Project Tag: Crystal Morey

07
Jul
2023
HEY! CÉRAMIQUE.S

HEY! CÉRAMIQUE.S

ABOUT THE EXHIBITION

In the name of matter

Both deeply invested in exploring the alternative cultural scene, Halle Saint Pierre and HEY! modern art & pop culture continue their long and close collaboration with a sixth exhibition entirely dedicated to ceramics. If this medium occupies an increasingly visible place on the international art scene, the HEY! CERAMIQUE.S will show other forms which, from pop culture to art brut, unexpectedly emancipate themselves from all dominant norms and discourses to draw on the living forces of the imagination and the sensitive. Whether they are wise or delirious, wild or sophisticated, expressionist or narrative, whether they handle humor or emotion, the ceramic sculptures here carry excess but also poetry and innovations.

  • Martine Lusardy, director of the Halle Saint Pierre and exhibition curator
  • Anne Richard, guest curator and founder of the HEY! modern art & pop culture

HEY! CÉRAMIQUE.S

Musee de la Halle Saint Pierre, Paris, France | September 20, 2023 to August 14, 2024

HEY! CERAMIQUE.S Exhibition Installation featuring Crystal Morey “Replanting: Over the Land (Mt. Lion and Unicorn)” and “Replanting: Over the Water (Rhino and Swan)”, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024
HEY! CERAMIQUE.S Exhibition Installation featuring Chris Antemann “Embrace” and “Kissing Flora”, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024
HEY! CERAMIQUE.S Exhibition Installation featuring Crystal Morey “Replanting: Over the Land (Mt. Lion and Unicorn)” and “Replanting: Over the Water (Rhino and Swan)”, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024
HEY! CERAMIQUE.S Exhibition Installation featuring Crystal Morey “RePlanting: Elephant”, “RePlanting: Giraffe Madonna and Child”, and “Venus on the Waves: Grizzly”, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024
HEY! CERAMIQUE.S Exhibition Installation featuring Mara Superior, Chris Antemann, and Crystal Morey, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024
HEY! CERAMIQUE.S Exhibition Installation featuring Mara Superior Installation, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024
HEY! CERAMIQUE.S Exhibition Installation featuring Mara Superior Installation, Musee de la Halle Saint Pierre, Paris, France, September 20, 2023 to August 14, 2024

EXHIBITION CATALOG

  • Released September 15, 2023
  • Edited by Anne Richard Bilingual (French / English)
  • 250 pages
  • Shaped cover 28 x 24.5 cm
  • Published by HEY! PUBLISHING

Long considered a minor art because of its particular status at the crossroads of art and craftsmanship, ceramics has emancipated itself artistically by making precisely this hybrid position the basis of its renewal. The truly alchemical dimension of the fire arts lends itself wonderfully to blurring and crossing boundaries. But if contemporary ceramic artists draw on timeless traditions and know-how, it is not so much out of nostalgia for the values ​​of the past as to place at the center of creation a return to making and attention to materials in their sensitive dimension. Earth, water, air, fire are no longer simple materials that can be manipulated indifferently, they become the very substance of a material imagination intended to satisfy aesthetic and psychological urgencies. 

— Martine Lusardy, Director and curator of exhibitions at the Halle Saint Pierre Museum

HEY! CÉRAMIQUE.S Exhibition Catalog

Purchase the catalog here

“Our overuse of resources has destroyed our planets natural resources. The skies churn,  rivers flood, oceans rise, and forests burn. The world is a changed place, and the most vulnerable feel the affects first.”

Crystal Morey, Shaping Interconnectedness, essay by Maria Porges

“From there, [she], like many of us, sees the news, imagines the future, and find solace in the triumphant artworks of the past. She is chronicling our time, a unique and strange mix of hope in the ace of humanities greatest collective threat— ourselves.”

Mara Superior, Chronicling our Collective Hopes, essay by Lauren Levato-Coyne.

MORE ABOUT THE MUSEUM

Musee de la Halle Saint Pierre

Paris, France

MUSEUM OF ART BRUT – OUTSIDER ART & POP CULTURE 

Within a beautiful Baltard-style architecture, facing the gardens of the Butte Montmartre, the Halle Saint Pierre houses a museum and a gallery, a bookstore, an auditorium, a café. It is in this harmonious and luminous setting that the major temporary exhibitions and the multiple artistic and cultural activities dedicated to the most unexpected forms of creation are presented.

05
May
2023
2023 INTERNATIONAL CERAMIC ART FAIR (ICAF)

2023 INTERNATIONAL CERAMIC ART FAIR (ICAF)

2023 ICAF

June 8 – 18, 2023

At the Gardiner Museum
Toronto, Ontario

Featuring work by:
Judy Chartrand
Courtney M. Leonard
Crystal Morey

ABOUT THE FAIR

& Symposium

Ferrin Contemporary is returning to ICAF for the third year. We applaud the Gardiner for building this international program that takes over the museum with a fair, exhibition and symposium over 10 days in June. This year we are presenting recent works that address the theme FUTURE BODIES by three artists.

The International Ceramic Art Fair (ICAF) is a 10-day celebration of some of the most compelling recent ceramic art, featuring works by emerging and established artists from a wide range of backgrounds, as well as online and in-person programming by artists and curators.

