebraska, the University of Georgia, the University of North Carolina School of the Arts, Ceramistas de Reñaca in Chile, the Australian National University in Canberra, Gaya Ceramics in Bali, Penland School of Crafts (NC), Haystack Mountain School (ME), Santa Fe Clay (NM), Odyssey Center for Ceramics (NC), and Anderson Ranch. Cristina’s seminal work, “EVA XV”, was recently shown in Ferrin Contemporary’s 2024 exhibition Our America/Whose America, later acquired by the Figge Art Museum in Davenport, Iowa. She currently lives and works in Penland, North Carolina. 

 

Cristina Córdova is represented by Ferrin Contemporary. For more information visit cristinacordova.com

ON HER WORK

Growing up in Puerto Rico, I was immersed in a culture alive with history, tradition, and contradictions. The island is a place where beauty and struggle live side by side, where the rhythm of tradition beats against the undercurrent of its colonial history. My work reflects that tension: a deep connection to heritage as a living, breathing force, a language of lineage, and an equally persistent urge to question its confines.

The body is at the center of everything I do. It is both subject and medium, a map and a mirror, carrying the weight of its own history while offering a stage for universal themes to unfold in new or forgotten ways. There is a kind of urgency in sculpting the figure—its scale, its placement, its surfaces—all of it building an experience that feels as much lived as observed. Through these forms, grounded in my inherited cultural symbology, I try to hold on to seismic moments that shift the ground beneath me, giving shape to the ephemeral, preserving not just memories but the sensations they leave behind.

Sculpting is, for me, an act of preservation and discovery. When I sculpt my daughter’s body I am marking a moment in time and a version of her that will never again be. And at the same time I am collaborating with some unknown force or muse to give rise to a unique expression beyond simple documentation. Clay is the perfect ally in this, an ancient, generous instigator of creativity, connection, and transformation, always ready to take on the imprint of human intention and emotion yet with its own voice and discoveries to unearth. I have been grateful for this material, daily, throughout decades.

In the end, I make these figures not to provide answers but to ask questions—about identity, about memory, about the places and stories that shape us. Each curve and crease carries the weight of my own culture, the complexities of being Puerto Rican, but also something much more universal. In the end, the body becomes a kind of bridge, connecting what is specific and personal to what is shared and enduring.

  • Archive & Artist Site HERE

Cristina Córdova, “Desde mi Balcón”, 2021, ceramic and metal, 33 x 14.5 x 10″

ON THE BALCONY

The balcony is an iconic location in Puerto Rico and the Caribbean. It offers a momentary escape from the domestic realm, a furtive viewpoint to survey the world from above. Balcony dwellers are part of the street insofar as they can watch life with its protests and processions, yet they are separate and contained in their own sheltered moment. After creating several of her own, the balcony has started to become an archetype in Cristina Cordóva’s studio. “Beyond describing a specific narrative,” says Cordóva, “I am interested in staging a composition that triggers an emotional charge through the recognition of certain repeating elements as part of a series.” Those elements include architectural components, the nude figure and unruly foliage, symbols related to the experience of femininity in a religious and masculine culture, notions of exposure and vulnerability, and the psychology of place.

Cristina Córdova, “Altar”, 2019, detail, ceramic and photograph installation, 83 x 75 x 82″

ON PHOTOGRAPHY

Cristina Cordóva considers photography a background practice to her primary focus of sculpture. She employs it to expand the context of the figure by engaging the wall behind or the pedestal underneath it. It all began when after a few material experiments and some research, Cordóva started looking at old landscape photographs of Puerto Rico. She came across the work of Jack Delano, a Ukrainian born, American photographer who wound up in Puerto Rico through the Farm Security Administration. After becoming the official government photographer for Puerto Rico he took innumerable heroic images of daily Puerto Rican life, rural and city-center alike. Cordova began combining Delano’s copyright-free images with her own photography. “I persist on the idea that I’m referencing the viewpoint of someone I know through these images,” she explains. “I’m trying to capture or build a sense of veracity through the careful selection of real places portrayed in current and historical photographs. By combining them with my sculpture I’m proposing a new relationship, a fantasy that is grounded in reality, a feigned diorama of sorts in the museum of my imagination.”

