What types of art do you specialize in?

We specialize in contemporary ceramics from the 1950s onward, including clay and porcelain sculptures.

Do you offer collection services?

Yes, we work with private collectors and artist archives to organize, document, and appraise ceramic art collections for deacquisition or placement.

Can you help with exhibition development?

Absolutely, we collaborate with museums and cultural institutions to develop and present ceramic art exhibitions.

Do you provide touring programs?

Yes, we curate and organize touring exhibitions for contemporary ceramic artists.

What are legacy projects?

Legacy projects include customized services for artists, such as retrospective catalogs, exhibitions, and museum acquisitions.

Project Tag: Stephen Bowers Past

Aug

2019

FLORA/FAUNA | Chautauqua Institution, Chautauqua, NY

Flora/Fauna

July 25- August 20, 2019, Opening Reception July 25th at 3:00pm

Strohl Art Center/Bellowe Family Gallery at the Chautauqua Institution

Stephen Bowers, Sin-ying Ho, Paul Scott, and Mara Superior present a series of work around the theme Flora and Fuana. Each artists weaves social commentary through the realm the decorative arts, using traditional technique in a new light.

See more about Stephen Bowers

See more about Sin-ying Ho

See more about Paul Scott

See more about Mara Superior

Recent Press about the show

Flora/Fauna, Chautauqua Institution, 2019, Installation view, Images courtesy of ALEXANDER WADLEY/STAFF PHOTOGRAPHER at The Chautauquan

Stephen Bowers, “Rosella & Eucalyptus (Leaf, Flower & Gum-nut Entrée Plate)” 2019, white earthenware, under-glaze colors, clear glaze, gold luster, 10 x 10 x 1″

Stephen Bowers, “The Dodo’s Message” 2019, white earthenware, under-glaze colors, clear glaze, 8.25 x 8.25 x 1.5″.

Stephen Bowers,”Eastern Rosella & Botanical (18th c French Toile’ fabric print patterns)” 2019, white earthenware, under-glaze colors, clear glaze, 13.5 x 13.5 x 2.75″.

Sin-Ying Ho, “Source of Wealth” 2012, Porcelain, hand-painted cobalt pigment, transfer decal, 27 x 20 x 15″.

Sin-Ying Ho, “10.11.1985 Hong Kong” 2010, Porcelain, high fire reduction, hand painted cobalt pigment, decal transfer, enamel, 24 x 14 x 12″.

Sin Ying Ho, “Made in the Postmodern Era no.1” 2008, Porcelain, high fire reduction, hand painted cobalt pigment, computer decal transfer, terra sigillata, 20.5 x 11 x 11”.

Sin-ying Ho, “9.28.2014 Hong Kong” 2014, porcelain, cobalt, decal, terra sigillata, 23 x 12 x 15.5″.

Sin-ying Ho, “Future is in our Hand” 2008, porcelain, cobalt, decal, terra sigillata, 15 x 10″.

Sin-ying Ho, “Histogram No. 2″ 2007, porcelain, cobalt, decal, terr sigillata, 8 x 6 x 8”.

Sin-ying Ho, “Matrix no. 2″ 2007, porcelain, cobalt, transfer, terra sigillata, 8 x 4 x 8”.

Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridgeless/Bridge” 2019, collage with kintsugi, ‘Chinoisserie Bridgeless’ by Minton, with ’St Alban’s Abbey’ by Henshall, (early 19th century transferwares), 10″ diameter.

Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridgeless/Bridge” (back), 2019, collage with kintsugi, ‘Chinoisserie Bridgeless’ by Minton, with ’St Alban’s Abbey’ by Henshall, (early 19th century transferwares), 10″ diameter

Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridge/Bridgeless’, 2019, collage with kintsugi, ’St Alban’s Abbey’ by Henshall with ‘Chinoisserie Bridgeless’ by Minton, (early 19th century transferwares), 10”diameter.

Paul Scott, “Cumbrian Blue(s), The Garden Series, Bridge/Bridgeless” (back), 2019, collage with kintsugi, ’St Alban’s Abbey’ by Henshall with ‘Chinoisserie Bridgeless’ by Minton, (early 19th century transferwares), 10″ diameter.

