Project Tag: Paul Scott Current

PAUL SCOTT in Hudson River Valley: Echoes

PAUL SCOTT in Hudson River Valley: Echoes

Gamble Family Gallery

Dunedin Fine Art Center
Dunedin, FL

September 13 – December 23, 2024

ABOUT THE EXHIBITION


Group exhibition of artists and experiences encountered in Dunedin’s October 2022 travels to the Hudson River Valley hosted by DFAC’s beloved auxiliary, the Sterling Society.

English, b. 1953, Darley Dale, Derbyshire, England
lives and works in Cumbria, UK

Paul Scott is a Cumbrian-based artist with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft and design, he is well known for research into printed vitreous surfaces, as well as his characteristic blue and white artworks in glazed ceramic.

Scott’s artworks can be found in public collections around the globe – including The National Museum of Art, Architecture and Design Norway, the Victoria and Albert Museum London, National Museums Liverpool, Carnegie Museum of Art, Pittsburgh and Brooklyn Art Museum USA. Commissioned work can be found in a number of UK museums as well as public places in the North of England, including Carlisle, Maryport, Gateshead and Newcastle Upon Tyne. He has also completed large-scale works in Hanoi, Vietnam and Guldagergård public sculpture park in Denmark.

A combination of rigorous research, studio practice, curation, writing and commissioned work ensures that his work is continually developing. It is fundamentally concerned with the re-animation of familiar objects, landscape, pattern and a sense of place. He was Professor of Ceramics at Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelors of Art Education and Design at Saint Martin’s College and Ph.d at the Manchester Institute for Research and Innovation in Art and Design in Manchester, England.

His current research project New American Scenery has been enabled by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. More on New American Scenery, here.

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

CLAYSCAPES

CLAYSCAPES

Clayscapes

At the Everson Museum of Art

Syracuse, NY

April 13 through October 20, 2024

Featuring:
Cristina Córdova
Paul Scott
Steven Young Lee

ABOUT THE EXHIBITION


When he was in college in the 1970s, Syracuse artist and entrepreneur Don Seymour named a series of ceramic landscape sculptures Clayscapes. This hybrid word, with roots in the earth and the ceramic community that is built around shaping it, felt so powerful that when he founded his ceramic supply business in 2003, he named it Clayscapes. A year later, a studio was added, and in 2010, a gallery.

In Central New York, clay is literally a part of the landscape. The ample deposits of clay beneath our feet were formed over many millennia by the weathering of minerals, including the pink granite from the shores of Lake Ontario that comprises a substantial part of the Everson’s building. These resources made it possible for Indigenous Onondaga potters to make some of the most distinctive wares of the Haudenosaunee Confederacy. As the area became colonized by Europeans, potters produced durable crockery for food and alcohol storage, as well as massive amounts of brick and tile. In 1841, W. H. Farrar started a small pottery business, becoming the Onondaga Pottery Company in 1871, and later evolving into Syracuse China, which was at one point the largest manufacturer of porcelain dinnerware in the United States.

Clayscapes is a tribute to clay’s ubiquitous presence in our lives, and to the powerful metaphorical and spiritual role that it can play. The Everson’s famous collection of ceramics is filled with works that explore the landscape—from artist Robert Arneson’s monumental celebration of California’s mountainous landscape to Uruguayan-born Lidya Buzio’s earthy vessels adorned with the skyline of her adopted home in New York City. The collection contains many commercially produced souvenir plates and pitchers meant to commemorate and memorialize specific places. These wares are a distinctive part of the Museum’s collection, and they provide inspiration for contemporary artists such as Paul Scott, who makes commemorative plates that reflect the ways that humans have altered the landscape and exploited its resources.

