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 Type: 2018

Oct

2018

PETER PINCUS: Channeling Josiah Wedgwood

November 10–December 29, 2018

Reception and Artist Talk, Saturday, November 10, 5- 7pm

Download Press Release

Ferrin Contemporary presents PETER PINCUS: Channeling Josiah Wedgwood, a creative investigation into the Dwight and Lucille Beeson Wedgwood Collection at the Birmingham Museum of Art in Birmingham, Alabama.

Peter Pincus will debut a new collection of cast vases for his first solo exhibition at Ferrin Contemporary. Using his dynamic color palette, and innovative use of pattern and form, Pincus interprets the historic Wedgwood Collection, providing a contemporary perspective on these historical and important works.

Josiah Wedgwood (1730-1795) was one of 18th century England’s most important potters. He not only modernized the ceramics industry, he created a market for English pottery that extended well beyond its borders. Wedgwood was involved in all aspects of civic life, was a staunch abolitionist, and supporter of the American Revolution. He was the first manufacturer to command widespread consumer recognition and loyalty. His is the first brand name to become synonymous with fine taste.

During a 3-day artist residency at the Birmingham Museum of Art, Pincus researched a selection of forms, glazes and ornamentation from the largest Wedgwood collection in the country. Producing 6 new forms, Pincus explored how his distinct relationship to pattern, color and form has been influenced and affected by the legacy of Josiah Wedgwood.

This exhibition is the preliminary exploration of ideas and technical experimentation leading toward a new body of work and future exhibition. Special thanks to Anne Forschler, Chief Curator, The Marguerite Jones Harbert and John M. Harbert III Curator of Decorative Arts, Birmingham Museum of Art, Alabama and Ted Rowland Residency for Ceramic Artists at the Birmingham Museum of Art for making this unique opportunity available.

Click HERE to learn more about Peter Pincus.

Peter Pincus: Colored Veneers and Plaster Prototyping
Demonstration Workshop November 9–11
Slide Presentation Friday, November 9 , 7–8pm

Click for more details and to register.

Both the workshop and presentation are open to the public but space is limited.
RSVP to info@projectart01026.com

Workshop and presentation to be held at:
ProjectArt
54 Main Street
Cummington, MA

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018.Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. (Front) ‘Relieved’, 2018, 17.25 x 9 x 9″, colored porcelain. (back left) ‘Wedgwood Krater Pair’, 2018, 17.25 x 19 x 7″ (each), (Back Center )’Teapots’, 2018, 10.125 x 5 x 5″ (each), colored porcelain. (Right) ‘Calyx Krater: Excerpt from One Shows Two, Two Influence Twenty’, 2018, 12.75 x 10.5 x 10.5″ (each).

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. (front center) ‘Calyx Krater: Excerpt from One Shows Two, Two Influence Twenty’, 2018, 12.75 x 10.5 x 10.5″ (each). (back left) Wedgwood Krater Pair, 2018, 17.25 x 19 x 7″ (each), (back right )Teapots, 2018, 10.125 x 5 x 5″ (each), colored porcelain. (right) Relieved, 2018, 17.25 x 9 x 9″, colored porcelain.

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. (Front) Relieved, 2018, 17.25 x 9 x 9″, colored porcelain. (Back Left) The Point of Confusion, 2018, 9.625 x 19 x 3.5″ (total), colored porcelain. (Back Center) Vase, 2018, 15.75 x 8 x 8″, colored porcelain. (Back Right) Calyx Krater: Excerpt from One Shows Two, Two Influence Twenty, 2018, 12.75 x 10.5 x 10.5″ (each).

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. ‘Calyx Krater: Excerpt from One Shows Two, Two Influence Twenty’, 2018, 12.75 x 10.5 x 10.5″ (each).

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. (Front) Wedgwood Krater Pair, 2018, 17.25 x 19 x 7″ (each), (back)Teapots, 2018, 10.125 x 5 x 5″ (each), colored porcelain.

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. (Front and Back Right)’Calyx Krater: Excerpt from One Shows Two, Two Influence Twenty’, 2018, 12.75 x 10.5 x 10.5″ (each). (Center Right) ‘Relieved’, 2018, 17.25 x 9 x 9″, colored porcelain. (Back Left) ‘Wedgwood Krater Pair’, 2018, 17.25 x 19 x 7″ (each), (Back Right)’Teapots’, 2018, 10.125 x 5 x 5″ (each), colored porcelain.