Mara Superior, ‘Les Fleurs’ 2013, high-fired porcelain, ceramic oxides, underglaze, glaze, 13 x 18.5 x 1.75″.

Mara Superior, “Mother Nature Says, ‘Wake Up'” 2010, porcelain, glaze, wood, pearls, gold leaf, 17 x 22 x 2″.

Dec

2017

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

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”.

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″.

May

2017

RE—Reanimate, Repair, Mend and Meld

ABOUT THE EXHIBITION

January 21–24, 2016
NEW YORK CERAMICS & GLASS FAIR
Bohemian National Hall, 321 East 73rd Street, New York, NY

February 13–April 17, 2016
Ferrin Contemporary
1315 MASS MoCA Way, North Adams, MA, US

Oct 10–Nov 14, 2015
Bluecoat Display Centre
Liverpool, England, UK

Co-curated by Paul Scott and Andrew Baseman

This group exhibition examines the contemporary artistic interest in repaired ceramics. It focuses on materially related forms and graphic material by leading contemporary artists who exploit and explore the surrounding issues of conservation, restoration, over-consumption, reuse, and recycling.

“Before the advent of modern glues, broken ceramics or glass objects were drilled, wired, stapled or riveted together, textiles used to be darned or patched. Home-made or improvised ‘make do and mend’ repairs were made to a loved plate or jug and finer variations of these techniques used by serious conservators. The preciousness of these intimately repaired objects faded with time and in conservation circles practices which interfered with the ‘integrity of the object’ became actively discouraged and disapproved. A few years ago, in spite of their beauty, rivets in plates and wired handles hugely devalued a piece of antique tableware. In some museum collections even the evidence of a staple or riveted repair would be removed and hidden if new conservations took place.

“In more recent times, as we struggle to come to terms with our over consumption of finite resources, the concept of re-cycling has become a central tenet of modern life. There is an increasing interest for crafted, restored, once loved objects so that the obviously repaired,‘traditional’ processes again appear beautiful, functional and intriguing. Whilst their display is not yet common in our public museums, private collections and interests are building. Enthusiast Andrew Baseman has a comprehensive archive of beautifully repaired glass, and ceramic objects, which he makes available to wider public though his wonderful blog.

“For many artists, re-cycling and reuse has long been a natural part of practice; as well as ecological soundness, trash is generally cheap (if not free). Existent, damaged worn or broken objects carry messages, they have already had a life and carry evidence of their journey in material fabric. This realized physicality can be used or exploited in aesthetic form, as conceptual device or collateral evidence. Discarded graphic material has long been used in collage and more recently material from industrial archives are also being used to create new iterations.”

— Paul Scott, co-curator and artist

Click here to view or download press release.

Click here to view press coverage of “Mended Ways: The Inventive Art of Repair.”

Click here to view press coverage from C-File April 28, 2016.

Click here to view the video of Paul Scott presenting work from this exhibition at the Bluecoat Display Centre in October 2015. (His segment begins at 11:55 minutes.)

May

2017

MENDED WAYS | The Art of Inventive Repair

ABOUT THE EXHIBITION

MENDED WAYS: The Art of Inventive Repair

A special exhibition presented by Andrew Baseman

January 21–24, 2016
New York Ceramics & Glass Fair
Bohemian National Hall, 321 East 73rd Street, New York, NY

An exhibit of repaired historic pieces from Baseman’s collection complemented with work from contemporary ceramic artists whose work imitates, replicates, or honors the inventive repairs of the past.

“Before the invention of Krazy Glue, broken household items were brought back to life with flair and ingenuity.” Examples of repaired historic pieces from Baseman’s collection will be complimented with work from contemporary ceramic artists whose work imitates, replicates, or honors the inventive repairs of the past.

Baseman presented a lecture at the New York Ceramics & Glass Fair 2016.
Click here for part one and part two.

RE—Reanimate, Repair, Mend and Meld

This curated exhibition examines the contemporary artistic interest in repaired ceramics. It focuses on materially related forms and graphic material by leading contemporary artists who exploit and explore the surrounding issues of conservation, restoration, overconsumption, reuse, and recycling.