Alongside the artworks presented in the fair, ICAF 2023 will include a symposium on June 9 and 10. Titled Toward Future Bodies, the symposium brings together artists, scholars, and other voices from Canada and internationally to explore the boundaries of our species and our connection to other life forms as expressed through ceramics and clay.

2023 INTERNATIONAL CERAMIC ART FAIR

Gardiner Museum, Toronto, Ontario | June 8 – 18, 2023

Courtney Leonard, BREACH: Logbook 21 | CONVOKE, 2021, multi-ply birch wood and acrylic, coiled and woven earthenware, coiled micaceous clay, oyster shells, various dimensions. Gardiner Museum, ICAF 2023
Judy Chartrand Installation at ICAF at the Gardiner Museum, 2023
Courtney M. Leonard, “BREACH: Logbook 23, Carrier, Subsistence Container Study (set of 11)”, installation featured in ICAF 2023 at the Gardiner Museum, photo courtesy of Brittany Carmichael
Crystal Morey Installation at ICAF at the Gardiner Museum, 2023
Gardiner Museum, ICAF 2023
Crystal Morey Installation at ICAF at the Gardiner Museum, 2023
Judy Chartrand Installation at ICAF at the Gardiner Museum, 2023
Judy Chartrand Installation at ICAF at the Gardiner Museum, 2023
Courtney Leonard Installation at ICAF at the Gardiner Museum, 2023
Courtney Leonard Installation at ICAF at the Gardiner Museum, 2023

ABOUT THE ARTISTS

& FEATURED WORK

Many artists are reconsidering how we define ourselves as a species and how these changing definitions can alter our relationships to each other, to other animals and life forms, and to the land we inhabit. The separation of the human and non-human is increasingly understood as porous or insignificant. Clay can be seen as a mediator between the human and non-human, blurring the boundaries with its life-giving properties, its capacity to record and hold human memory, its characteristic of absorption, and its capacity to connect us to the land.

How can we re-orient our relationship to the planet through a more nuanced understanding of our connection to other forms of life? How can emerging discourses of the human shift us toward new and generative understandings of our bodies place in the world?

Join us to view the works at ICAF and participate in the accompanying programs to explore these and other questions. Sponsored by the Raphael Yu Centre for Candaian Ceramics, Toward Future Bodies aims to foster a deeper appreciation for Canadian ceramics within a larger artistic ecosystem.

Featuring work by:

Judy Chartrand
Courtney M. Leonard
Crystal Morey

JUDY CHARTRAND

Judy Chartrand portrait 2022

b. 1959, Kamloops, BC, CAN
lives and works in Vancouver, CAN

Judy Chartrand, "The Tourist Toss", 2022, low fire paper clay, underglaze, glaze, 11.5 x 11.5 x 2”

COURTNEY M. LEONARD

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

CRYSTAL MOREY

b. American, 1983, Nevada City, CA
lives and works in Oakland, CA

PROGRAMMING

Full event schedule for ICAF 2023

Toward Future Bodies Symposium

Friday June 9, 6 – 8 pm &
Saturday June 10, 9:30 am – 6 pm

The Gardiner Museum is pleased to host Toward Future Bodies, a symposium supported by the Raphael Yu Centre for Canadian Ceramics, and in collaboration with A-B Projects. The symposium takes place during the International Ceramic Art Fair (ICAF) and will feature a roster of local and international speakers, fostering a deeper appreciation for Canadian ceramics within a larger artistic ecosystem through discussions on the body in relation to the land, home, animals, the machine, and the future.

Online Artist Talk with Courtney M. Leonard and Judy Chartrand 

Friday June 16, 4 – 5 pm 

As part of the International Ceramic Art Fair, join exhibiting artists Courtney M. Leonard and Judy Chartrand, represented by Ferrin Contemporary, for an online discussion about their work and practice.

Watch the recording:

PRESS

HYPERALLERGIC | The International Ceramic Art Fair Returns to the Gardiner Museum | 06.16.2023

14
Sep
2022
BREAKING GROUND: Women in California Clay

BREAKING GROUND: Women in California Clay

BREAKING GROUND: Women in California Clay

American Museum of Ceramic Art
Pomona, California

September 10, 2022 through March 12, 2023

Featuring work by Crystal Morey

ABOUT THE EXHIBITION

The American Museum of Ceramic Art is proud to present the exhibition and accompanying catalog Breaking Ground: Women in California Clay, celebrating 44 artists who have defined—and redefined—ceramics over the past 100 years. Many of the Golden State’s most innovative and impactful ceramic artists in the 20th and 21st centuries are women who faced adversity due to gender inequality and were often ignored or overlooked in favor of their male counterparts. These incredibly determined women pushed forward, driven by creativity and tenacity.

Breaking Ground highlights the significant shifts in California ceramics over several generations of women artists. The story is told in three sections, using the artist’s “breaking ground period” (rather than their date of birth) to determine their place in history. The story begins with trailblazers Laura Andreson, Betty Davenport Ford, Stefani Gruenberg, Vivika Heino, Elaine Katzer, Mary Lindheim, Martha Longenecker, Gertrud Natzler, Susan Peterson, Ruth Rippon, Susi Singer, Helen Ritcher Watson, Marguerite Wildenhain, and Beatrice Wood. These artists laid the groundwork for the field and inspired successive generations of artists.