EXHIBITIONS

FEATURED EXHIBITIONS

“Vaivén: 21st-Century Art of Puerto Rico and Its Diaspora” featuring Cristina Córdova, Katherine E. Nash Gallery, University of Minnesota, 2025

Vaivén: 21st-Century Art of Puerto Rico and Its Diaspora

 

2025 | Group Exhibition in the Katherine E. Nash Gallery | University of Minneapolis | Minneapolis, MN

September 9 – December 6, 2025

Derived from Spanish for “back-and-forth movement,” vaivén is most associated with the supposed ease at which Puerto Ricans migrate between the US and Puerto Rico. Beyond the comings and goings of travel, this word invokes something much more profound, naming decades of physical, cultural, and emotional ebb and flow that has resulted in more persons of Puerto Rican descent living across the fifty United States than in Puerto Rico itself.

View the exhibition page HERE

Cristina Cordova, El Puente teaser, 2024

EL PUENTE

2024 | Group Exhibition in the John & Robyn Horn Gallery | At Penland School of Craft | Penland, NC

April 1, 2025 – June 7, 2025

Through the lens of Puerto Rican artists who have cultivated long- and short-term connections with the US throughout their formative and professional trajectories, El Puente offers insights into how these connections shape and inform the artistic practices, perspectives, and creative trajectories of Puerto Rican artists and consequently feed into the broader landscape of contemporary American craft in an evolving and continuous dynamic.

View the exhibition page HERE

Cristina Córdova, “EVA XV”, on view in the Spanish Colonial Gallery at the Figge Art Museum, Davenport, Iowa, 2024

FIGGE PERMANENT COLLECTION

2024 | Installation at the Figge Art Museum, Spanish Colonial Gallery
Davenport, IA

Recent Acquisition

Ferrin Contemporary “Our America/Whose America?” Anteroom Stair hall Installation at the Wickham House, Richmond, VA, 2024

OUR AMERICA/WHOSE AMERICA?

2024 | Group Exhibition in the Wickham House at the Valentine Museum | Richmond, VA

February 20, 2024 – April 21, 2024

Our America/Whose America? Is a “call and response” exhibition between contemporary artists and historic ceramic objects.

View the exhibition page HERE

Ferrin Contemporary, "Are We There Yet?", 2023, Exhibition Installation View with work by Chris Antemann, Cristina Córdova, Sergei Isupov, Crystal Morey, & Kurt Weiser, Photo by John Polak Photography

Are We There Yet?

2023 | at Ferrin Contemporary, North Adams, MA

ARE WE THERE YET? is a celebration of Ferrin Contemporary’s 40+ years as leaders in the field of modern and contemporary ceramics.

View the exhibition page HERE

Figuring Space

2022 | at The Clay Studio, Philadelphia, PA

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

View the exhibition page HERE

IN DIALOGUE: Cristina Córdova & Kukuli Velarde

2021 | Duo Exhibition at Ferrin Contemporary | North Adams, MA

Feature of works by two artists who share several overlapping identities as Latina sculptors working in the figural tradition. Each explores subjects drawn from both their cultural histories and their roles as mothers, daughters and parents of young women documenting their own and their subjects’ generational changes.

View the exhibition page HERE

Cristina Córdova, “Altar”, 2019, ceramic and photograph installation, 83 x 75 x 82″
Cristina Córdova, IN DIALOGUE installation view, 2021
Cristina Córdova, “Desde mi Balcón”, 2021, ceramic and metal, 33 x 14.5 x 10″ – side view

NATURE/NURTURE

2020 & 2021 | Group Exhibition at Ferrin Contemporary | North Adams, MA

Virtual Conference at NCECA Rivers, Reflections, and Reinvention | 2021

Group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice.

View the exhibition page HERE

Cristina Córdova, “Cuentos del matorral I & II”, 2020, 24 x 14 x 9″. ceramic, underglaze, glaze.
Cristina Córdova, “Vestigio”, 2020, 16 x 29.5 x 9″. ceramic, underglaze, glaze.