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson’s ceramic collection is filled with work that documents the joys and sorrows of humankind’s relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison Street
Syracuse, NY 13202

More on the Exhibition HERE

PAUL SCOTT at the Albany International Airport Gallery

PAUL SCOTT at the Albany International Airport Gallery

May 10 – December 31, 2024

ALBANY INTERNATIONAL AIRPORT GALLERY

737 Albany Shaker Road
Albany, NY 12211

ABOUT THE EXHIBITION & PROGRAMMING


CONFECTED, BORROWED & BLUE: Transferware by Paul Scott

Concourse A Gallery is located post-security in the main terminal’s Concourse A. It consists of five walls featuring curated exhibitions of regional artists that change twice yearly. A selection of Paul Scott’s New American Scenery series is now on display in conjunction with his solo exhibition, CONFECTED, BORROWED & BLUE at Shelburne Museum in Shelburne, VT.

English, b. 1953, Darley Dale, Derbyshire, England
lives and works in Cumbria, UK

Paul Scott is a Cumbrian-based artist with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft and design, he is well known for research into printed vitreous surfaces, as well as his characteristic blue and white artworks in glazed ceramic.

Scott’s artworks can be found in public collections around the globe – including The National Museum of Art, Architecture and Design Norway, the Victoria and Albert Museum London, National Museums Liverpool, Carnegie Museum of Art, Pittsburgh and Brooklyn Art Museum USA. Commissioned work can be found in a number of UK museums as well as public places in the North of England, including Carlisle, Maryport, Gateshead and Newcastle Upon Tyne. He has also completed large-scale works in Hanoi, Vietnam and Guldagergård public sculpture park in Denmark.

A combination of rigorous research, studio practice, curation, writing and commissioned work ensures that his work is continually developing. It is fundamentally concerned with the re-animation of familiar objects, landscape, pattern and a sense of place. He was Professor of Ceramics at Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelors of Art Education and Design at Saint Martin’s College and Ph.d at the Manchester Institute for Research and Innovation in Art and Design in Manchester, England.

His current research project New American Scenery has been enabled by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. More on New American Scenery, here.

ABOUT THE ALBANY INTERNATIONAL AIRPORT GALLERY


The Albany International Airport Gallery is located on the third floor of the main terminal, and is fully accessible and open to the public daily. It hosts curated exhibitions featuring regional artists and museum collections that change twice yearly.

ALBANY INTERNATIONAL AIRPORT GALLERY

737 Albany Shaker Road
Albany, NY 12211

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

CONFECTED, BORROWED & BLUE

CONFECTED, BORROWED & BLUE

MAY 11 – OCT 20, 2024

SHELBURNE MUSEUM

6000 Shelburne Road
PO Box 10
Shelburne, VT 05482

ABOUT THE EXHIBITION & PROGRAMMING


CONFECTED, BORROWED & BLUE: Transferware by Paul Scott

The first in a series of “interventions” by contemporary artists features works by British artist Paul Scott, known for his provocative reinterpretation of 19th-century transferware. Plates, platters, and jugs by Scott will be displayed alongside objects from the Museum’s collection creating “segues” that spark dialogue between the old and new.

EVENTS


Important Dates:
May 11, 2024 – Opening
Oct. 20, 2024 – Closing


Opening Reception:
June 7, 2024 | 3pm
Free and open to the public


Public Artist Talk:

Friday, June 7th, 2024 | 3pm
Auditorium, Pizzagalli Center for Art and Education
Free with Museum Admission

Join us as artist, author, curator, and gardener Paul Scott discusses his artistic practice, which includes provocative reinterpretations of 19th-century transferware. Scott will pay special attention to the work he produced for the 2024 Shelburne Museum exhibition Confected, Borrowed & Blue: Transferware by Paul Scott. This show is the first in a planned series of “interventions,” in which contemporary artists respond to Shelburne Museum’s outstanding collections. Plates, platters, and jugs created by Scott—including a special commission exploring the role of the sugar industry in the Museum’s founding—are displayed alongside historical ceramics in the Variety Unit, sparking dialogue between past and present.

Talk will last approximately 45 to 60 minutes, followed by an audience Q & A. The Museum will remain open until 7:30 p.m., allowing attendees time to visit the exhibition after the talk.

LINK TO LEARN MORE

 


Study Day with American Ceramics Circle:

June 7, 2024 | 10 – 5pm
Fees: $50 for members; $60 for guests
(admission and lunch are included)
Limited to 20

Join the American Ceramics Circle for a day of private, curator-led tours and programs at Shelburne Museum, Shelburne, Vermont to explore the ceramic collections and a private tour of “Confected, Borrowed & Blue: Transferware” with the artist Paul Scott.