The second section includes a disparate group of artists who explored—or are exploring—the female figure, feminism, and the creation of the perfect form. Works by Judy Chicago, Dora De Larios, Roseline Delisle, Viola Frey, Magdalena Suarez Frimkess, Phyllis Green, Margaret Keelan, Karen Koblitz, Marilyn Levine, Elsa Rady, Lisa Reinertson, Nancy Selvin, Anna Silver, and Sandy Simon mark a substantial break in artmaking from their predecessors.

The final section represents a younger generation of artists working to shift the perspective” and includes Ashwini Bhat, Christina Erives, Keiko Fukazawa, Jenny Hata Blumenfield, Julia Haft-Candell, Anabel Juarez, Cathy Lu, Brittany Mojo, Crystal Morey, Kristen Morgin, Annabeth Rosen, Erika Sanada, Joan Takayama Ogawa, Kim Tucker, Anna Valdez, and Bari Ziperstein. Their work, in many ways, continues the conversation of the artists featured in the second chapter to traverse the themes of politics, identity, the environment, and other prevailing issues of globalization, colonialism, and reclaiming histories that have become increasingly important in the lives of practicing women artists.

Assembled together for the first time in Breaking Ground, these works tell the compelling story of how women artists from California made, and continue to make, significant contributions to the American Studio Ceramics movement in profound and singular ways.

A momentous reframing of the California Clay Movement and its legacy, this exhibition will be the first to chronologize the evolution of ceramic art in California solely through the work of women artists, and the first exhibition to be presented across all three of AMOCA’s ground-floor galleries. As the show is loosely organized by generation, so too are our gallery spaces. AMOCA’s Armstrong Gallery leads viewers through work from the first generation “Trailblazers” to the second generation, “The Body Politic.” Then, viewers move through The Vault and Gallery B to experience work from Breaking Ground‘s generation three “Now” artists.

READ MORE
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Breaking Ground will be on view in AMOCA’s Armstrong Gallery from September 10, 2022 through January 22, 2023, and in Gallery B and The Vault from September 10, 2022 through February 19, 2023.

The exhibition is co-curated by Beth Ann Gerstein (Executive Director), Jo Lauria (Adjunct Curator), and Edith Garcia (Professor, California College of the Arts and University of California, Berkeley).

More information about the exhibition, HERE.

FEATURED ARTWORKS

Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “RePlanting: Crow and Deer”, 2022, hand-sculpted porcelain, 12.5 x 8 x 6”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Replanting: Mountain Lion” 2022, hand-sculpted porcelain, 9.5 x 6 x 8.5”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.

MORE ON CRYSTAL MOREY

View More by Crystal Morey HERE

Crystal Morey, Artist Portrait in the studio, 2022

Crystal Morey, “The RePlanting: Over the Land (Mt. Lion and Unicorn”, 2022, hand-sculpted porcelain, 17.5 x 11 x 7″.

PUBLIC PROGRAMMING

Member Preview
Friday, September 9, 2022 • 2–4 PM (Pacific) • In Person

Breaking Ground: Women in California Clay is on view at AMOCA from September 10, 2022–February 19, 2023, and members get early access! Be among the first to see Breaking Ground by joining us on Member Preview Day on Friday, September 9.

This preview is complimentary for AMOCA Members.

Opening Reception
Saturday, September 10, 2022 • 4–6 PM (Pacific) • In Person

Join us for an opening reception for Breaking Ground: Women in California Clay, on view at AMOCA. Artists whose work is in the exhibition will be present starting at 4 PM, opening remarks will occur at 4:30 PM, and light refreshments will be served.

Admission to the event and Museum galleries is complimentary with advance registration. For information about at-the-door prices, check AMOCA.org/visit.

MORE ON AMOCA

As an organization of vision, devoted to the arts, we believe that visual art experiences communicated through professional artists, workshops, or gallery exhibitions, promote cross-cultural understanding and provide new perspectives and insights which enrich our lives.

Exhibitions and programming at AMOCA embraces a wide number of topics – all relating to clay. Within this broadly diverse community, it is our goal to increase the aesthetic appreciation of clay as an art form and to assist our audience in unraveling the creative thinking behind the making of ceramic objects. At the same time, AMOCA provides confirmed clay enthusiasts with encouragement, camaraderie, and exhibition opportunity.

Learn More, HERE

26
May
2022
ESPRITS LIBRES | La Fondation d’Enterprise Bernardaud

ESPRITS LIBRES | La Fondation d’Enterprise Bernardaud

ESPRITS LIBRES

La Fondation d’Enterprise Bernardaud
Limoges, France

June 17, 2022 — April 1, 2023

Featuring work by:

Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.

ABOUT THE EXHIBITION

Esprits libres encourages us to take a fresh look at unique, authentic, surprising artistic expressions. It is an invitation and a challenge to creativity and the collective imagination, privileging figurative and narrative art with a surrealist bent. The exhibition is based on these expressions’ power to transcend academic strictures and bring all generations together. No school, no line of theory, no concept is claimed: the exhibition transcribes a free state of mind, an internal rhythm of creation, a stand taken in the world.

Esprits libres gives us a second wind, a burst of spontaneity and unity, and tells a different story, without assumptions or prejudices, embodied by the choice of twelve artists–and just as many moments of thought–developing perspectives that are original, in ebullition, and open to influence. They are the product of free spirits. Confronted with these twelve artistic entities, it is easy to understand that the choice of ceramics as medium is fundamental to their chosen approach to each of their subjects: its intrinsic materiality, its capacity for volume, and its physicality project the work itself into a dimension of tactility that is utterly human. But, examining our humanist values and projects, these artists impel us to observe our own capacity for transmission, transgression, and transformation. This joyous shaking-up of certitudes nurtures new and profoundly living forms; it invites us to explore a territory of reconciliation, kindliness, and solidarity, where artworks advocate for difference, exalting dialog and respect for every person’s singularity.