ON NATURE/NURTURE

I was born into a household that both challenged and upheld gender archetypes. This simultaneity created a fluid identity in my creative perspective that has moved me to engage with a wide spectrum of narrative embodiments from the sexually untethered and universal to the absolutely feminine. I am human, I am Puerto Rican, I am a woman. Each of these breaks into a thousand fractals that create the prism through which my work comes into the world.

FC Artist News | Cristina Córdova | PBS Craft in America | New Works in Nature/Nurture

Cristina Córdova Del balcón Installation View

CRISTINA CÓRDOVA: Del balcón

2018 | Solo Exhibition at Ferrin Contemporary | North Adams, MA

New work by Cristina Córdova, featuring large and small figurative sculptures exploring the relationship between the human and geographic connections within her native Puerto Rican landscape.

 View the exhibition page HERE

Cristina Córdova, “Cabeza III” 2018, ceramic, 13.5 x 9.5 x 4.75″
Cristina Córdova, “Del balcón” 2017, ceramic, steel, 28 x 25 x 12″.
Cristina Córdova, “Cabeza V” 2018, ceramic, framed photography, 24.5 x 30.5 x 8″.
Cristina Córdova, “Del balcón” 2018 – installation at Ferrin Contemporary

JUNGLA

2018 | Solo Exhibition at Alfred Ceramic Art Museum | Alfred, NY

At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations.

 View the exhibition page HERE

Cristina Córdova, ‘Altar’, 2019, ceramic and photograph installation, 83 x 75 x  82″.
Cristina Córdova, ‘Altar’, 2019, ceramic and photograph installation, 83 x 75 x  82″.
Cristina Córdova, “Jungla” 2017, photographic polyptych, ceramic, resin, metal, paper, glass, plastic, wood, 78 x 18″.
Cristina Córdova, “Jungla” 2017, photographic polyptych, ceramic, resin, metal, paper, glass, plastic, wood, 78 x 18″.
Cristina Córdova, “Dame Flores” 2017, ceramic, steel, photographic images of native Puerto Rican flora in magnetic frames on steel, sculpture 57″ high, background 99 x 102″.

Cristina Córdova: Jungla installation. photo: Brian Oglesbee

ON JUNGLA

At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations. It’s unrelenting influence speaks of luscious yet ominous constructs that echo the socio-political conditions in the Caribbean. It’s unruly mystery seeps out of its confines to also serve as metaphor for a creative process anchored in that liminal space between chaos and balance. A practice that gathers significance amidst the subconscious forces that underpin reality and the firm directives of the ego. Through image and form, Jungla explores the relationship between these human and geographic connections.

CURRENT + RECENT

CLAYSCAPES

CLAYSCAPES

Everson Museum of Art | Syracuse, NY
April 13 – October 20, 2024
Featuring Cristina Córdova, Paul Scott, & Steven Young Lee

VIEW THE EXHIBITION

NEWS

NEWS

The Women

The Women

Ferrin Contemporary presents selected works by women artists whose primary medium is clay. On view in the gallery and online, we introduce new works by emerging and established artists along with masterworks available from private collections and artist archives.

READ MORE
1 2

CATALOGS

CATALOGS

Mastering Sculpture: The Figure in Clay Catalog by Cristina Córdova

Mastering Sculpture: The Figure in Clay Catalog by Cristina Córdova

Buy now

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 Córdova teaches everything you need to know to replicate the full human figure using clay.
Start by developing meaningful sketches and reference points.

Then learn how to make and use an armature to create hollow forms that are safe to fire in a kiln.

Using patterns and slabs, you can move on to develop a full human form, head to toe.
Work along with the author to create a form about two feet tall, or choose your own size: the patterns and instructions can work in a variety of scales.

Photographic demonstrations and diagrams cover the construction and articulation of feet and legs, the hip area and upper torso, arms, hands, neck, and head. Cristina includes supplementary tips and insights throughout to support the sculpting process and enhance naturalism. You’ll also find a brief section on general anatomical concepts and modeling strategies to facilitate accuracy and expression as all the components come together.