Click HERE to learn more

Click HERE to register

PRESS


Renowned British Artist Paul Scott on view at Shelburne Museum

Shelburne Museum| July 18, 2024
Press Release

SHELBURNE, Vt. (July 18, 2024)—Shelburne Museum presents the work of renowned British artist Paul Scott in the exhibition Confected, Borrowed & Blue: Transferware by Paul Scott that includes provocative reinterpretations of 19th-century transferware from Shelburne Museum’s permanent collection along with a work commissioned for the exhibition.

VIEW PRESS RELEASE

Paul Scott’s Provocative Ceramics Reinvent Transferware Traditions

Seven Days | June 19, 2024
Article by Pamela Polston 

A recently opened exhibition at Shelburne Museum, titled “Confected, Borrowed & Blue,” presents a selection of the internationally known British artist’s transferware updated for modern times.

VIEW ARTICLE

English, b. 1953, Darley Dale, Derbyshire, England
lives and works in Cumbria, UK

Paul Scott is a Cumbrian-based artist with a diverse practice and an international reputation. Creating individual pieces that blur the boundaries between fine art, craft and design, he is well known for research into printed vitreous surfaces, as well as his characteristic blue and white artworks in glazed ceramic.

Scott’s artworks can be found in public collections around the globe – including The National Museum of Art, Architecture and Design Norway, the Victoria and Albert Museum London, National Museums Liverpool, Carnegie Museum of Art, Pittsburgh and Brooklyn Art Museum USA. Commissioned work can be found in a number of UK museums as well as public places in the North of England, including Carlisle, Maryport, Gateshead and Newcastle Upon Tyne. He has also completed large-scale works in Hanoi, Vietnam and Guldagergård public sculpture park in Denmark.

A combination of rigorous research, studio practice, curation, writing and commissioned work ensures that his work is continually developing. It is fundamentally concerned with the re-animation of familiar objects, landscape, pattern and a sense of place. He was Professor of Ceramics at Oslo National Academy of the Arts (KHiO) from 2011–2018. Scott received his Bachelors of Art Education and Design at Saint Martin’s College and Ph.d at the Manchester Institute for Research and Innovation in Art and Design in Manchester, England.

His current research project New American Scenery has been enabled by an Alturas Foundation artist award, Ferrin Contemporary, and funding from Arts Council England. More on New American Scenery, here.

ABOUT THE SHELBURNE MUSEUM


Shelburne Museum is an unparalleled and unique experience of American history, art, and design. Designed to allow visitors the pleasure of discovery and exploration, the Museum includes thirty-nine distinct structures on forty-five acres, each filled with beautiful, fascinating, and whimsical objects. Come play in our gardens and open our many doors. You are welcome here.

Click to Read More HERE

SHELBURNE MUSEUM

6000 Shelburne Road
PO Box 10
Shelburne, VT 05482

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

RIVERS FLOW/ARTISTS CONNECT

RIVERS FLOW/ARTISTS CONNECT

In Rivers Flow / Artists Connect, American artists from the 1820s to the present day explore and illuminate our profound, symbiotic relationship with significant rivers across the globe, from the Hudson and the Susquehanna to the Indus and the Seine.

The cultural, societal, and spiritual significance of rivers is universal, as proven by their lasting presence in art and our collective imagination. In Rivers Flow / Artists Connect, American artists from the 1820s to the present day explore and illuminate our profound, symbiotic relationship with significant waterways, such as the Hudson River, the Susquehanna, and the Missouri, as well as symbolic representations.

The Hudson River Museum’s new West Wing galleries, basking in a dramatic view of the Hudson River and the Palisades, are an opportune setting for this exhibition. It features works by more than forty exceptional artists exploring various aspects of river subject matter from diverse perspectives and heritages. Together, the artists demonstrate—through painting, printmaking, photography, sculpture, and video—their role in recalling and reinforcing our instinctive connection with rivers.