FEATURED ARTWORKS

EXHIBITION CATALOG

Featuring Ferrin Contemporary Artists Crystal Morey and Mara Superior

All Copy and Content Courtesy of:

La Fondation d’Enterprise Bernardaud,
Limoges, France

& Anne Richard
Founder of the art magazine
HEY! modern art & pop culture,
Author, publisher,
and exhibition curator

Esprits Libres 2022 Bernardaud Catalogue

MORE ON THE FEATURED ARTISTS

  • View More by Crystal Morey HERE
  • View More by Mara Superior HERE

CRYSTAL MOREY

MARA SUPERIOR

MORE ON LA FONDATION L’ENTERPRISE BERNARDAUD

The Fondation d’Entreprise Bernardaud was established in 2002 in Limoges by Michel Bernardaud, chairman and CEO of the eponymous company. It is directed by Hélène Huret. From the beginning, it has worked to endow the Limoges manufactory with a cultural dimension.

A visitor circuit has been set up to explain the history and manufacture of porcelain. In addition, the Foundation holds a themed exhibition every summer to present a broad range of contemporary ceramic works by international artists seldom shown in France. This demonstrates the great vitality of ceramics on the international art scene, especially porcelain, one of today’s most interesting artistic media.

10
Apr
2020
CRYSTAL MOREY: Venus on the Waves Catalog

CRYSTAL MOREY: Venus on the Waves Catalog

CRYSTAL MOREY: Venus on the Waves Catalog

Crystal Morey’s “Venus on the Waves” exhibition catalog release: June 1, 2020.

Available now for $17.80, which includes domestic postage.

The 8.5 x 11″ booklet includes 16 beautiful pages of images and text from the “Venus on the Waves” exhibition
at Ferrin Contemporary in 2019.

  • Read more about the exhibition, HERE.
  • The book also includes a wonderful essay by writer Maria Porges, “Claiming Beauty: Crystal Morey’s Venus on the Waves”.

Excerpt from Maria Porges Essay:

All of Morey’s therianthropes have a kind of contained power, even when their poses might bely such a reading. A closer examination of the passive contrapposto of the standing figures in Three Gracesreveals a kind of watchful alertness. Positioned back to back around a tree stump, they are warriors creating a united defense. Rhino and mountain lion have their arms intertwined, but the gesture looks protective rather than girlishly affectionate. Alert, all three scan the horizon, dependent on each other for safety. As Morey has put it, “The rhino, mountain lion and human are all in danger of habitat loss, and extinction- although the human is just now realizing how delicate her situation is, and how dependent she is on the well -being of the creatures and environments around her.”

Like these three, Morey reminds us, all living creatures are connected. Multiple-figure compositions– a first for her—have enabled her to address increasingly complex issues. The result is a body of work in which several different meanings can be slowly unpacked, even as the immediate physical appeal of the figures provides pleasure. “You can come in at whatever level you want, but hopefully it will make you think about something you haven’t previously considered… I don’t know if this work will make a change, but I hope it instigates a conversation.”

22
Jan
2020
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Pomona College, Claremont, CA

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Pomona College, Claremont, CA

ABOUT THE EXHIBITION

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions

Pomona College, Claremont, CA

January 25 – April 5, 2020

From flowers to fluorescent brains, connections and conflicts in nature and culture are the focus of the Scripps College 76th Ceramic Annual. The longest continuous exhibition of contemporary ceramics in the nation will open on Jan. 25 and continue through Apr. 5. Participating artists include Wesley Anderegg, Richard Burkett, Rebecca Hutchinson, Jeff Irwin, Kate MacDowell, Crystal Morey, James Tisdale, Theodore Vogel, Patti Warashina, Stan Welsh, and Mary Cale. A. Wilson. This exhibition is curated by Joanne Hayakawa, professor emerita at San Diego State University, School of Art and Design.

The artists in this group present some of their most active, and interactive, pieces in this exhibit. Works stand up on their own, hang from the ceiling, or extrude from the wall. In curating the show, Joanne Hayakawa, professor emerita at San Diego State University, School of Art and Design, sought to highlight the dynamism of conflicting elements and the tensions they produce within various contexts.

This exhibition features an illustrated catalog with an essay by art writer Robert L. Pincus.

EVENTS

Lecture: Garth Johnson, Paul Phillips and Sharon Sullivan Curator of Ceramics at the Everson Museum of Art will deliver a special lecture on the show will be held at the Scripps Humanities Auditorium on Sat., Jan. 25th from 4 to 5 pm.

Reception: The opening reception will follow, with live music and light refreshments, at the Williamson Gallery from 7 to 9 pm. These events are free and open to the public.

For more information on the exhibit, please visit rcwg.scrippscollege.edu or call (909) 607-3397.

The gallery is open from 12 to 5 pm, Wed. through Sun. during exhibitions. Admission is free.

More information on Crystal Morey HERE.