Whether you are a clay artist with limited experience in figurative sculpture or a figurative sculptor outside the world of ceramics looking for a straightforward fabrication strategy to create permanent compositions from clay, Mastering Sculpture: The Figure in Clay will expertly guide your way.

Publication Date: 2022, Quarry Books
Fully illustrated 192 pages

Cristina Córdova: Jungla Catalog

Cristina Córdova: Jungla Catalog

Buy now

 

Cristina Cordóva: Jungla at the Alfred Ceramic Art Museum

This catalog features a foreword by Wayne Higby, Director of the Alfred Ceramic Art Museum. The exhibition catalog also includes color photography of the artworks and installation from Cristina’s solo exhibition at the museum in 2018: CRISTINA CÓRDOVA: Jungla

Publication Date: 2018
Fully illustrated 32 pages

“At its most basic level Jungla refers to a region of dense, intractable wilderness that sustains an ongoing evolutionary dance governed by uncivilized forces. This tropical landscape of my youth is a beacon to an identity, tying me back to a specific geography and the sediment of generations. Its unrelenting influence speaks of luscious yet ominous constructs that echo the socio-political conditions in the Caribbean. Its unruly mystery seeps out of its confines to also serve as a metaphor for a creative process anchored in that liminal space between chaos and balance. A practice that gathers significance amidst the subconscious forces that underpin reality and the firm directives of the ego. Through image and form, Jungla explores the relationship between these human and geographic connections.” — Cristina Córdova

IN DIALOGUE: Cristina Córdova & Kukuli Velarde

CRISTINA CÓRDOVA: cuerpo exquisito at Hodges Taylor

VIDEOS

VIDEOS

Cristina Cordova Artist Talk – JRACraft Distinguished Artist Series

by the James Renwick Alliance for Craft

The JRACraft Distinguished Artist Series features figurative ceramic sculptor Cristina Córdova. Córdova excels at figurative sculpture, making finely-crafted pieces which celebrate our shared humanity while challenging notions of race, gender, beauty, and power. She draws on a deep knowledge of art history to give life to contemporary ceramic portraits and invites the viewer to participate in the narrative.

INFRAME – CRISTINA CORDOVA

Cristina Cordova is a sculptor based in North Carolina. Originally from Puerto Rico, Cordova was studying engineering when she decided to quit her program and follow her dreams of being an artist. In her picturesque studio she creates arresting clay figures that are both personal and universal. Her work is exhibited as part of the permanent collections of the Renwick Gallery of the Smithsonian American Art Museum, the Museum of Contemporary Art of Puerto Rico, and the Fuller Craft Museum, among others.

View InFrame – Cristina Cordova

CRAFT IN AMERICA NEW IDENTITY EPISODE

Artists explore issues of gender, race, culture and place, offering true expressions of their experience in this world.

Featuring potter Diego Romero, photographer Cara Romero, furniture maker Wendy Maruyama, and sculptor Cristina Córdova.

View Craft in Americs: New Identity Espisode

CLAY AND CONVERSATION WITH CRISTINA CÓRDOVA | THE CLAY STUDIO

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.

View Clay and Conversation Video

INQUIRE

INQUIRE

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

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

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Thank you for your response. ✨

04
May
2017
Ferrin Contemporary at PULSE MIAMI 2015

Ferrin Contemporary at PULSE MIAMI 2015

Ferrin Contemporary presents
Cristina Córdova in ISLA SALVAJE (wild island) at

PULSE logo

December 1–5, 2015
Indian Beach Park, 4601 Collins Avenue
Miami Beach, FL 33140
Booth S-113

Cristina is a nominee for the PULSE Prize, a cash grant awarded to an artist of distinction exhibiting a solo presentation at the fair.