May

2017

NEW YORK CERAMICS & GLASS FAIR 2015

Bohemian National Hall, 321 East 73rd Street
(between 1st & 2nd Avenues)
New York, NY

SELECTED WORKS FROM CURRENT PROJECTS
Ferrin Contemporary booth on the 4th floor

MADE IN CHINA: THE NEW EXPORT WARE
Ferrin Contemporary Special Exhibition Booth on the 3rd Floor

EVENTS

MEET THE ARTISTS
in the Special Exhibition Booth on the 3rd Floor

Join us for a conversation about MADE IN CHINA: THE NEW EXPORT WARE with artists Sin-ying Ho and Robert Silverman. The discussion will be moderated by Leslie Ferrin, curator of MADE IN CHINA and director of Ferrin Contemporary. A tour of the exhibition with the artists and curator, will follow.

MADE IN CHINA ARTIST & CURATOR LECTURES

Friday, January 23, 2015

12 noon
ARTIST TALK: Paul Scott
Duchess, Dogs, Detroit, Dragons, Handles and Cherrypickers: Re-Animating the Transferware Archives of an Industry with Paul Scott: artist, author, and professor at the Oslo National Academy of the Arts Norway

1:30 p.m.
BOOK SIGNING: Paul Scott
Join us! Paul Scott will sign and present his new book Horizon, Transferware and Contemporary Ceramics.

2 pm
CURATOR TALK : Leslie Ferrin
Made in China: New Export Ware from Jingdezhen with Leslie Ferrin, curator of MADE IN CHINA and director Ferrin Contemporary

4 pm
ARTIST TALK: Garth Johnson
I’m So Fancy: Young Artists Take On Historical Ceramics with Garth Johnson, Curator of the Arizona State University Ceramics Research Center and Director-at-Large of the National Council on Education for the Ceramic Arts (NCECA).

Saturday, January 24

12 noon
LECTURE: RON FUCHS II
The Most Dangerous Imitations: Fake Chinese Export Porcelain of the 1920s and ’30s with Ron Fuchs II, Curator of the Reeves Collections at Washington and Lee University.

3pm
CONVERSATION and TOUR with artists and curator

Click here to view press release.
Click here for downloadable pdf of press release.

SELECTED WORKS FROM CURRENT PROJECTS

Frances Palmer

Bonnie Smith

This group exhibition brings together work by several top ceramic artists represented by Ferrin Contemporary. Included will be pieces by Stephen Bowers, Claire Curneen, Steven Young Lee, Frances Palmer, Paul Scott, Bonnie Smith, Vipoo Srivilasa, Mara Superior, and Kurt Weiser. Form and surface merge in various constructions embodying elements of the human form, of animals, and of abstracted thought. The work in this exhibit gives a taste of the broad range of work being created in ceramics today.

MADE IN CHINA: THE NEW EXPORT WARE

Julie Bartholomew

Caroline Cheng

Sam Chung

Future Retrieval

Paul Mathieu

MADE IN CHINA examines the contemporary, ceramic-centric exchange between eastern and western artists and markets. Marked by ever-increasing cross-cultural collaboration, this contemporary ceramics movement emerging from China is urging a re-definition of today’s export ware.
Exploring the growing cultural exchange between east and west.
With increasing frequency, western artists are traveling to China to produce ceramic work using traditional Chinese methods. In this exhibition, Ferrin Contemporary brings together work that reveals the essential aspects of contemporary ceramics currently coming out of China.

It is a dynamic relationship with appropriation and collaboration occurring in both directions.

Click here to read Blouin Art Info on Made in China.
Click here to read “Yes Virginia, Collecting Ceramics Can Be Hip” by Lynn Byrne of DXV American Standard.
Click here to read “Marketplace | New York Ceramics & Glass Fair 2015” on CFile.
Click here to read “Emporiums of the Waggish and Weird” by William Grimes in The New York Times.
Click here to read “Ceramics Crack the Contemporary Art Market — Breaking the Mold” by Brook Mason in the New York Observer.
Click here to read “New York Ceramics & Glass Fair 2015” by Andrew Baseman in Past Imperfect: The Art of Inventive Repair.
Click here to read “New York Ceramics & Glass Fair 2015 at Bohemian National Hall” by Alison Ng in Asian in NY.