Peter Pincus: Channeling Wedgwood at Ferrin Contemporary, North Adams, MA, 2018. (front right) ‘Relieved’, 2018, 17.25 x 9 x 9″, colored porcelain. (Back Left) ‘Wedgwood Krater Pair’, 2018, 17.25 x 19 x 7″ (each), (Back) ‘Teapots’, 2018, 10.125 x 5 x 5″ (each), colored porcelain.

Peter Pincus, Pair of Wedgwood Kraters, 2018, colored porcelain, 17 x 19 x 7″.

Peter Pincus, Pair of Calyx Krater inspired Vases, from the series One Shows Two, Two Influence Twenty, 2018, colored porcelain, 13 x 10.5 x 10.5”.

Peter Pincus, Point of Confusion, 2018, colored porcelain, 10 x 20 x 3.5″.

Peter Pincus, ‘Contrasting Gradient Vases’ 2018, colored porcelain, 11.5 x 4 x 6″ each

Peter Pincus, Vase, 2018, colored porcelain, 13 x 6 x 6″.

Peter Pincus, Relieved, 2018, colored porcelain, 17 x 19 x 7″.

Peter Pincus, ‘Ewers’ 2018, colored porcelain, 10.5 x 6 x 6″.

Peter Pincus, “Handled Vase” 2018, colored porcelain, 11.5 x 4 x 6″

Peter Pincus, “Ewer, c. 1893/2018″ 2018, colored porcelain, 13 x 6 x 5”.

Sep

2018

CANARY SYNDROME

Canary Syndrome

September 27–November 4, 2018 at Ferrin Contemporary

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

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

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

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

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

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

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

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

For more information about the exhibition and individual artists, see ferrincontemporary.com

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

DOWNLOAD PRESS RELEASE

Canary Syndrome, Ferrin Contemporary, September 29 – November 4, 2018

Bouke de Vries, “Glass Cloud 2″, 2017, 17th and 18th Dutch archaelogical glass fragments, mixed media, 21.5 x 13 x 13”

Elliott Kayser, “Black Milk”, 2018, terra cota, underglaze, feldspathic chips, 10 x 20 x8″

Elizabeth Alexander, Various works in Canary Syndrome

Elizabeth Alexander, Canary Syndrome, 2018 Installation, photo by John Polak Photography

Jason Walker, “Osprey”, 2018, porcelain, underglaze, luster, and concrete, 11 x 14 x 6″

Paul Scott, “Scott’s Cumbrian Blue(s), The Syria Series No.9”, in-glaze decal collage and gold luster on partially erased broken plate/bowl c 1800’s, 12 x 10.5 x 2.75

Steven Young Lee, “Gourd Vases with Dodos”, 2018, porcelain, cobalt pigment, glaze, 18 x 19 x 10″

Evan Hauser, “The Tide of History: The Oxbow”, 2018, porcelain, digital ceramic print, wood, cement, steel, epoxy, 29 x 34 x 18″.

Beth Lipman, “Lapsed Concession”, 2018, glass, wood, enamel, adhesive, paint, 33 x 30 x 27″

Evan Hauser, “Preservation and Use #3 (Landscape with River, George Hetzel, 1880)”, 2018, porcelain, gold leaf, 62 x 42 x 2.5″

Jun

2018

MADE IN MOUNTAINDALE II: Raymon Elozua & Micheline Gingras

Made in Mountaindale II

Second Mountaindale Biennale
Art Exhibition

62 Main Street, Mountaindale, NY
Reception: Saturday, July 14, 12 to 4 p.m.
Open: Sunday, July 15, 12 to 4 p.m., and by appointment through September 3, 2018.

For more information, contact: raymon@elozua.com or call 212.260.1239.

Pas à Vendre Production presents the second Mountaindale Biennale: Made in Mountaindale II, featuring recent work by Micheline Gingras and Raymon Elozua, two active artists in the small hamlet of Mountaindale, part of the old “Borscht Belt” in the Catskills.

Micheline Gingras presents a body of collages driven by the anxiety and fear found within the politics of mainstream media. Sourcing her material from The New York Times, Gingras creates images that compress disparate worlds to heighten emotions, revealing theatrical tableaux of reality. Gingras uses visual imagery to address, head-on, the surreal nightmare and confusion of contemporary “news.”