EVENTS + HOURS

Tuesday, December 1
Private Preview Brunch By VIP Invitation, 1–4pm
Opening Celebration, 4pm–7pm

Wednesday, December 2, 10am–7pm
Thursday, December 3, 10am–7pm
Friday, December 4, 10am–7pm
Saturday, December 5, 10am–5pm
Sunset Celebration, 5pm–7pm

PULSE MIAMI is located at Collins Avenue and 46th Street right next to the Eden Roc Hotel and with direct access from the beach and boardwalk. PULSE is recognized for providing its international community of emerging and established galleries with a dynamic platform for connecting with a global audience. PULSE offers visitors an engaging environment in which to discover and collect the most compelling contemporary art being produced today.

Cristina Córdova, “Dibujo en Barro” 2015, clay, pigments, 96 x 72″.
Cristine Córdova, “Untitled” detail, 2015, ceramic, resin, pigments, 34 x 23 x 12″.
Cristina Córdova, “De mi isla salvaje (from my wild island)” 2015, ceramic, resin, pigments, tiles 93 x 70″, figure 53 x 25 x 17″.
Cristina Córdova, “De mi isla salvaje (from my wild island)” 2015, ceramic, resin, pigments, tiles 93 x 70″, figure 53 x 25 x 17″.
Ferrin Contemporary booth featuring Cristina Córdova at PULSE Miami 2015.
04
May
2017
CERAMIC TOP 40

CERAMIC TOP 40

SURVEY EXHIBITION

2013 – 2015 | 3-City US TOUR

ABOUT THE EXHIBITION

CERAMIC TOP 40
Belger Crane Yard Studios, Kansas City, MO
presented by Ferrin Contemporary and Red Star Studios
November 1, 2013–January 25, 2014

CERAMIC TOP 40 | selected works
Office for the Arts, Harvard, Gallery 224, Alston, MA
presented by Ferrin Contemporary and the Ceramics Program
May 17–June 27, 2014

CERAMIC TOP 40 | selected works
Independent Art Projects
1315 MASS MoCA Way, North Adams, MA
January–April 2015

Ceramic art is experiencing an evolutionary leap. Economic conditions and technological advances have caused a dramatic shift in the way contemporary ceramics are conceived, designed, produced, and marketed. Ceramic Top 40 is an exhibition that emerged from the need to document this defining time in contemporary ceramics. Taking a snapshot of this pivotal transition provides a look back at recent history, an understanding of these forces of change, and a glimpse into the future of ceramic art.

This survey exhibition features work by individual artists, collaborators, and design partners who are working on the cutting edge of current processes, ideas, and presentation concepts in conceptual utilitarian and sculptural ceramics. They are responding to the external forces of a changing world and, in turn, shaping those influences.

Jason Walker, “Infinite Growth”, 2013, porcelain, china paint and glaze, 84 x 36 x 3″
Doda Design: Aya Margulis & Rae’ut Stern, “Web Souvenirs” 2010-2013, earthenware, under glaze, glaze, gold luster, digital print, 148 x 42″.
Mark Cooper, “YuYu Kansas” 2013, installation using ceramic, wood, fiberglass, digital photography, rice paper, size variable.
Tip Toland, “Long Ago and Far Away”, 2008, stoneware, paint, pastel, synthetic hair, fiddle, bow, 78 x 31x 30″. Courtesy of Barry Friedman Ltd.
Linda Sormin, “List”, 2013, ceramic, found materials, 16 x 23 x 15″
Susan Beiner, “Germinating Domes”, 2012, porcelain, acrylic rods, foam, thread, 40 x 46 x 45″

CERAMIC TOP 40 CATALOG

Ceramic Top 40 cover

Click here to view.

Click here to order a print copy.

