Project Tag: Evan Hauser Past

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

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


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.”


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


240 Summit Ave.
St. Paul, MN 55102

click HERE to inquire about works for sale.










Canary Syndrome

September 27–November 4, 2018 at Ferrin Contemporary

Ferrin Contemporary is pleased to present Canary Syndrome, a group show featuring recent works by U.S. and U.K.-based artists including Elizabeth Alexander, Evan Hauser, Elliott Kayser, Stephen Young Lee, Beth Lipman, Livia Marin, Paul Scott, Bouke de Vries, and Jason Walker, on view Sept. 27 to Nov. 4. An opening reception will be held at Ferrin Contemporary, located at 1315 MASS MoCA Way, on Sept. 27, from 5 to 7 p.m., in conjunction with DownStreet Art, a program of Massachusetts College of Liberal Arts’ Berkshire Cultural Resources Center. The reception is free and open to the public.

The exhibition, inspired by the saying “canary in the coal mine”, suggests that artists, much like the caged canaries once used by coal miners as early indicators of dangerous gases in tunnels, are hypersensitive to the adverse conditions and forces that jeopardize human existence. Through their artwork, the artists in Canary Syndrome employ visual means to accentuate threats to the health of the environment, culture, and ethics — really, the condition of civilization in general, and to warn of worse things to come.

The now-discontinued practice of carrying canaries deep into coal mines to detect carbon monoxide and other toxic gases dates back to 1911. The phrase “canary in the coal mine” is widely used as an allusion by whistleblowers sounding an early alert for broken systems and dangerous conditions. Al Gore used the phrase in reference to indicators of global warming in his book and film, “An Inconvenient Truth: The Planetary Emergency of Global Warming and What We Can Do About It”. The planet’s “canaries”, Gore said, are the melting polar icecaps, a result of increasing levels of carbon monoxide in the atmosphere.

“Ferrin Contemporary is presenting Canary Syndrome as both an opportunity to reflect upon fragile beauty as well as provide inspiration to fellow travelers who are facing an overwhelming sense of antipathy and futility in our world today,” said Gallery Director Leslie Ferrin. “It’s our hope that art and artists will motivate others and help to fuel a societal call to action.”

The diverse and thought-provoking artworks in the exhibition invoke ominous portents and herald a call for change on a global level. The works of Elizabeth Alexander, Elliot Kayser, Steven Young Lee, Beth Lipman, Livia Marin, Paul Scott, and Bouke de Vries explore the concept of the flaw, the crack, the mistake, and the resulting debris, within the delicate world of ceramics and fragile glass.

De Vries’s glass cloud is an assemblage of shards of glass from recognizable broken objects, forming a 21-inch-high mushroom cloud. Kayser uses glaze “blisters” on black cow figurines and Scott repurposes a 19th-century platter with the addition of a photo collage of Houston that memorializes Hurricane Harvey’s rising waters. Alexander, Lee, Lipman, and Marin work with processes that exploit melting, etching, breakage, and erasing to produce metaphoric imagery that is often a harbinger of doom. The artists reference forms and history associated with familiar domestic objects such as plates and figurines, along with pottery shards, to reveal something new, carrying a foreboding warning.

Artists in the exhibition who use imagery to deliver their message include Evan Hauser, whose use of ceramic decal prints of Hudson River School paintings applied to Styrofoam cooler lids, cast in porcelain, reexamines historic and cultural scenes in a contemporary context. Jason Walker explores the consequences of manifest destiny, referencing the inherent conflict between man and nature, with meticulous illustrations painted on porcelain sculptures of birds and fish, which he has combined with cast porcelain machine parts made from gears, conduit, and aerators, and used as formal elements.

“The very act of creating provides these artists with an outlet for the anxiety caused by relentless exposure to contemporary conflicts,” said Ferrin. “They are compelled to address environmental and societal issues through their practice and are sounding the alarm in the form of beautiful and compelling pieces of art.”

For more information about the exhibition and individual artists, see

Elizabeth Alexander
Evan Hauser
Elliott Kayser
Stephen Young Lee
Beth Lipman
Livia Marin
Paul Scott
Bouke de Vries
Jason Walker









7227 Reynolds St., Pittsburgh, PA

February 17–May 27, 2018


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.




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.