Exhibiting Internationally | 2019 â Present
CURRENT LOCATION
Shelburne Museum, Shelburne, VT (US)
May 11 – October 20, 2024
NAS | GUIDE & GLOSSARY
New American Scenery has been exhibiting internationally since 2019.Â
Initially guided by the images depicted in the historic transferware, Paul traveled to cities, explored natural landscapes, met collaborators, and produced a body of work now known as PAUL SCOTT: New American Scenery. First shown in the newly renovated porcelain room at RISD Museum curated by Elizabeth Williams, the exhibition traveled next to Albany Institute of History & Art in 2022 and selected works featured in exhibitions at other locations in both the USA and UK and four open now in the USA.
Paul Scott is a leading figure in the international field of ceramics and print. He is known for his manipulation of transfer-printed designs on factory-made domestic tablewares, which thus become vehicles for socio-political commentary. New American Scenery is permeated with his response to the âAmericanâ transfer-printed tablewares that were produced in Staffordshire during the first part of the nineteenth century, exclusively for export to America. They have a common format of a central motif framed within an ornamental border and are decorated with imagery that celebrates the new republic. Scottâs New American Scenery work often maintains the same traditional format, while his surface imagery highlights a range of contemporary themes and issues. On the reverse of each piece can be found his makerâs mark, information about the printed edition to which it belongs and his signature; several pieces also offer substantial narrative accounts of the subjects depicted.
Paul Scott: New American Scenery, was made possible by an Artist In Residence grant from the Alturas Foundation, with additional support from Ferrin Contemporary, RISD Museum, Arts Council England, and Albany Institute of History & Art.
In New American Scenery, Scott scrutinizes the American landscape from a contemporary perspective, one that grapples with issues of globalization, energy generation and consumption, capitalism, social justice, immigration, and the human impact on the environment. The images that Scott creates for his ceramics depict unsettling views of nuclear power plants, aging urban centers, abandoned industrial sites, wildfires, and isolating walls. As representations of the American landscape, they suggest a subversion of the picturesque aestheticâthe unpicturesque picturesqueâand a new, disturbing norm.
“NAS” includes the following bodies of work, many of which were conceived on location and/or with insights from significant collaborators. Each highlighted title below represents a sub-series containing multiple iterations and/or designs.
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.
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 inmatesâ connection to the Black Panther Party.
Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, Angola 3″ 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11 x 11 x 1”.
Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, The Angola 3″ back, 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11x 11 x 1”
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.Selâs 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 cityâs dangerously inflated wealth gap.
“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 Halseyâs classic âNew York on Dark Blue Staffordshire Potteryâ. Published in 1899, the limited edition tome plotted the history of the genre, illustrated by sumptuous photogravures in blue depicting a comprehensive range of pictorial transferwares. 120 years later, in my New American Scenery series of artworks I updates some of these early subject matters of New York using 21st century alternatives.
Scott’s Cumbrian Blue(s), New American Scenery, “Fleurs.de.sel’s New York”, 2019, (set of twelve plates), In-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze., 11 x 11 x 1″, 11″ or 28 cm diameter (each plate)
Stop, Keatâs & Palm Too⌠511 Too⌠Chicken PlaceâŚMexicana⌠Laundry Project 23, ChelseaHypermarket, Chelsea Square⌠Canal StreetâŚ. Stairs 361⌠Hot DogsâŚ. Village Pizza⌠Pizza Park⌠Rayâs Pizza, Jakes Saloon, Meatballs.
California Wildfires
souvenir plate addresses ecological precarity by referencing the most severe wildfire season in Californiaâs history that occurred in 2020.
Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.
Back of Paul Scott, “Cumbrian Blue(s), New American Scenery, California Wildfires No:1″, 2019, in-glaze screen print (decal) on partially erased ‘Beauty Spots of California’, Staffordshire souvenir transferware plate, 9.75 x 9.75 x 1.25”.
“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 âCup Platesâ, tiny coasters used to protect furniture from marks whilst the diner drank coffee or tea from the cupâs accompanying saucer. Measuring between 9 to 11 cm (3.5 to 4 inches) across, the plates are characterised by deep cobalt blue prints melted into a pearlware glaze. Images and patterns were sometimes specifically designed and made for the small form, others (above) were collaged from tissue print details of larger patterns. Because of their small scale, flaws in the prints or their application are more obvious than on larger wares and they have their own aesthetic.
Cumbrian Blue(s), Indian Point cup plate, 4/50. Transferware print on pearlware cup plate, 104mm. dia. Collaborative work with Paul Holdway (former head of engraving at Spode). Tissue print transfer taken from a copper plate engraved by Paul Holdway, Paul Scott 2021.