EXHIBITING ARTISTS

CERAMIC TOP 40 ARTISTS

Susan Beiner •  Robin Best  •  Stephen Bird  •  Stephen Bowers  •  Jessica Brandl  •  Andy Brayman  •  Beth Cavener  •  Craig Clifford  •  Mark Cooper  •  Cristina Cordova  •  Guy Michael Davis (Future Retrieval)  •  Thomas Lowell  Edwards  •  Michelle  Erickson  •  Sean Erwin  •  Leopold Foulem  •  Alessandro Gallo  •  Misty Gamble  •  Gerit Grimm  •  Rain Harris  •  Giselle Hicks  •  Peter Christian Johnson  •  Brian R. Jones  •  Ryan LaBar  •  Steven Young Lee  •  Linda Lighton  •  Daniel Listwan  •  Lauren Mabry • Aya Margulis (Doda Design)  •  Walter McConnell •  Sara Moorhouse  •  Ron Nagle  •  Katie Parker (Future Retrieval)  •  Kate Roberts  •  Stephanie Rozene   •  Anders Ruhwald   •  Michael Schwegmann  •  Paul Scott  •  Richard Shaw  •  Adam Shiverdecker  •  Bobby Silverman  •  Linda Sormin  •  Shawn Spangler  •  Vipoo Srivilasa  (The Spoon Project)  •  Dirk Staschke  •  Rae’ut Stern (Doda Design)  •  Emily Sudd  •  Tip Toland  •  Clare Twomey  •  Shaleene Valenzuela  •  Jason Walker

VIPOO SRIVILASA | OBJECT: SPOON  |  Liz Burrit  •  Thomas Cheong  •  Naomi Clement  •  Jenn Demke-Lange  •  Jason Desnoyers  •  Krisaya Luenganantakul  •  Laura McKibbon  •  Noriko Masuda  •  Teo Huey Min  •  Jun Myoung  •  Aaron Nelson  •  Joshua Primmer  •  James Seet  •  Vipoo Srivilasa  •  Jenna Stanton

CERAMIC TOP 40
Belger Crane Yard Studios, Kansas City, MO
presented by Ferrin Contemporary and Red Star Studios
November 1, 2013–January 25, 2014

CERAMIC TOP 40 | selected works
Office for the Arts, Harvard, Gallery 224, Alston, MA
presented by Ferrin Contemporary and the Ceramics Program
May 17–June 27, 2014

CERAMIC TOP 40 | selected works
Independent Art Projects
1315 MASS MoCA Way, North Adams, MA
January–April 2015