76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
76th Scripps College Ceramic Annual: Sentiment and Skepticism, Our Culture of Contradictions, Installation view.
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Siren: Sierra Nevada Red Fox and Oak” 2019, hand sculpted porcelain, 16.25 x 6.5 x 6”
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “Without Borders/ White Rhino Airlift” 2020, hand sculpted porcelain, 16.5 x 13.5 x 10”.
Crystal Morey, “African Bush Elephant” 2020, hand-sculpted porcelain, 11 x 12.5 x 7″.
Crystal Morey, “African Bush Elephant” 2020, hand-sculpted porcelain, 11 x 12.5 x 7″.
08
Sep
2019
CRYSTAL MOREY: Venus on the Waves

CRYSTAL MOREY: Venus on the Waves

SOLO EXHIBITION

AT FERRIN CONTEMPORARY
North Adams, MA

September 21- November 2nd, 2019

Opening Reception:

Saturday, September 21, 5-7 pm

ABOUT THE EXHIBITION

North Adams, MA —

Ferrin Contemporary is pleased to announce CRYSTAL MOREY: Venus on the Waves, introducing a new series of porcelain sculpture that explores elements of art history and our connection to today’s changing, natural world.

Leslie Ferrin, director Ferrin Contemporary, “We are pleased to present Crystal Morey’s first solo exhibition on the East Coast and the opportunity it provides to share her artwork and learn about her process through a related series of talks and demonstrations. This new series, Venus on the Waves, captures the spirit of a new generation of pop surrealist, figurative artists who use history to inform their practice while adding a contemporary spin by introducing issues relevant to our time.”

As a result of human consumption, climate change, and habitat loss, we are experiencing increased responsibility to care for the living creatures around us. Morey’s delicate porcelain works highlight these precarious connections and our roles as advocates and protectors of our most vulnerable species. Her sculptures narrate the interdependence between humans, plants, and animals while cultivating empathy for our changing world.

Inspired by 18th century European painting, sculpture, and porcelain figurines, Morey’s works in Venus on the Waves combine the decadent and ornate qualities of the Baroque with romanticism of nature. Her emphasis on historical female archetypes and their relationship to the natural world echoes the past while reflecting on today’s environmental challenges.

CRYSTAL MOREY: Venus on the Waves

At Ferrin Contemporary, North Adams, MA | September 21- November 2nd, 2019

Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.
Ferrin Contemporary, Crystal Morey, “Venus on the Waves” 2019 Installation View.

Crystal Morey explains, “Venus on the Waves, is a new body of work that weaves the magic, narrative and power of art history with our contemporary environmental issues of today. Through hand sculpted porcelain creations, I am building a connection to the past though the vulnerable creatures and habitats of today.”

Crystal Morey’s ceramic works have been widely featured in publications and exhibitions both nationally and internationally. In 2018, her work was included in Revive, Remix, Respond at The Frick Pittsburgh, PA, in a group exhibition inspired by the Frick’s collection which was co-curated by Dawn Brean and Leslie Ferrin. Her work has been featured in New Age of Ceramics, 500 Figures in Clay, Juxtapoz, Hi-Fructose, American Art Collector, Hey Magazine, Palace Costas, Beautiful Bizarre, and Sculpture Review.  Morey received her BFA in Ceramic Sculpture from the California College of the Arts in 2006 and her MFA in Spatial Art from San Jose State University in 2015, followed by residencies at The LH Project, OR; Watershed Center for the Ceramic Arts, ME; and the Penland School of Craft, NC. She currently lives and works in Oakland, California.

Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".

Entangled: Grizzly (Part 1) & (Part 2)

Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 2)", 2019, hand-sculpted porcelain, 12.25 x 6.5 x 6.5". Photo by John Polak.
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".
Crystal Morey, "Entangled: Grizzly (Part 1)", 2019, hand-sculpted porcelain, 12.75 x 6 x 6".

California Bighorn Sheep

Leda and the Swan

Release the Winds

Sea Level Rise in Eden

Three Graces

Venus on the Waves

Venus (After Michelangelo’s David)

PRESS & PROGRAMMING

Visiting Artist Lecture
Wednesday, September 18, 2019, 5:30-6:30pm
Harvard University– Office for the Arts at Harvard, 224 Western Ave, Allston, MA

Click HERE for more about the lecture at Harvard Ceramics.

Click HERE to read the feature in The Berkshire Eagle by Jennifer Huberdeau

Click HERE to learn more about the workshop and events at Project Art, Cummington, MA.

Click HERE to see other works and learn more about Crystal Morey.

Click HERE to inquire about available works for sale.

******

Download Press Release HERE

Crystal Morey in Figural Sculpture: Additive / Subtractive Processes in Porcelain
September 20 – 22, 2019
at PROJECT ART in Cummington, MA

Crystal Morey: Artist Talk
Friday, September 20, 7pm
at PROJECT ART in Cummington, MA

19
Mar
2019
LOOKING WEST at The James J. Hill House in St. Paul, MN

LOOKING WEST at The James J. Hill House in St. Paul, MN

LOOKING WEST

at The James J. Hill House in St. Paul, Minnesota.

March 6th- April 7th, 2019

Reception: March 29th, 6-8pm

A group exhibition exploring themes of the American West through ceramic art

“Early America saw the Mississippi River as its western border. Looking West investigates the history, anthropologies, and landscapes of the American West through ceramic art.”

Within concept and visual, Looking West explores the current conversations taking place in and about the American West. Claytopia, (NCECA 2019 March 27th-30th) will reside on the geographical border of the Mississippi River in Minneapolis, Minnesota the same river that was the United States western border prior to the Louisiana Purchase in 1803.