The exhibition considers these bodies of water through aesthetic, functional, spiritual, and ecological lenses. The Allure of the River section addresses the interrelation of scenic beauty and our attraction to rivers. In Sustainer of Life, artists investigate the essential need for access to rivers for water, food, and transportation—our daily infrastructure—as well as profound sacred connections. Finally, Endangered Rivers: A Call to Action reflects on urbanization, industry, and the critical need for continued conservation and activism.

RIVERS FLOW/ARTISTS CONNECT


At the Hudson River Museum | Yonkers, NY | Feb 2 – Sep 1, 2024

ABOUT THE ARTISTS


In many ways, the artists and the rivers they depict are kindred spirits. Just as rivers shape the land and surmount obstacles on their inexorable journey to the sea, artists also boldly confront barriers and challenges, from land access to environmental change. Their creative expressions help us see rivers with new eyes, and perhaps even a renewed sense of wonder, connection, and purpose, as we consider our own community’s rivers and our own responsibility for stewardship.

The exhibition is co-curated by Laura Vookles, Chair of HRM’s Curatorial Department, and guest curator Jennifer McGregor.

FEATURED ARTISTS

Norman Akers • Joe Baker • James Bard • Bahar Behbahani • Karl Bodmer • Daniel Putnam Brinley • Lorenzo Clayton and Jacob Burckhardt • James & Ralph Clews • Samuel Colman • Betsy Damon • John Douglas • Joellyn Duesberry • Robert S. Duncanson • Elaine Galen • Scherezade Garcia • John Hill and William Guy Wall • Daniel Ridgeway Knight • Courtney M. Leonard • Rejin Leys • Maya Lin • Mary Fairchild Low • Ellen Kozak • John Maggiotto • James McElhinney • Frances McGuire • Alison Moritsugu • Tammy Nguyen • Don Nice • Jon Louis Nielsen • James Prosek • Winfred Rembert • Alexis Rockman • Shuli Sadé • Charlotte Schulz • Madge Scott • Paul Scott • Francis Augustus Silva • Joseph Squillante • Jerome Strauss • William Villalongo • Jason Walker • Mansheng Wang • Susan Wides • Tom Yost

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

More on Courtney M. Leonard

English, b. 1953
lives and works in Cumbria, UK

More on Paul Scott

American, b.1973, Pocatello, ID
lives and works in Cedar City, UT

More on Jason Walker

PROGRAMMING


Gallery Talk with Artist Courtney M. Leonard

Sunday, June 16, 2024 | 1:30pm

Our America/Whose America?

Our America/Whose America?

ABOUT THE EXHIBITION


OUR AMERICA/WHOSE AMERICA?

Our America/Whose America? is a call and response exhibition between contemporary ceramic artists and commercially produced historic ceramic plates, figurines and objects placed in conversation with one another, installed on period furniture throughout the Wickham House at the Valentine.

Featured artists include Elizabeth Alexander, Chris Antemann, Russell Biles, Jacqueline Bishop, Judy Chartrand, Cristina Córdova, CRANK, Connor Czora, Michelle Erickson, Sergei Isupov, Steven Young Lee, Jennifer Ling Datchuk, Beth Lo, Justin Rothshank, Paul Scott, Kevin Snipes, Rae Stern, Mara Superior, Momoko Usami and Jason Walker. Historical Works include selections from Ferrin Contemporary’s collection of commercially produced ceramics.

This exhibit is organized by Ferrin Contemporary in conjunction with Coalescence, the 58th annual conference of the National Council on Education for the Ceramic Arts held March 20-23, 2024 in Richmond, Virginia.

  • View the historic collection HERE
  • View The Wickham House HERE
  • View The Valentine Museum HERE
  • View the 2024 Press Release HERE

EXHIBITING ARTISTS


Throughout our forty-year history, we have used multi-artist survey exhibitions as a platform to explore social issues. We’ve focused on gender and feminist perspectives, broached relationship taboos, and challenged historical notions of ceramics and art.