Susan Beiner, “Germinating Domes”, 2012, porcelain, acrylic rods, foam, thread, 40 x 46 x 45″
Jessica Brandl, “The Rime of the Ancient Mariner” 2013, terracotta, 28 x 34 x 10″.
Andy Brayman, “Vase with Orange and Blue” (left), 2013, porcelain, glaze, decals, 19 x 10 x 7″. “Black Vase with Yellow and Green” (right), 2013, porcelain, glaze, decals, 17.5 x 10 x 7″
Beth Cavener, “Obariyon”, 2013, stoneware, antique hooks, 17 x 46 x 30″
Craig Clifford, “Flush” 2013, earthenware, casting slip, 10 x 16 x 5″.
Mark Cooper, “YuYu Kansas” 2013, installation using ceramic, wood, fiberglass, digital photography, rice paper, size variable.
Doda Design: Aya Margulis & Rae’ut Stern, “Web Souvenirs” 2010-2013, earthenware, under glaze, glaze, gold luster, digital print, 148 x 42″.
Misty Gamble, “Indulgence” and “Succulence” 2012, ceramic, variable size.
Walter McConnell, “A Theory of Everything: White Corner”, 2011-13, porcelain, glaze, plywood, 77 x 39 x 39″
Kate Roberts, “The Space Between You and Me”, 2011, colored porcelain, mirror, tulle, 96 x 60 x 6″
Stephanie Rozene, “The Politics of Porcelain” 2011, porcelain, glaze, 48 x 156″.
Adam Shiverdecker, “Banquet Series: Red Krater 1″ 2013, stoneware, nichrome, steel, 14 x 12 x 14”
Dirk Staschke, “My Beautiful Nothing” 2010, ceramic, mixed media, 96 x 21.75 x 126″. Courtesy of Wexler Gallery
Clare Twomey, “Is It Madness. Is It Beauty.” 2010, video.
Jason Walker, “Infinite Growth”, 2013, porcelain, china paint and glaze, 84 x 36 x 3″
Future Retrieval: Guy Michael Davis and Katie Parker, “Grand Theft Lion” 2013, porcelain, china paint, grammertry, rapid prototying, 11 x 8 x 7″.
Future Retrieval: Guy Michael Davis and Katie Parker, “Grand Theft Lion” 2013, Future Retrieval: Guy Michael Davis and Katie Parker, “Grand Theft Lion” 2013, porcelain, china paint, grammertry, rapid prototying, 11 x 14 x 7″.
Brian R. Jones, “Alembic (Letter B)” 2012, earthenware, slips, glaze, plywood, milk paint, 18 x 18 x 3″.
Brian R. Jones, “Alembic (Letter B)” 2012, earthenware, slips, glaze, plywood, milk paint, 18 x 18 x 3″.
Rain Harris, “Florem Vernum” 2013, wood, black clay, resin, silk flowers, 21 x 13 x 12″.
Giselle Hicks, “And Then It Was Still, II” 2012, porcelain, glaze, wood, 50 x 60 x 24″.
Stephen Bird, “Persian Blue Shoot Out” 2012, earthenware, pigment, glaze, 15.75 x 19.75″. Courtesy Garis and Hahn Gallery.
Stephen Bird, “Adam and Eve with Eyes and Spoon” 2013, earthenware, pigment, glaze, 7.25 x 9 x 2″, photo courtesy Garis and Hahn Gallery
Stephen Bird, “Majolica Shoot Out” 2012, earthenware, pigment, glaze, 15.75 x 19.5″. Courtesy Garis and Hahn Gallery.
Stephen Bird, “What Picasso Called an Erection for the Eyes” 2012, earthenware, pigment, glaze, 11.5 x 8 x 2.5″. Courtesy Garis and Hahn Gallery.
Steven Young Lee, “Cup Panels” (red), 2013, porcelain, copper inlay, glaze, glass shelving, aluminum, 46 x 50 x 4″
Steven Young Lee, “Cup Panels” (white), 2013, porcelain, white slip, glaze, glass shelving, aluminum, 46 x 50 x 4″
Steven Young Lee, “Blue Cup Panel” 2013, porcelain with cobalt inlay, 46 x 50 x 4″
Steven Young Lee, “Vase with Scroll Pattern”, 2013, porcelain, copper inlay, 14 x 19 x 9″
Peter Christian Johnson, “Ovoid #3″ 2013, ceramic, glaze, steel, 21.5 x 62 x 7”.
Peter Christian Johnson, “Blue X” 2014, ceramic, 16.5 x 16.5 x 5″.
Shalene Valenzuela, “Easy Vac: Always in Fashion” 2011, porcelain, underglaze, print transfer, 42 x 11x 14″.
Shalene Valenzuela, “Dressform” 2012, porcelain, underglaze, pins, wooden stand, 56 x 14 x 8″.
Shalene Valenzuela, “Follow the Pattern: Bathroom Vanity” 2012-13, porcelain, underglaze, print transfer, 15 x 21 x 2″.
Michelle Erickson, “Green Squirrel” (left), “Second Amendment Squirrel” (right), 2013, indigenous clay, glaze, 8″.
Michelle Erickson, “Pectin Shell Teapot” 2005, porcelain, jasperware, metallic oxide, underglaze, slip, glaze, gold enamel, 14″.
Sean Erwin, “Adoration of the Golden Calf” 2013, polished porcelain, glaze, steel, resin, cast cement, LED lights, glass, flocking, 9 x 10 x 22″.
Sean Erwin, “The Ego and the Id” 2013, polished porcelain, glaze, steel, resin, cast cement, LED lights, glass, flocking, 13 x 8 x 22″.
Bobby Silverman, “Decision Before Action” 2011, clay, commercial tile, 36 x 28 x 1/2″.
Bobby Silverman, “4 Versions of Red (1)” 2012, re-fired commercial porcelain tiles, 12 x 12″ each.
Robin Best, “The Wallace Line”, 2013, porcelain, onglaze, 8 x 4″
Stephen Bowers, “Explorers’ Skulls” 2010, ceramic, underglaze, stains, 5.25″.
Cristina Cordova, “Codigo I”, 2013, ceramic, 10.5 x 6 x 6″. Courtesy Barry Friedman Ltd.
Thomas Lowell Edwards, “Ridge” 2012, concrete, porcelain, 26 x 13 x 3″.
Leopold Foulem, “Boy with Cape on Empire Style Stand” 2012, ceramic, found object, decal, gold luster, 16.5 x 5 x 4.5″. Courtesy of David Kaye Gallery
Alessandro Gallo, “Scripta elegans” (tarantula), 2011, clay, acrylics, 15.75 x 13.75 x 13″
Gerit Grimm, “Tango” 2012, stoneware, 26 x 17 x 9″
Ryan LaBar, “The Subconscious Shelf” 2011, porcelain, stoneware, 25 x 28 x 22″.
Linda Lighton, “Cause and Effect” 2012, whiteware, glaze, 23 x 25 x 22.5″.
Daniel Listwan, “Biohazard Jasperware: Wedgwood Blue Series” 2013, colored porcelain, tallest: 10″
Lauren Mabry, “Composition of Enclosed Cylinders”, 2013, red earthenware, slips, glaze, 20 x 17 x 6″
Sara Moorhouse, “Large Pulse” 2013, earthenware, underglaze, glaze, 18 x 7″
Ron Nagle, “Snuff Bottle”, 2013, porcelain, glaze, 6 x 2.5 x 2.5″. Courtesy Jeffrey Spahn Gallery.
Anders Ruhwald, “Lamp” 2005-10, earthenware, socket, plug, shade, bulb, 50 x 14 x 14″
Michael Schwegmann, “Ball and Chain”, 2013, porcelain, glaze, 9 x 9 x 38″
Paul Scott, “Cumbrian Blue(s): Crooklands Cow in a Meadow”, 2007/2013, earthenware, tin glaze, bone china platter, inglaze decals, gold lustre, 15.75″
Richard Shaw, “Still Life with Open Drawer” 2013, porcelain, decals, 33 x 13.5 x 14″.
Linda Sormin, “List”, 2013, ceramic, found materials, 16 x 23 x 15″
Shawn Spangler, “Ewer and Salt Cellar with Digital Print” 2013, porcelain, acrylic, paper, digital print by Bryan Czibesz, variable size.
From OBJECT: SPOON 2013, Vipoo Srivilasa, “Spoon of Contentment”, 2013, porcelain, 3 x 16 x 7″.
Emily Sudd, “Untitled”, 2012
Tip Toland, “Long Ago and Far Away”, 2008, stoneware, paint, pastel, synthetic hair, fiddle, bow, 78 x 31x 30″. Courtesy of Barry Friedman Ltd.
29
Apr
2017
EXPOSED: Heads, Busts & Nudes