Raymon Elozua presents a new series of sculptures and photographs from his “Hubris” series that explore the loss of vision. Starting with richly colored “blurry” photographs that hint of sculptural objects; the vivid colors meld into one another creating a foggy sense of atmosphere. These images provide context for the corresponding and contrasting sculptures, made of steel and ceramic, inspired by each photograph.

ABOUT THE ARTISTS:

Micheline Gingras (b.1947, Québec City, QC) is a visual artist focusing primarily on painting, drawing, and photography. She received her MFA from L’école des Beaux-Arts de Québec, moving to New York in 1970. She has shown extensively including solo exhibitions at the Musée National des Beaux-Arts du Québec, the Musée d’Art Contemporain de Montréal, and participated in group exhibitions at the Yale University Gallery and the BRIC House in Brooklyn, N.Y., among others. For 37 years, Gingras taught art at St. Ann’s School in Brooklyn, and now divides her time between the city and Mountaindale.

Raymon Elozua (b.1947, West Germany) is a visual artist, working extensively in sculpture and photography. His interest in history, labor, and industry has sparked numerous multimedia web projects including VanishingCatskills.com and LostLabor.com — Images of Vanished American Workers from 1900–1980. Elozua has received numerous grants and awards including three National Endowment for the Arts Awards, a New York State Foundation for the Arts in Ceramics, and, most recently, a Virginia A. Groot Foundation Grant. Exhibitions include a 2003 retrospective at the Mint Museum of Art, and group exhibitions at the Museum of Art and Design and Skidmore College among others. Elozua lives and works in Mountaindale.

Click here to download press release.

Click here to view more work by Raymon Elozua.

Raymon Elozua, 2016, photo: “02 Blur S&S 10-7-6_1799″ 2010, archival inkjet print, 17 x 22”; sculpture: “H: IMF-02″ 2016, terra cotta, white stoneware, glaze, steel rod, steel plate, 23.5 x 17.5 x 20”.

Micheline Gingras, “Thumb Generation” 2017, tempera on newsprint, 22 x 40.

Made in Mountaindale II installation

MAKE YOUR WAY TO MOUNTAINDALE

1.5 hours away from GW Bridge and 1.25 hours away from Kingston, NY

FROM NYC: Take George Washington Bridge upper level to Palisades Pkwy (first exit off bridge). As you near end of Palisades Pkwy, stay on left and exit for Rte. 6. which proceeds into a traffic circle. Follow circle and signs for Rte.6 (Rte. 6 goes over a small mountain.) Stay straight and follow signs to Rte.17. Rte. 6 essentially turns into Rte. 17. (approx. 30 min.) Follow Rte. 17 past exit for Wurtsboro/ Ellenville Rte. 209. Exit 112 is about 3 miles down the road saying Mountaindale. Exit on right. (approx. 30 min.) Turn left at T intersection after exit and turn left again at next immediate tee intersection, which is Wurtsboro Mountain Rd. (County Rd. 176) (Sign for Mountaindale). Follow this road about 1.2 miles to first major intersection, which is a Tee-intersection. (Sign for Mountaindale) You can only turn right on County Rd. 56 (Masten Lake Rd) which turns into New Rd. Follow this road about 8 miles until you come to the end of this road at a tee intersection & a stop light in front of Anderman Oil. Turn right. This is Main St. Follow 3 blocks downtown. Go past abandoned school on right, then karate school and bar on right. Opposite the bar is our gallery at 62 Main Street. 6 buildings down from bar, there will be a narrow driveway between 2 buildings on right. Go down driveway and park in lot on your right. Our building is 29 Main St., a free-standing building. (approx. 20 min.)

FROM KINGSTON: Take Route 209 to Ellenville. Follow Rte. 209 through Ellenville. about 2 miles down the road is an exit for Spring Glen. Turn right and follow road (Old Rte. 209) until you cross a small bridge. (approx. 60 min.) After the bridge is a tee intersection, turn right. This is Spring Glen Rd. which turns into Mountaindale Rd. (approx. 10 min.) Follow road for 8 miles. You will enter Mountaindale. My studio is at 1 Main St. and the gallery is one block down at 62 Main St.

May

2018

2018 Masters in Craft at Chautauqua

2018 MASTERS IN CRAFT

Strohl Art Center, Chautauqua Institute, Chautauqua, NY
June 24–August 20, 2018
Opening Reception Wednesday, June 27, 3–5 p.m.