May

2017

CERAMIC TOP 40

SURVEY EXHIBITION

2013 – 2015 | 3-City US TOUR

ABOUT THE EXHIBITION

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

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

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

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

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

Jason Walker, “Infinite Growth”, 2013, porcelain, china paint and glaze, 84 x 36 x 3″

Doda Design: Aya Margulis & Rae’ut Stern, “Web Souvenirs” 2010-2013, earthenware, under glaze, glaze, gold luster, digital print, 148 x 42″.

Mark Cooper, “YuYu Kansas” 2013, installation using ceramic, wood, fiberglass, digital photography, rice paper, size variable.

Tip Toland, “Long Ago and Far Away”, 2008, stoneware, paint, pastel, synthetic hair, fiddle, bow, 78 x 31x 30″. Courtesy of Barry Friedman Ltd.

Linda Sormin, “List”, 2013, ceramic, found materials, 16 x 23 x 15″

Susan Beiner, “Germinating Domes”, 2012, porcelain, acrylic rods, foam, thread, 40 x 46 x 45″

CERAMIC TOP 40 CATALOG

Ceramic Top 40 cover

Click here to view.

Click here to order a print copy.

EXHIBITING ARTISTS

CERAMIC TOP 40 ARTISTS

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

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

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

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

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

Susan Beiner, “Germinating Domes”, 2012, porcelain, acrylic rods, foam, thread, 40 x 46 x 45″

Jessica Brandl, “The Rime of the Ancient Mariner” 2013, terracotta, 28 x 34 x 10″.

Andy Brayman, “Vase with Orange and Blue” (left), 2013, porcelain, glaze, decals, 19 x 10 x 7″. “Black Vase with Yellow and Green” (right), 2013, porcelain, glaze, decals, 17.5 x 10 x 7″

Beth Cavener, “Obariyon”, 2013, stoneware, antique hooks, 17 x 46 x 30″

Craig Clifford, “Flush” 2013, earthenware, casting slip, 10 x 16 x 5″.

Mark Cooper, “YuYu Kansas” 2013, installation using ceramic, wood, fiberglass, digital photography, rice paper, size variable.

Doda Design: Aya Margulis & Rae’ut Stern, “Web Souvenirs” 2010-2013, earthenware, under glaze, glaze, gold luster, digital print, 148 x 42″.

Misty Gamble, “Indulgence” and “Succulence” 2012, ceramic, variable size.

Walter McConnell, “A Theory of Everything: White Corner”, 2011-13, porcelain, glaze, plywood, 77 x 39 x 39″

Kate Roberts, “The Space Between You and Me”, 2011, colored porcelain, mirror, tulle, 96 x 60 x 6″

Stephanie Rozene, “The Politics of Porcelain” 2011, porcelain, glaze, 48 x 156″.

Adam Shiverdecker, “Banquet Series: Red Krater 1″ 2013, stoneware, nichrome, steel, 14 x 12 x 14”

Dirk Staschke, “My Beautiful Nothing” 2010, ceramic, mixed media, 96 x 21.75 x 126″. Courtesy of Wexler Gallery

Clare Twomey, “Is It Madness. Is It Beauty.” 2010, video.

Jason Walker, “Infinite Growth”, 2013, porcelain, china paint and glaze, 84 x 36 x 3″

Future Retrieval: Guy Michael Davis and Katie Parker, “Grand Theft Lion” 2013, porcelain, china paint, grammertry, rapid prototying, 11 x 8 x 7″.

Future Retrieval: Guy Michael Davis and Katie Parker, “Grand Theft Lion” 2013, Future Retrieval: Guy Michael Davis and Katie Parker, “Grand Theft Lion” 2013, porcelain, china paint, grammertry, rapid prototying, 11 x 14 x 7″.

Brian R. Jones, “Alembic (Letter B)” 2012, earthenware, slips, glaze, plywood, milk paint, 18 x 18 x 3″.

Rain Harris, “Florem Vernum” 2013, wood, black clay, resin, silk flowers, 21 x 13 x 12″.

Giselle Hicks, “And Then It Was Still, II” 2012, porcelain, glaze, wood, 50 x 60 x 24″.

Stephen Bird, “Persian Blue Shoot Out” 2012, earthenware, pigment, glaze, 15.75 x 19.75″. Courtesy Garis and Hahn Gallery.