EXPOSED: Heads, Busts & Nudes

EXPOSED: Heads, Busts & Nudes

group show of ceramic figural sculpture by masters 1965–present originally presented at 1315 MASS MoCA Way, North Adams, MA, from June 18 to September 5, 2016

 

ABOUT

EXPOSED: Heads, Busts, and Nudes is an exhibition of figural ceramic sculpture from 1965 to the present and features masterworks from estates and private collections alongside recent work direct from artist studios, which was originally presented at 1315 MASS MoCA Way, North Adams, MA, from June 18 to September 5, 2016.

This group of noted American and British sculptors explores themes that range from social realism to otherworldly surrealism to abstraction of form. The overview illustrates how early practitioners in California’s Bay Area during in the 1960s and 1970s, such as Robert Arneson, Viola Frey, and Stephen De Staebler, continue to inspire artists today. Known for their use of clay in combination with painted glaze surfaces, these artists challenge presumptions and their work defies easy categorization as sculpture, decorative arts, or studio craft.

The exhibit that took place at Ferrin Contemporary’s gallery in western Massachusetts presents a selection of available works by living and deceased artists featured in the accompanying catalog EXPOSED: Heads, Busts, and Nudes. The publication includes an introduction by curator Leslie Ferrin and an informative essay by author and independent curator Mark Leach highlighting the seminal moments and interplay between artists and their mentors.

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