Located inside the historical James J. Hill House at 240 Summit Ave in Saint Paul, Looking West will respond to the historical and contemporary conversations of the American West, including its traditions, history, landscape and cultural anthropologies. As the viewer walks the home, they are reminded of the vision James J. Hill had for Western Expansion and for the growth of the Great Northern Railway. The diversity of artists included will allow viewers to indulge in a dialogue that presents many various perspectives about what the West is now.

Artist Evan Hauser states, “With the rise of Industrial America comes a threat to wilderness and untouched landscapes. When looking at a National Park such as Yellowstone, we are confronted by land that is supposedly wild and natural. In reality, the lands within the park are somewhat of a construct as the wildlife is managed, fires are suppressed, and designated paths exist for the wandering tourist. This prescribed experience brings a foreseeable encounter that was once otherwise a land of discovery.”

 

ARTISTS:
Dylan Beck,
Jonathan Fitz
Evan Hauser*
Mitch Iburg
Ben Jordan
Dean Leeper
Crystal Morey*
Catherine Schmid-Maybach
Paul Scott *
Jason Walker *
Paige Nicolet Ward

*click to see more by these artists

DOWNLOAD PRESS RELEASE

LOCATION:
240 Summit Ave.
St. Paul, MN 55102

click HERE to inquire about works for sale.

 

 

 

 

 

 

“Looking West” at the James J Hill House, Paul Scott
“Looking West” at the James J Hill House, Paul Scott, 2015
“Looking West” at the James J Hill House, Evan Hauser, 2019.
“Looking West” at the James J Hill House, Evan Hauser, 2019
“Looking West” at the James J Hill House, Jason Walker, 2018.
“Looking West” at the James J Hill House, Jason Walker, 2018.
“Looking West” at the James J Hill House, Paige Nicolet Ward.
“Looking West” at the James J Hill House, Paige Nicolet Ward.
“Looking West” at the James J Hill House, Paige Nicolet Ward.
“Looking West” at the James J Hill House, Crystal Morey, 2019
Paul Scott, “Cumbrian Blue(s), American Scenery, Grain Silo No. 2″, 2015, In-glaze decal, gold luster, J K Meakin ironstone platter c.1850, 13 x 18.25 x 1.75”.
Paul Scott, “Cumbrian Blue(s), American Scenery, Fracked No. 8″, 2015 in-glaze decal collage, gold leaf, T&R Boote Syndenhall Shape, ironstone c. 1850, 16.5 x 11.75 x 1.25”.
Evan Hauser, “Preservation & Use (Buffalo Trail: The Impending Storm, Albert Bierstadt, 1869)” 2019, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Evan Hauser, “Preservation & Use (A Storm in the Rocky Mountains, Mt. Rosalie, Albert Bierstadt, 1866)” 2019, porcelain, digital ceramic print, gold leaf, 10.5 x 15 x 2.5″.
Crystal Morey, “Release the Winds” 2019, hand sculpted porcelain, 15 x 7 x 7″.
Crystal Morey, “Release the Winds” 2019, hand sculpted porcelain, 15 x 7 x 7″.
Crystal Morey, “Release the Winds” 2019, hand sculpted porcelain, 15 x 7 x 7″.
Jason Walker, “Osprey” 2018, porcelain, underglaze, luster, concrete, 11 x 14 x 6″.
Jason Walker, “Osprey” 2018, porcelain, underglaze, luster, concrete, 11 x 14 x 6″.
Jason Walker, “Osprey” 2018, porcelain, underglaze, luster, concrete, 11 x 14 x 6″.

 

31
Dec
2017
REVIVE, REMIX, RESPOND

REVIVE, REMIX, RESPOND

THE FRICK PITTSBURGH

7227 Reynolds St., Pittsburgh, PA

February 17–May 27, 2018

ABOUT THE EXHIBITION

In 2017, twenty contemporary artists were invited to respond to and produce new works that reference the art, objects, and social history of The Frick’s collections. 

Many contemporary artists are breathing new life into the ceramic medium by reviving and reinvigorating age-old concepts. This reinvention is distilled into the use of 18th-century processes and techniques to create new motifs and the depiction of stories inspired by history — often with a commentary or critique on modern society.

This topic is particularly relevant to the current state of the ceramics and museum field as it answers the questions of how history meets contemporary. How can artists draw on the rich artistic traditions of ceramic history while reinvigorating their relevance in a society that prizes the contemporary? Likewise, how can museums use contemporary ceramic art to illuminate and reinvigorate historic collections? The Frick Pittsburgh is committed to using the voices and artworks of contemporary artists to meaningfully engage our audience and our collections with issues and ideas relevant to the present day. Revive, Remix, Respond is an exciting opportunity to continue that dialogue.

Organized by Dawn Reid Brean, Associate Curator of Decorative Arts at The Frick Pittsburgh with Leslie Ferrin of Ferrin Contemporary, the museum has invited artists to submit work that is inspired by, responds to, or relates to historic ceramics in The Frick Pittsburgh’s permanent collection. Highlight’s from the museum’s collection include Clayton, the historic Gilded Age home of industrialist and art collector Henry Clay Frick and its impressive array of fine and decorative arts objects; 18th-century Chinese porcelains purchased by Frick from the collection of J. P. Morgan; and 18th-century French painting and decorative arts collected by Frick’s daughter, Helen Clay Frick.