Stephen Bird, “Adam and Eve with Eyes and Spoon” 2013, earthenware, pigment, glaze, 7.25 x 9 x 2″, photo courtesy Garis and Hahn Gallery

Stephen Bird, “Majolica Shoot Out” 2012, earthenware, pigment, glaze, 15.75 x 19.5″. Courtesy Garis and Hahn Gallery.

Stephen Bird, “What Picasso Called an Erection for the Eyes” 2012, earthenware, pigment, glaze, 11.5 x 8 x 2.5″. Courtesy Garis and Hahn Gallery.

Steven Young Lee, “Cup Panels” (red), 2013, porcelain, copper inlay, glaze, glass shelving, aluminum, 46 x 50 x 4″

Steven Young Lee, “Cup Panels” (white), 2013, porcelain, white slip, glaze, glass shelving, aluminum, 46 x 50 x 4″

Steven Young Lee, “Blue Cup Panel” 2013, porcelain with cobalt inlay, 46 x 50 x 4″

Steven Young Lee, “Vase with Scroll Pattern”, 2013, porcelain, copper inlay, 14 x 19 x 9″

Peter Christian Johnson, “Ovoid #3″ 2013, ceramic, glaze, steel, 21.5 x 62 x 7”.

Peter Christian Johnson, “Blue X” 2014, ceramic, 16.5 x 16.5 x 5″.

Shalene Valenzuela, “Easy Vac: Always in Fashion” 2011, porcelain, underglaze, print transfer, 42 x 11x 14″.

Shalene Valenzuela, “Dressform” 2012, porcelain, underglaze, pins, wooden stand, 56 x 14 x 8″.

Shalene Valenzuela, “Follow the Pattern: Bathroom Vanity” 2012-13, porcelain, underglaze, print transfer, 15 x 21 x 2″.

Michelle Erickson, “Green Squirrel” (left), “Second Amendment Squirrel” (right), 2013, indigenous clay, glaze, 8″.

Michelle Erickson, “Pectin Shell Teapot” 2005, porcelain, jasperware, metallic oxide, underglaze, slip, glaze, gold enamel, 14″.

Sean Erwin, “Adoration of the Golden Calf” 2013, polished porcelain, glaze, steel, resin, cast cement, LED lights, glass, flocking, 9 x 10 x 22″.

Sean Erwin, “The Ego and the Id” 2013, polished porcelain, glaze, steel, resin, cast cement, LED lights, glass, flocking, 13 x 8 x 22″.

Bobby Silverman, “Decision Before Action” 2011, clay, commercial tile, 36 x 28 x 1/2″.

Bobby Silverman, “4 Versions of Red (1)” 2012, re-fired commercial porcelain tiles, 12 x 12″ each.

Robin Best, “The Wallace Line”, 2013, porcelain, onglaze, 8 x 4″

Stephen Bowers, “Explorers’ Skulls” 2010, ceramic, underglaze, stains, 5.25″.

Cristina Cordova, “Codigo I”, 2013, ceramic, 10.5 x 6 x 6″. Courtesy Barry Friedman Ltd.

Thomas Lowell Edwards, “Ridge” 2012, concrete, porcelain, 26 x 13 x 3″.

Leopold Foulem, “Boy with Cape on Empire Style Stand” 2012, ceramic, found object, decal, gold luster, 16.5 x 5 x 4.5″. Courtesy of David Kaye Gallery

Alessandro Gallo, “Scripta elegans” (tarantula), 2011, clay, acrylics, 15.75 x 13.75 x 13″

Gerit Grimm, “Tango” 2012, stoneware, 26 x 17 x 9″

Ryan LaBar, “The Subconscious Shelf” 2011, porcelain, stoneware, 25 x 28 x 22″.

Linda Lighton, “Cause and Effect” 2012, whiteware, glaze, 23 x 25 x 22.5″.

Daniel Listwan, “Biohazard Jasperware: Wedgwood Blue Series” 2013, colored porcelain, tallest: 10″

Lauren Mabry, “Composition of Enclosed Cylinders”, 2013, red earthenware, slips, glaze, 20 x 17 x 6″

Sara Moorhouse, “Large Pulse” 2013, earthenware, underglaze, glaze, 18 x 7″

Ron Nagle, “Snuff Bottle”, 2013, porcelain, glaze, 6 x 2.5 x 2.5″. Courtesy Jeffrey Spahn Gallery.