The contemporary artists we’ve invited use their work to assert their autonomy and subjectivity by presenting intertwined cultural critiques through lenses of their own choosing, starting with race, gender, and class. Each of these categories is tentacular and touches upon myriad other ideas including nature, warfare, food and water inequity, and more.

PROGRAMMING


Special Preview on February 21, 2024 from 5 – 7 pm

– Leslie Ferrin & Alex Jelleberg on-site Conference Preview with The Valentine

Coalescence, the 58th annual conference of the National Council on Education for the Ceramic Arts takes place in Richmond, Virginia.

FERRIN CONTEMPORARY ARTISTS AT NCECA


Women Working with Clay: A Shared Purpose

Mar 20, 2024 – Mar 23, 2024

Group Show with Linda Sikora

Location: The Valentine 10th and East Clay Street in historic downtown Richmond

This exhibition is organized by Dara Hartman in conjunction with Coalescence

50 Years in the Making – NCECA Richmond

Mar 20, 2024 – Mar 23, 2024

Group show with Lauren Mabry

50 Years in the Making will examine how 75 Residents since 1974 have coalesced to form the creative identity of The Clay Studio.

Event
Opening Reception
Thursday, March 21, 2024 | 7-9pm
RSVP HERE

Location: Common House | 303 W. Broad Street, Richmond, VA

EVENTS & TOUR DATES


Location for All Events:

The Valentine 10th and East Clay Street in historic downtown Richmond

Wednesday, March 20, 2024 Ferrin Contemporary + Wickham House Tour – Regular Hours

– Alex Jelleberg & Isabel Twanmo on-site with docents to provide guided tours at scheduled times 
11am, 12pm, 1pm, 2pm, 3pm, 4pm

The Valentine is open regular hours during the conference. The Wickham House offers guided tours on the hour. Tours are free to the public with museum admission (free admission on Thursday, March 21!) & free for all NCECA attendees. First come first serve, limit 15 guests per tour.

Thursday, March 21, 2024 – NCECA – MEET THE ARTISTS 5 – 7 pm 

Open to the public all NCECA attendees – Alex Jelleberg  & Isabel Twanmo

OAWA Tour Graphic April 2024

Sunday, April 21, 2024 – Final Guided Tour of Our America/Whose America? | 2-3pm

Join Ferrin Contemporary’s Leslie Ferrin & Alexandra Jelleberg on-site with Valentine Museum docents to provide a final guided tour of Our America/Whose America? in the Wickham House – Open to the public.

The Richmond Stories™ section of this site, which includes an interactive history timeline, features many of the stories that bring history to life in creative, engaging and inclusive ways.

Through educational programs that engage over 14,000 students and teachers each year to community conversations, walking tours, group visits and more, the Valentine offers compelling experiences for visitors of all ages.

The Wickham House at the Valentine Museum, Richmond, VA. Image courtesy of The Valentine Museum.

The Wickham House at the Valentine Museum, Richmond, VA. Image courtesy of The Valentine Museum.

A dialogue-based guided tour of the Wickham House, a National Historic Landmark built in 1812, challenges guests to explore aspects of life in the early 19th century. The Wickham House was purchased by Mann Valentine Jr. and in 1898 became the first home of the Valentine Museum. This historic home allows us to tell the complicated story of the Wickham family, the home’s enslaved occupants, sharing spaces, the realities of urban slavery and more.

OUR AMERICA/WHOSE AMERICA | 2022


OUR AMERICA/ WHOSE AMERICA?


AUGUST 6 – OCTOBER 30, 2022

LESLIE FERRIN
(Director & Founder) Ferrin Contemporary

Our America, Whose America presents a dialogue between contemporary artists and a collection of commercially produced ceramics. This collection of historical objects, collected across the span of several years by Founding Director Leslie Ferrin, is in the form of plates, souvenirs, and figurines from the early 19th through mid-20th centuries. The items were produced in England, Occupied Japan, and various factories in the USA. The exhibition title was chosen from a series of plates produced by Vernon Kiln that features illustrations of American scenes by the painter Rockwell Kent.