The exhibition will consider the sources of inspiration shaping ceramics today and ways to keep clay vital in museums, schools, and artistic communities. These ideas directly relate to the organizing theme of NCECA 2018, CrossCurrents: Clay and Culture.

INSTALLATION

Revive, Remix, Respond at The Frick Pittsburgh 2018
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh
Revive, Remix, Respond at The Frick Pittsburgh

EXHIBITING ARTISTS

Chris Antemann
Robin Best
Stephen Bowers
Bouke de Vries
Edward Eberle
Evan Hauser
Steven Young Lee
Beth Lipman
Crystal Morey
Kadri Parnamets
Peter Pincus
Kate Roberts
Justin Rothshank
Paul Scott
Cindy Sherman
Caroline Slotte
Dirk Staschke
Mara Superior
Kurt Weiser

PAST PROGRAMMING

Remix Your Friday Exhibition Preview
Friday, February 16, 5:30–7:30pm

Join us for a happy hour in The Frick Art Museum to celebrate the opening of this exhibition, Be among the first to see this unique exhibition, which features work from established and emerging artists. The evening will also feature gallery talks from exhibition curator Dawn Brean and exhibited artist Beth Lipman.

FEATURED WORKS

Robin Best, “The Knight of the Lions,” 2016, porcelain with on-glaze Xin Cai, 14.125 x 7.875 x 10.25″.
Stephen Bowers, “Flowers Fragment” 2018, white earthenware, underglaze colors, glaze, 8.75 x 8.75 x 1.6″.
Bouke de Vries, “Peacock 1″ 2016, twentieth-century Chinese porcelain bird, eighteenth-century Chinese porcelain fragments, mixed media, 24 x 13.5 x 25”.
Edward Eberle, “Subject-Predicate” 2014, porcelain with terra sigilatta, 28 x 13 x 12.5″.
Evan Hasuer, Preservation & Use #3 (Landscape with River, George Hetzel, 1880), 2018, 62 x 42″ x 2.5″.
Steven Young Lee, “Gourd Vases with Dodos” 2018, porcelain, cobalt pigment, glaze, 10 x 19 x 18”.
Beth Lipman, “Swag” 2003, vitreous china, 11 x 36 x 5″.
Crystal Morey, “Entangled Wonders: Across a Divide” 20187, porcelain, 16 x 9 x 9″.
Kadri Pärnamets, “Mining” porcelian, slip, 20.5 x 10.5 x 8″.
Peter Pincus, “Ewer, c. 1893/2018″ 2018, colored porcelain, 13 x 6 x 5”.
Peter Pincus, “Ewer, c. 1893/2018″ 2018, colored porcelain, 13 x 6 x 5”.
Kate Roberts, “Miss Havisham’s Beauty”, 2015, porcelain, 18 x 12 x 12″.
Justin Rothshank, “Andrew Carnegie Platter” 2017, 20 x 20″.
Paul Scott, “Scott’s Cumbrian Blue(s), Milking Time After Anton Maude” 2017, scrennprint (decal) on Portmerion porcelain platter, 13.5”x 9.25” (340mm x 235mm). One of an edition of ten.
Cindy Sherman, “Madame de Pompadour (nee Poisson)” Tureen, 1990, porcelain, 14.5 x 22 x 11.75″.
Caroline Slotte, “Going Blank Again” 2016, reworked second hand ceramics.
Dirk Staschke, “Soliloquy #1″ 2016, ceramic, shim, epoxy, 17 x 20 x 15”.
Mara Superior, “Kangxi Period, Qing Dynasty/ A Collection” 2018, porcelain, underglazes, oxides, glaze, gold leaf, 12.5 x 16 x 2.5″.
Kurt Weiser, “Random House (globe)” 2017, porcelain, glaze, china paint, metal, 30 x 14 x 14″.
09
Oct
2017
NEW YORK CERAMIC & GLASS FAIR 2018

NEW YORK CERAMIC & GLASS FAIR 2018

NYC&G FAIR 2018

Bohemian National Hall, New York, NY | January 18–21, 2018

Bringing together a carefully selected and distinguished international group of more than 25 galleries offering all things “fired” — porcelain, pottery, and glass, in a setting perfect for the exhibition and sale of important small objects.

FERRIN CONTEMPORARY presenting work by

Chris Antemann
Robin Best
Stephen Bowers
Bouke de Vries
Edward Eberle
Evan Hauser
Charlotte Hodes
Sergei Isupov
Steven Young Lee
Crystal Morey
Kadri Pärnamets
Peter Pincus
Paul Scott
Mark Shapiro
Linda Sikora
Caroline Slotte
Dirk Staschke
Mike Stumbras
Mara Superior
Susan Thayer
Kurt Weiser

 

SPECIAL EXHIBITION

“Revive, Remix, Respond: Contemporary Ceramic Artists at The NYC&GF and The Frick Pittsburgh”

Organized by Dawn Reid Brean, Associate Curator of Decorative Arts at The Frick Pittsburgh, and Leslie Ferrin of Ferrin Contemporary.

In 2017, twenty contemporary artists were invited to respond to and produce new works that reference the art, objects and social history of the The Frick’s collections. Selected works by these artists whose artistic practice is informed by the past will preview in a special exhibition at the NYC&GF followed by the full exhibition at The Frick Pittsburgh, February 16–April 27, 2018. Click for more.