Anders Ruhwald, “Lamp” 2005-10, earthenware, socket, plug, shade, bulb, 50 x 14 x 14″

Michael Schwegmann, “Ball and Chain”, 2013, porcelain, glaze, 9 x 9 x 38″

Paul Scott, “Cumbrian Blue(s): Crooklands Cow in a Meadow”, 2007/2013, earthenware, tin glaze, bone china platter, inglaze decals, gold lustre, 15.75″

Richard Shaw, “Still Life with Open Drawer” 2013, porcelain, decals, 33 x 13.5 x 14″.

Linda Sormin, “List”, 2013, ceramic, found materials, 16 x 23 x 15″

Shawn Spangler, “Ewer and Salt Cellar with Digital Print” 2013, porcelain, acrylic, paper, digital print by Bryan Czibesz, variable size.

From OBJECT: SPOON 2013, Vipoo Srivilasa, “Spoon of Contentment”, 2013, porcelain, 3 x 16 x 7″.

Emily Sudd, “Untitled”, 2012

Tip Toland, “Long Ago and Far Away”, 2008, stoneware, paint, pastel, synthetic hair, fiddle, bow, 78 x 31x 30″. Courtesy of Barry Friedman Ltd.

May

2017

HORIZON: Landscapes, Ceramics and Prints

Horizon: Landscapes, Ceramics and Print

June 14, 2013 – April 24, 2014
National Museum, Decorative Arts Collection, Oslo, Norway

The exhibition ‘Horizon – Landscapes, Ceramics and Print’ is a visual narrative, illustrating the journey of landscapes, images and patterns through differing media to their realisation on the blue, black, pink, white tableware of The National Museum’s Decorative Arts Collection.

Woven into the display of historical ceramics (including objects from Egersund, Rörstrand, Spode, Arabia) are etchings, engravings and lithographs, as well as objects made by contemporary artists who appropriate this historical genre to observe, record, comment and re-animate. The result is an unexpected journey through cultures, politics, histories and geographies – one that invites us to see a whole group of objects in a new way.

The exhibition includes artists such as:

Stephen Bird (Australia)
Stephen Bowers (Australia)
Robert Dawson (UK)
Leopold Foulem (Canada)
Maria Geszler (Hungary)
Trine Hovden (Norway)
Garth Johnson (USA)
Felix Hug (Switzerland)
Laura McKibbon (Canada)
Carol McNicoll (UK)
Paul Scott (UK)
Richard Shaw (USA)
Caroline Slotte (Finland)
Anne Line Sund (Norway)
Marit Tingleff (Norway)
Gerry Wedd (Australia)
Magdalena Gerber (Czech Republic)

Curator: Paul Scott in collaboration with Inger Helene Stemshaug and Knut Astrup Bull (The National Museum of Art, Architecture and Design)

Paul Scott, “Cumbrian Blue(s) – A Willow for Ai Weiwei, Wen Tao, Liu Zhenggang, Zhang Jinsong, Hu Mingfen” 2012, in-glaze decals on partially erased Willow Pattern platter c.1840, 13.75 x 17″.

Caroline Slotte, from the series “Landscape Multiples”, 2013, reworked second-hand ceramics, 20.5 x 16.5 x 2.75″

Stephen Bowers, “Antipodean Willow” 2013, press molded, earthenware, underglaze, glaze, 12 x 9.5″.

May

2017

NEW BLUE AND WHITE

Robin Best, "The British East India Company - Trade and War", 2012

NEW BLUE AND WHITE

MFA BOSTON

February 20 – July 14, 2013

Discover contemporary interpretations of blue-and-white ceramics

“sumptuous, conceptually elegant show”—The Boston Globe

ABOUT THE EXHIBITION

Exhibition of works by 37 artists, pairs or collectives curated by Emily Zilber, Wornick Curator of Contemporary Decorative Arts, presented with generous support from The Wornick Fund for Contemporary Craft.