In response to this historical collection, contemporary works by nearly 30 participating artists will provide new context and interpretation of these profoundly powerful objects. Seen now, decades and in some cases centuries later, the narratives they deliver through image, characterization, and stereotype, whether overt and bombastic or subtle and cunning, form a collective memory that continues to impact the way people see themselves and others today.

Exhibition At Ferrin Contemporary


1315 MASS MoCA Way, North Adams, MA

ARTISTS & CONTRIBUTORS


Ferrin Contemporary | Exhibition | 2022

OUR AMERICA/WHOSE AMERICA? EXHIBITION CATALOG


Ferrin Contemporary | Exhibition | 2022

Exhibition and catalog production by Ferrin Contemporary staff, catalog layout by Rory Coyne with installation and artwork photography by John Polak Photography, 2022.

  • 58 Page Catalog
  •  Introduction by the Gallery
  • Featuring 23 Artists
  • Installation & Artwork Photos by John Polak Photography

Published by Ferrin Contemporary

HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE, Exhibition & Symposium at the Norman Rockwell Museum, Stockbridge, MA


HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE

Zoom Webinar (online)
Welcome and Opening Program:
Friday, September 23, 2022
7 p.m. to 8:45 p.m.

Symposium Presentations and Panels:
Saturday, September 24, 2022
10 a.m. to 5 p.m.

HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE

A series of compelling talks by Heather Campbell Coyle, Ph.D; Karen Fang, Ph.D; Michele Bogart, Ph.D.; Theresa Leininger-Miller, Ph.D.; and Leonard Davis, followed by conversation with the commentators.

SYMPOSIUM FEATURES


Hidden in Plain Sight: Illustrated Ceramics and American Identity

TIMESTAMPS

0:00 Introduction to Symposium co-curators Stephanie Plunkett and Robyn Phillips Pendleton
23:00 Introduction
28:00 Leslie Ferrin Our America/Whose America? collection and exhibition
46:00 Jacqueline Bishop
52:00 Paul Scott
1:02:00 Elizabeth Alexander
1:11:00 Johnson
1:21:00 Judy Chartrand
1:37:00 Q&A

Hidden in plain sight, illustrations on porcelain and ceramic ware have, throughout history, transformed functional objects into message-bearers for a wide range of political and propagandistic causes, whether exchanged by heads of state or acquired for use or display in domestic settings. Leslie Ferrin of Ferrin Contemporary will discuss the imagery, drawn from popular nineteenth-century prints, that was reproduced on widely distributed ceramics portraying historical events, indigenous people, and notable explorers, inventors, and politicians through a white European lens. The panel will explore how these seemingly ordinary objects, including Rockwell collector plates, have helped to establish firmly held beliefs about American identity. Artists Elizabeth Alexander, Jacqueline Bishop, Judy Chartrand, Niki Johnson, and Paul Scott, will discuss contemporary ceramics, which reject systems of racial oppression and invite reconsideration of the sanitized version of history that was presented for generations.

Historical Perspectives on Illustration and Race

View the Entire Symposium Playlist from the Norman Rockwell Museum

TIMESTAMPS

00:00 START
00:13 Welcome
04:49 Opening Remarks
22:50 Panel: Hidden in Plain Sight – Illustrated Ceramics and American Identity

These concise presentations by Imprinted: Illustrating Race catalogue authors and exhibition lenders will focus on widely-circulated historical representations of race in the press and in popular culture that established a sense of American nationalism for white audiences through the subjugation of Indigenous, Black, and Asian people and cultures.

Witness to History: Collecting Black Americana
Leonard Davis, designer and collector

PAST PROGRAMMING


Ferrin Contemporary | Exhibition | 2022

OPENING RECEPTION

Thursday, August. 11, 2022 | 5-7 pm
during Building 13 Art Walk

CLOSING RECEPTION

Special Guest Artist Paul Scott (UK)

Thursday, Nov. 3, 2022 |  5-7 pm

Closing reception of the ‘OAWA’ exhibition at Ferrin Gallery, with special guest artist Paul Scott (UK) in attendance, as well as select additional artists and the curators in the exhibition.

at Ferrin Contemporary, North Adams, MA

SYMPOSIUM

Historical Perspectives on Illustration and Race

Zoom Webinar (online)
Welcome and Opening Program:
Friday, September 23, 2022
7 p.m. to 8:45 p.m.