Several contemporary-proficient artists, who are now considered ‘Masters,’ will be highlighted in this predominantly three dimensional exhibition featuring work in wood, glass, clay, metal, fiber and mixed media. These skillful artists, many of whom have been working for decades, along with some newly recognized artists, will be showing the best of their craft. Their unique styles will collectively create a symmetry of work on display for the entire season in the Gallo Family Gallery in Strohl Art Center.

Sergei Isupov, “Vernal” 2016, porcelain, slip, glaze, 17.5 x 9 x 8″.

Sergei Isupov, “Growth Rings” 2016, porcelain, underglaze, glaze, 23 x 10 x 6.5″.

Sergei Isupov, “Winter–Summer,” 2015, porcelain, slip, glaze, 16.5 x 8 x 8.5″.

Mar

2018

DIRECTIONS: Sergei Isupov

ABOUT THE EXHIBITION

April 28–July 22, 2018
Ferrin Contemporary
1315 MASS MoCA Way, North Adams, MA

RECEPTION & DEMONSTRATION
Saturday April 28, 4-6 pm

Ferrin Contemporary presents DIRECTIONS: Sergei Isupov, the first exhibition in a series in which the gallery will shine focus on artists whose recent work captures a transitional moment in their creative process. The DIRECTIONS series shows results from technical experimentation and explores the development of new installation concepts.

First to be presented is work by Sergei Isupov, whose sculpture titled Directions, inspired the series. A larger-than-life, authoritarian figure, the sculpture points towards a group of the artist’s smaller porcelain works which explore a range of ideas leading in new directions. Isupov, an established sculptor based in Cummington, MA, and Tallinn, Estonia, is world known for his surrealistic, figure-ground personal narratives which simultaneously integrate painted imagery and dimensional surfaces.

SPRING OPENING BUILDING 13 EVENTS

At the opening reception on April 28, from 4–6 p.m., the artist will demonstrate his figure-ground painting technique and discuss the new directions explored in his recent works. This public event takes place during the Spring Building 13 Open House on the MASS MoCA campus and is part of ArtWeek, a statewide program highlighting the importance of supporting the arts in Massachusetts. ArtWeek takes place April 27–May 6.

In conjunction with ARTWEEK in Massachusetts
April 27–May 6, 2018

ABOUT SERGEI ISUPOV

Sergei Isupov is an Estonian-American sculptor internationally known for his highly detailed, narrative works. Isupov explores painterly figure-ground relationships, creating surreal sculptures with a complex artistic vocabulary that combines two- and three-dimensional narratives and animal/human hybrids. He works in ceramic using traditional hand building and sculpting techniques to combine surface and form with narrative painting using stains and clear glaze.

“Everything that surrounds and excites me is automatically processed and transformed into an artwork. The essence of my work is not in the medium or the creative process, but in the human beings and their incredible diversity. When I think of myself and my works, I’m not sure I create them, perhaps they create me.”

Isupov has a long international resume with work included in numerous collections and exhibitions, including the National Gallery of Australia, Museum of Fine Arts, Houston (TX), Museum of Arts and Design (NY), Racine Art Museum (WI), Museum of Fine Arts Boston (MA), and the Erie Art Museum (PA), at which he presented selected works in a 20-year career survey Hidden Messages in 2017 and Surreal Promenade in 2019 at the Russian Museum of Art (MN).

MORE ON SERGEI ISUPOV

Sergei Isupov, “Sailor and Beauty,” “Partners,” “Old Story,” “Do Not Press,” “Swiftness,” “Aperitif,” “Take Breath,” and “Who Will Win” 2018, porcelain, slip, varied sizes ≈ 8 x 3.5 x 2″.

Sergei Isupov, “Directions” 2018, installation at Ferrin Contemporary. May 2018

Sergei Isupov, “Directions” 2016, stoneware, slip, glaze, 96 x 40 x 20″.

Sergei Isupov, “Directions” 2018, installation at Ferrin Contemporary. May 2018

Sergei Isupov, “Slow Dance” 2018, stoneware, 12.5 x 11 x 6″.

Sergei Isupov, “Burden” 2018, stoneware, 14 x 13 x 6.5″.

Sergei Isupov, “Sound in the Head” 2018, stoneware, 12.5 x 9.5 x 8″.