See below for illustrated lecture by Dawn Reid Brean.

LECTURE HIGHLIGHTS

“Pincus: Channeling Josiah Wedgwood”
with Peter Pincus
Friday, January 19, 12pm

Artist Peter Pincus speaks about his research and into the Wedgwood Collections at Birmingham Museum of Art and how conversations with curator Anne Forschler of the Birmingham Museum of Art are being incorporated into his new work and teaching. Pincus is visiting assistant professor of ceramics in the School for American Crafts at the Rochester Institute of Technology. Click for more.

“Revive, Remix, Respond: Contemporary Ceramic Artists at The Frick Pittsburgh”
with Dawn Brean and artists TBD
Friday, January 19, 2–3:00 p.m.

Dawn Reid Brean, Associate Curator of Decorative Arts at The Frick Pittsburgh, with Leslie Ferrin of Ferrin Contemporary and artists featured in the exhibition whose work is inspired by, responds to, or relates to historic ceramics in The Frick Pittsburgh’s permanent collection. Click for more.

“Time Travel in the Period Room”
with Elisabeth Agro, Barry Harwood, Sarah Carter
Friday, January 19, 4–5:00 p.m.

Three museum curators speak about exhibitions and projects that connect past and present in innovative ways, activating spaces through collaborations with contemporary artists and interdisciplinary scholars and informing new works. The curators will share how through working with contemporary artists and interdisciplinary scholars new works evolved, historic information revealed, audiences engaged, educational programming developed and connections made to the past while reflecting on present day issues.

• Elisabeth Agro is The Nancy M. McNeil Curator of American Modern and Contemporary Crafts and Decorative Arts at the Philadelphia Museum of Art
• Sarah Anne Carter, Ph.D. is the Curator and Director of Research of the Chipstone
Foundation
• Barry R. Harwood, Ph.D. is the Curator of Decorative Arts at the Brooklyn Museum

Click for more.

“American Studio Pottery — Making of a Movement”
Adrienne Spinozzi with Linda Sikora and Mark Shapiro
Saturday, January 20, 4pm

Internationally recognized potters Linda Sikora and Mark Shapiro discuss their divergent backgrounds, training, and influences as a way to touch on significant themes in postwar North American ceramics.

Moderator Adrienne Spinozzi is Assistant Research Curator of American Decorative Arts, The American Wing, at The Metropolitan Museum of Art. Linda Sikora resides near Alfred NY where she has a studio practice and is a Professor or Ceramic Art at Alfred University. Mark Shapiro is a potter in Western Massachusetts. He is a frequent workshop leader, lecturer, curator, panelist, and writer, and is mentor to more than a half-dozen apprentices who have trained at his Stonepool Pottery. Click for more.

Chris Antemann, “Shell Stand” 2016, porcelain, china paint, decals, luster, 21” x 10” x 10”.
Robin Best, “The Aldrovandi Vases” 2017, porcelain, on-glaze Xin Cai, 12.5 x 5″ each.
Stephen Bowers, “Plates”, Various 2015-7
Bouke de Vries, “Peacock 1″ 2016, twentieth-century Chinese porcelain bird, eighteenth-century Chinese porcelain fragments, mixed media, 24 x 13.5 x 25”.
Edward Eberle, “The Least of Eye is Flesh” 2007, porcelain, stain, 11.25 x 17.5 x 18″.
Evan Hauser, “Preservation & Use (Yosemite Valley, Glacier Point Trail, 1873, Albert Bierstadt)” 2017, porcelain, gold leaf, 15 x 11 2.5″.
Charlotte Hodes, “Dressed in Pattern: Portrait” 2016, handcut transfer on china, 11.25 x 29 x 1″.
Sergei Isupov, “Growth Rings” 2016, porcelain, underglaze, glaze, 23 x 10 x 6.5″.
Steven Young Lee, “Gourd Vases with Dodos” 2018, porcelain, cobalt pigment, glaze, 10 x 19 x 18”.
Crystal Morey, “New Symbiosis: Pronghorn” 2017, porcelain, 10.5 x 6 x 4.5″.
Kadri Pärnamets, “Picnic” 2014, porcelain, glaze, stain, 7.5 x 10.25 x 4″.
Peter Pincus, “Vase” 2018, colored porcelain, 16 x 7″.
Paul Scott, “Scott’s Cumbrian Blue(s), Houston No:3” 2017, in-glaze decal collage on pearlware shell edge platter c 1820. 15.75 x 11.75” (400mm x 300mm).
Mark Shapiro, “MORON” double walled vase.
Linda Sikora, “Small Group” 2017–8, porcelain, stoneware, approximate sizes: kettle 10 x 11 x 9″, box 8 x 7 x 7″, stand 1.5 x 11 x 11″.
Caroline Slotte, “Going Blank Again” 2016, reworked second hand ceramics.
Dirk Staschke, “Vanitas 1″ 2015–6, ceramic, 11 x 8 x 8”.
Mara Superior, “Venus of Urbino” 2018, porcelain, underglazes, oxides, glaze, gold leaf, decal, 13 x 19 x 3″.
Susan Thayer, “Return” 2016, teapot: porcelain, china paint, glazebase: lowfire stoneware, slip, 16 x 9 x 5″.
Kurt Weiser, “Random House (globe)” 2017, porcelain, glaze, china paint, metal, 30 x 14 x 14″.

Dirk Staschke "Vanitas 1"