“Blue and white” means, at its simplest, cobalt pigment applied to white clay. Over the course of a millennium, blue-and-white porcelain has become one of the most recognized types of ceramic production worldwide. With roots in the Islamic world and Asia, and strong presence in Europe and the Americas, various cultures adapted blue-and-white, from the Willow pattern to isznik. Taking inspiration from global blue-and-white traditions, today’s artists continue the story, creating works that speak to contemporary ideas. They tackle diverse issues, ranging from the public (the political landscape, cross-cultural interchange), to the personal (family, memory, the act of collecting), to the aesthetic (abstraction, pattern, the role of decoration). “New Blue and White” explores the ways in which contemporary makers, working in ceramics as well as other media ranging from fiber to furniture to glass, have explored this rich body of material culture. An international selection of artists and designers is featured in the exhibition, and recent acquisitions of work by the ceramic sculptor Chris Antemann and fashion designers Rodarte are drawn from the MFA’s own collection.

EXHIBITING ARTISTS

For more information and available works by gallery artists featured in the exhibition view profiles below:

Robin Best
Stephen Bowers
Claire Curneen
Michelle Erickson
Molly Hatch
Giselle Hicks
Paul Scott
Adam Shiverdecker
Vipoo Srivilasa
Steven Young Lee
Kurt Weiser

PAST PROGRAMMING

MEET ME AT… New Blue and White | Boston, MA
July 9 – 10
Artist: Robin Best
Visiting Artist Lecture and Behind-the-Scenes private tours with artists and curators

Tuesday, July 9
3 – 4:30 Harvard Museum of Natural Sciences, Blaschka Flowers and Minerals with curator Ethan Lasser

5:30 – 6:30 Artist talk with Robin Best at the Ceramics Program – Office for the Arts at Harvard

Dinner TBA

Wednesday, July 10

10 – 12:00 Michael Lin Freeport Project | Peabody Essex Museum with curators, Trevor Smith and Dean Lahikainen

2:00 – 4:00 New Blue and White | Museum of Fine Arts with curator Emily Zilber

FEATURED ARTISTS

CHRIS ANTEMANN

Chris Antemann, “The Collector”, 2011, porcelain, china paint, decals, 19 x 13 x 10″. Collection of the Museum of Fine Arts, Boston, MA.

Chris Antemann, “The Collector”, 2011, detail, porcelain, china paint, decals, 19 x 13 x 10″. Collection of the Museum of Fine Arts, Boston, MA.

ROBIN BEST

Robin Best, “The British East India Company – Trade and War”, 2012, cast translucent white porcelain, on-glaze painting, silver foil, 12 x 41.25 x 4.25″

STEPHEN BOWERS

Stephen Bowers, “Explorers’ Skulls” 2010, slip cast, oxide stains, underglaze, 5.25″

CLAIRE CURNEEN

Claire Curneen, “Blue” 2013, porcelain, cobalt, gold luste, 24 x 21 x 6″.

Claire Curneen, “Blue”, 2013, Porcelain, cobalt blue, gold luster, 24 x 21 x 6″

GISELLE HICKS

Giselle Hicks, “And Then It Was Still II” 2012, detail, vitreous china porcelain, wood, 48 x 60 x 24″

Giselle Hicks, “And Then It Was Still II” 2012, detail, vitreous china porcelain,wood, 48 x 60 x 24″

Giselle Hicks, “And Then It Was Still II” 2012, detail, vitreous china porcelain,wood, 18 x 12 x 2″

PAUL SCOTT

Paul Scott, “Cumbrian Blue(s) – Spode Works Closed, Italian Blue, 03/10/09/09l,” 2013, in-glaze decal, gold lustre on small Spode casserole, (marked Made in Portugal) salvaged from the kiln area in the closed Spode factory 07/09, 3.5 x 9 x 11.25″. Rhode Island School of Design Collection.

Paul Scott, “Cumbrian Blue(s) – The Hartlepool Ghost Ships” 2013, in-glaze decal, gold lustre on bone china plate, 12″ diameter

Paul Scott, “Cumbrian Blue(s) – A Willow for Ai Weiwei, Wen Tao, Liu Zhenggang, Zhang Jinsong, Hu Mingfen” 2012, in-glaze decals on partially erased Willow Pattern platter (c.1840), 13.75 x 17″.