Sergei Isupov, “In Their Eyes” 2018, porcelain, slip, 8.5 x 5.5 x 2.5″.

Sergei Isupov, “Master Class” 2018, stoneware, 5.5 x 4.5 x 4″.

Sergei Isupov, “Sound in the Head” 2018, stoneware, 12.5 x 9.5 x 8″.

Sergei Isupov, “Watchman in the Wind” 2018, porcelain, slip, 7.5 x 9.5 x 3″.

Sergei Isupov, “Predator” 2018, stoneware, 5 x 12 x 17″.

Jan

2018

CRISTINA CÓRDOVA: Del balcón

solo exhibition

Ferrin Contemporary
1315 MASS MoCA Way, North Adams, MA
July 28–September 16, 2018

Preview Talk: Thursday, August 2, 7:00 pm

Cristina CórdovaDel balcón Installation View

Cristina Córdova, “Desde mi Balcón”, 2021, ceramic and metal, 33 x 14.5 x 10″

Cristina Córdova Del balcón Installation View

ABOUT THE EXHIBITION

North Adams, MA —

Ferrin Contemporary presents Del balcón, a solo exhibition of new work by Cristina Córdova, featuring large and small figurative sculptures exploring the relationship between the human and geographic connections within her native Puerto Rican landscape.

Working directly from the human form, Córdova’s hand builds often life-size ceramic figures that gaze at, or through the viewer, asking them to consider what’s behind the eyes. A reference to landscape, both large and small, is introduced, creating tropical tableaux for the figure to reside within. Del balcón, comes on the heals of a large solo exhibition at the Alfred Ceramic Art Museum in Alfred, N.Y., in early 2018 where director Wayne Higby notes,

“Cristina’s figurative work has established her as one of the preeminent ceramic artists of her generation. Her work renders the figure as a mysterious, sensual force of compelling urgency. Her masterful use of the ceramic medium empowers her work with a mesmerizing, at times uncanny presence.”

Click to view or download press release.

CRISTINA CÓRDOVA: Del balcón

Ferrin Contemporary | 1315 MASS MoCA Way

Cristina CórdovaDel balcón Installation View

Cristina Córdova Del balcón Installation View

Cristina Córdova, “Ñeque” 2016, clay, charcoal, mixed media, acid-free cardboard, 82 x 60″.

Cristina Córdova, “Del balcón” 2018 – installation at Ferrin Contemporary

Cristina Córdova Del balcón Installation View

FEATURED ARTWORKS

Click to view more work by Cristina Córdova.

Cristina Córdova, “Del balcón III” 2018, ceramic and steel, 33 x 28 x 13″

Cristina Córdova, “Del balcón II” 2018, ceramic and steel, 32 x 20.5 x 13″

Cristina Córdova, “Cabeza VII” 2018, ceramic, 15 x 8.5 x 5.5″.

Cristina Córdova, “Cabeza III” 2018, ceramic, 13.5 x 9.5 x 4.75″

Cristina Córdova, “Cabeza VI” 2018, ceramic, 13 x 12.5 x 5″.

Cristina Córdova, “Cabeza IV” 2018, ceramic, 17 x 11 x 5.5″

Cristina Córdova, “Cabeza V” 2018, ceramic, framed photography, 24.5 x 30.5 x 8″.

ABOUT THE ARTIST

Click to view more work by Cristina Córdova.

Cristina Córdova, portrait

Cristina Córdova, “Del balcón III” 2018, ceramic and steel, 33 x 28 x 13″

Cristina Córdova, “Del balcón II” 2018, ceramic and steel, 32 x 20.5 x 13″

Cristina Córdova, “Cabeza V” 2018, ceramic, framed photography, 24.5 x 30.5 x 8″.

Cristina Córdova: Jungla installation. photo: Brian Oglesbee

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″.

Dec

2017

SIN-YING HO: Past Forward

SIN-YING HO: PAST FORWARD

March 30–May 27, 2018
Hood Downtown, 53 Main Street, Hanover, NH

Opening with the artist Friday, April 6, 5–7pm
“Conversations and Connections” discussion between Hood Director John Stomberg and Sin-ying Ho on Saturday, April 7, 2–3pm

If Chinese ceramic art has a heart, it beats in Jingdezhen. For centuries, artisans there have made vessels that traveled far and wide. Their fluid forms and recognizable decorations have inspired celebratory prose and devoted followers around the world. Today, Sin-ying Ho works in these same ceramics factories. Though Jingdezhen potters have long defined tradition, Sin-ying has expanded both their forms and their imagery in contemporary ceramics that are thoroughly of the twenty-first century. She makes her works—whether they are monumental vases or smaller, more clearly assembled sculptures—from multiple parts. She emphasizes the many parts by glazing each of the pieces differently. Together they form a whole that maintains the legacy of being created from myriad fragments.