Paul Scott, “Cumbrian Blue(s), New American Scenery, Indian Point (detail)
“New American Cites, Flint, Belle Island & The Ghost Gardens of Detroit”
I grew up in Birmingham, Britainâs âMotor Cityâ, where the local economy relied on car manufacturersâŚ. Austin, Morris (later British Leyland), Mini, Rover and all the associated motor suppliers. As a student in the early 1970âs, holiday working included âindustrial cleaningâ in the huge Austin works in Longbridge⌠then two summers were spent in an engineering factory in Balsall Heath, assembling brake pipe adjuster clamps (amongst other things). When car production eventually ceased in the city, unemployment, and the impoverishment of communities swiftly followed. I clearly recall the dereliction, then later demolition of huge industrial sites, and the yawing empty spaces. A few years later, similar scenes also became familiar to me in the Staffordshire pottery towns as the British ceramics industry all but collapsed. I was thus well aware, from first hand experience, of the effects of deindustrialisation on urban environments and communities. A series of early Cumbrian Blue(s) artworks reflected the ruin and decay of my home town in prints and tiled panelsâŚ
Paul Scott, “Cumbrian Blue(s), New American Scenery, Detroit Ghost Gardens No:2″, 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 12 x 12 x 1.25”, 30.48 x 30.48 x 3.18cm.
Paul Scott, “Scott’s Cumbrian Blue(s), New American Scenery, Belle Island Bridge, Detroit” 2019, in-glaze screen print (decal) on salvaged Syracuse China with pearlware glaze, 11 x 11 x 1″.
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.
NAS | PROGRAMMING
NAS | TOUR SCHEDULE
FOR MORE
View Paul Scott’s Artist Profile
NAS | ALL LOCATIONS
- US | SHELBURNE MUSEUM | MAY 11, 2024 to OCT 20, 2024
- US | LSU MUSEUM OF ART | OCT 27, 2022 to FEB 26, 2023
- US | ALBANY INSTITUTE | AUG 13, 2022 to JAN 3, 2023
- UK | ABERYSTWYTH ARTS CENTER | JUL 9, 2022 to SEP 25, 2022
- UK | BOWES MUSEUM | SEPT 26, 2020 to JAN 9, 2022
- US | RISD MUSEUM | SEPT 13, 2019 to DEC 31, 2021
PAUL SCOTT | CURRENT & RECENT
- OUR AMERICA/WHOSE AMERICA? | group exhibition
- FEB 20 – APR 21, 2024
at The Valentine Museum, Richmond, VA - Rivers Flow/Artists Connect | group exhibition
FEB 2 – SEP 1, 2024
at the Hudson River Museum, Yonkers, NY - CLAYSCAPES | group exhibition
APR 13 – OCT 20, 2024
at the Everson Museum, Syracuse, NY - 50 Years in the Making – Alumni Exhibition | group exhibition
- JUN 13th – SEP 1st, 2024
at The Clay Studio, Philadelphia, PA
NEW AMERICAN SCENERY IN THE US
Visit these museums in the US that have recently acquired work from Scottâs American Scenery series.
Birmingham Museum of Art
Boston MFA
Brooklyn Museum
Carnegie Museum of Art
Chipstone Foundation
Crocker Art Museum
Hood Museum of Art
Los Angeles County Museum of Art
Montgomery Museum of Fine Arts
Mount Holyoke Art Museum
Newark Museum
RISD Museum
Shelburne Museum
Yale Art Museum
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
NAS | AT MUSEUMS
PAST EXHIBITIONS
This installation juxtaposes early 19th-century Staffordshire ceramic transferwares drawn from the shelves of the RISD Museum storage with new Cumbrian Blue(s) artworks. Replacing the porcelain works typically on view in the Lucy Truman Aldrich gallery, New American Scenery melds historic printed tablewares, altered antique ceramics, and reclaimed Syracuse China plates with new screenprints to update early transferware subjects for the 21st century.
In the early nineteenth century, imported Staffordshire blue-and-white printed transferwares formed part of the new media of their age. Collected at the beginning of the twentieth century as iconic depictions of the early, independent United States, many were later donated to public art museums inspiring a new wave of pictorial wares.
Over the last five years, Paul Scott has been investigating these transferwares as well as the contemporary landscape of the United States. An ongoing dialogue between documentary, historical, travel and artistic research has led to the creation of a new substantive body of artwork, New American Scenery.
In it, Scott references archives, objects, the motives, and thinking of original collectors as well as the post-industrial landscapes of twenty-first-century America. The new work deals with issues surrounding globalization, energy generation and consumption, capitalism and immigration, and other legacies of history. The artwork includes antique tablewares re-worked by selective erasure, re-glazing, and the addition of newly printed decals. Others involve the re-use of cut, broken fragments using collage and traditional restoration processes, as well as prints and other works on paper.
â RISD installation photography by Erik Gould. All other photography by John Polak.
New American Scenery showcases the latest ceramic works by the contemporary Cumbrian artist Paul Scott, featuring works of historical transferwares that have been updated for today’s audience.
Scott spent five years investigating early blue and white transferwares that were shipped from Staffordshire to the United States in the 19th century. He works with familiar blue and white ceramics, which were available cheaply so more commonly used than collected, to tell modern stories based on his trips around America. He reworks antique wares, erasing, adding and recreating new patterns by reusing cut and broken fragments or adding newly printed decals.
The exhibition will allow visitors to see the contrasts between the old and new shapes and forms and think about decoration and what it means.