Symposium Presentations and Panels:
Saturday, September 24, 2022
10 a.m. to 5 p.m.

NEW AMERICAN SCENERY: The Art of Paul Scott

NEW AMERICAN SCENERY: The Art of Paul Scott

CURRENT LOCATION


Shelburne Museum, Shelburne, VT (US)

May 11 – October 20, 2024

NAS | GUIDE & GLOSSARY


New American Scenery has been exhibiting internationally since 2019. 

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

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

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

In New American Scenery, Scott scrutinizes the American landscape from a contemporary perspective, one that grapples with issues of globalization, energy generation and consumption, capitalism, social justice, immigration, and the human impact on the environment. The images that Scott creates for his ceramics depict unsettling views of nuclear power plants, aging urban centers, abandoned industrial sites, wildfires, and isolating walls. As representations of the American landscape, they suggest a subversion of the picturesque aesthetic—the unpicturesque picturesque—and a new, disturbing norm.

“NAS” includes the following bodies of work, many of which were conceived on location and/or with insights from significant collaborators. Each highlighted title below represents a sub-series containing multiple iterations and/or designs.

New American Scenery Expanded Series & Information:

Across the Borderline


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

READ MORE/VIEW PDF

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

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

The Angola 3


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

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

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

Albany (Souvenirs & Views of New York)


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

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

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

Fleur.de.Sel’s New York


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

READ MORE/VIEW PDF

“New American Scenery, New York and Transferwares”

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

READ MORE/VIEW PDF

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

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

California Wildfires


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

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

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

“Cup Plates”

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

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

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

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

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

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

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

Pattern Samplers


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

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

Posy Vases


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

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PAUL SCOTT | CURRENT & RECENT

NEW AMERICAN SCENERY IN THE US


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

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

IN PUBLIC COLLECTIONS


ADDITIONAL US COLLECTIONS

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

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PAST EXHIBITIONS

Paul Scott is internationally known for his provocative ceramics that highlight political and cultural issues. Familiar designs associated with traditional domestic tableware are subversively manipulated to comment on our life and times. The exhibition includes exciting new work inspired by the blue and white ‘American’ transferware-printed earthenware that was made in Staffordshire during the 19th century and decorated with celebratory views of the emergent American republic.
Many of the pieces on display have resulted from periods of travel and research in the USA, where Paul’s activities were, in his words, ‘driven by issues and institutions as much as a desire to experience particular landscapes.’ He studied examples of American transferware in museum collections and visited many of the locations depicted, subsequently producing up-dated views that reflect current events as well as historical, environmental and social change. These ceramics have often involved a high degree of technical wizardry, whereby visual motifs are magically altered and meanings are transformed. The exhibition marks 20 years since Paul Scott first showed his work in the Ceramics Gallery at Aberystwyth Arts Centre.
Research in the USA supported by the Alturas Foundation.
Research in the archives at Wedgwood, Spode and the Victoria and Albert Museum, London, supported by Arts Council England.

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

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

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

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

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

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ABOUT THE EXHIBITION

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

THE BOWES MUSEUM


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

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

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

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

ARE WE THERE YET?

ARE WE THERE YET?

ABOUT THE EXHIBITION


North Adams, MA —

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. What began in 1979 as a woman-owned cooperative studio and gallery in Northampton, MA has flourished across the years and the locations to become the international ceramic experts and material champions known as Ferrin Contemporary.

During the course of four decades, the gallery has championed artists whose primary medium is clay. Beginning with a commitment to providing support for living artists, decades-long relationships grew with artists whose works explore traditions and history, deliver social commentary, experiment with the material, and use the medium to challenge themselves to produce new works.  

As part of the exhibition, selected classic works will be presented directly from the artists’ archives or offered by private collectors, illustrating career highlights both in the gallery and online. The exhibition asks us, the artists, and the collectors to reflect on the road we’ve taken and invites the public to join the dialog while we speculate about the future.