Sin-ying’s process of building is an essential metaphor for her artistic practice. With it, she implies an optimism for our society’s continued ability to construct a unified world. As reflected in her technique, and in the themes addressed by her surface imagery, this world will necessarily be an amalgam of new and old, here and there, greed and generosity, men and women, faith and despair. Through these combinations, Sin-ying shares a worldview that acknowledges the inherent contradictions and challenges of global culture while also anticipating the uncanny beauty emerging all around us.

This exhibition was organized by the Hood Museum of Art, Dartmouth, and generously supported by the Philip Fowler 1927 Memorial Fund.

Click to view more work by Sin-ying Ho

"Sin-ying Ho: Past Forward" installation view at Hood Downtown in Hanover, NH. © 2018 Rob Strong

Sin-ying Ho installation views at Hood Downtown in Hanover, New Hampshire on Tuesday, April 10, 2018. Copyright 2018 Rob Strong

Sin-ying Ho, “Identity”

Sin-ying Ho, “10.11.1989 Hong Kong” 2010, porcelain, cobalt, decal, enamel, 24 x 14 x 12″.

Sin-ying Ho, “Ladies” 2008, porcelain, cobalt, decal, enamel, 18 x 8.5″.

Sin-ying Ho, “Confucius, John Lennon and Jesus Christ — Confluence” 2008, porcelain, cobalt, decal, luster, 16 x 9″.

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

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

Sin-ying Ho, “One World, Many Peoples No. 2″ 2010, porcelain, cobalt pigment, underglaze, decal, glaze, 77 x 23.25”

Sin-ying Ho, “Temptation – Life of Goods No. 2″ 2010, porcelain, cobalt pigment, underglaze, decal, glaze, 68 x 23.5”

Oct

2017

NEW YORK CERAMIC & GLASS FAIR 2018

NYC&G FAIR 2018

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

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

FERRIN CONTEMPORARY presenting work by

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

SPECIAL EXHIBITION

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

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

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

See below for illustrated lecture by Dawn Reid Brean.

LECTURE HIGHLIGHTS

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

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

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

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

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

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

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

Click for more.

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

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

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

Chris Antemann, “Shell Stand” 2016, porcelain, china paint, decals, luster, 21” x 10” x 10”.

Robin Best, “The Aldrovandi Vases” 2017, porcelain, on-glaze Xin Cai, 12.5 x 5″ each.

Stephen Bowers, “Plates”, Various 2015-7

Bouke de Vries, “Peacock 1″ 2016, twentieth-century Chinese porcelain bird, eighteenth-century Chinese porcelain fragments, mixed media, 24 x 13.5 x 25”.

Edward Eberle, “The Least of Eye is Flesh” 2007, porcelain, stain, 11.25 x 17.5 x 18″.

Evan Hauser, “Preservation & Use (Yosemite Valley, Glacier Point Trail, 1873, Albert Bierstadt)” 2017, porcelain, gold leaf, 15 x 11 2.5″.

Charlotte Hodes, “Dressed in Pattern: Portrait” 2016, handcut transfer on china, 11.25 x 29 x 1″.

Sergei Isupov, “Growth Rings” 2016, porcelain, underglaze, glaze, 23 x 10 x 6.5″.

Steven Young Lee, “Gourd Vases with Dodos” 2018, porcelain, cobalt pigment, glaze, 10 x 19 x 18”.

Crystal Morey, “New Symbiosis: Pronghorn” 2017, porcelain, 10.5 x 6 x 4.5″.

Kadri Pärnamets, “Picnic” 2014, porcelain, glaze, stain, 7.5 x 10.25 x 4″.

Peter Pincus, “Vase” 2018, colored porcelain, 16 x 7″.

Paul Scott, “Scott’s Cumbrian Blue(s), Houston No:3” 2017, in-glaze decal collage on pearlware shell edge platter c 1820. 15.75 x 11.75” (400mm x 300mm).

Mark Shapiro, “MORON” double walled vase.

Linda Sikora, “Small Group” 2017–8, porcelain, stoneware, approximate sizes: kettle 10 x 11 x 9″, box 8 x 7 x 7″, stand 1.5 x 11 x 11″.

Caroline Slotte, “Going Blank Again” 2016, reworked second hand ceramics.

Dirk Staschke, “Vanitas 1″ 2015–6, ceramic, 11 x 8 x 8”.

Mara Superior, “Venus of Urbino” 2018, porcelain, underglazes, oxides, glaze, gold leaf, decal, 13 x 19 x 3″.

Susan Thayer, “Return” 2016, teapot: porcelain, china paint, glazebase: lowfire stoneware, slip, 16 x 9 x 5″.

Kurt Weiser, “Random House (globe)” 2017, porcelain, glaze, china paint, metal, 30 x 14 x 14″.

Dirk Staschke "Vanitas 1"

Oct

2017

THE WOMEN

Oct 28, 2017 – Apr 21, 2018

Ferrin Contemporary
1315 MASS MoCA Way, North Adams, MA

Click here for details.

Works on view include recent pieces by women whose primary medium is clay and selected works from private and artist archives by female potters and sculptors.

The Women provides Ferrin Contemporary an opportunity to highlight the range of work by women artists affiliated with the gallery program who are known for their work in ceramics.

Director Leslie Ferrin, a life long advocate for women in ceramics reflects on this moment, “It is gratifying to witness the attention to gender issues taking place throughout society. These same forces are fueling the interest in examining and bringing recognition to the overlooked contributions of women to postwar visual arts. Many of our collectors who brought a female perspective to building their collections are contributing to the public dialog by acquiring new works and making gifts to institutions. Museums are responding by offering exhibition opportunities, site specific commissions and adding to permanent collections to fill in gaps. It is an exciting time to see these changes taking place and being able to participate in the process.”

Ceramic Art and Figural Sculpture

Robin Best
Christie Brown
Caroline Cheng
Cristina Córdova
Claire Curneen
Ruth Duckworth
Viola Frey
Giselle Hicks
Coille McLaughlin Hooven
Crystal Morey
Kadri Pärnamets
Elsa Rady
Caroline Slotte
Mara Superior
Toshiko Takaezu
Susan Thayer
Patti Warashina
Beatrice Wood
Elizabeth (Betty) Woodman

Studio Pottery and Design*
Works by
Laura Andreson
Dorothy Hafner
Karen Karnes
Jenny Mendez
Linda Sikora
*available in Ferrin Contemporary square shop

Robin Best, “The Knight of the Lions,” 2016, porcelain with on-glaze Xin Cai, 14.125 x 7.875 x 10.25″.

Christie Brown, “Ghost Portrait” 2015, ceramic, 19 x 10 x 9″.

Caroline Cheng, “Prosperity V” 2007, porcelain, fabric, 71 x 71″.

Claire Curneen, “Mary Magdalene” 2013, porcelain, gold lustre, 22.5″.

Viola Frey, “Untitled Platter”, 1982, earthenware, slip, glaze, 25″. photo: John Polak (Pennington)

Dorothy Hafner, “Teapot, Sugar, Creamer” 1988, porcelain, underglaze.

Coille Hooven, “Second Skin” 1986, stoneware, 14.75 x 6.5 x 5.5″.

Crystal Morey, “New Symbiosis: Pronghorn” 2017, porcelain, 10.5 x 6 x 4.5″.

Kadri Pärnamets, “Question of Honor — Lucretia, after Lucas Cranach the Elder, porcelain, slip, glaze, 11 x 10.5 x 5”. photo: John Polak

Elsa Rady, “Four Zig Wings”, private collection

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

Susan Thayer, “Return” 2016, teapot: porcelain, china paint, glazebase: lowfire stoneware, slip, 16 x 9 x 5″.

Patti Warashina, “Beating the Housewife Blues” 1977, white earthenware, glaze, 24 x 16 x 13.75″.

Beatrice Wood, “Not Married” 1965, clay, glaze, 16 x 17 x 13″.

Betty Woodman, “Planter” ceramic, glaze, 27 x 5.5 x 8.5″.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Beatrice Wood pictured.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Kadri Pärnamets pictured.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Mara Superior pictured.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Robin Best pictured.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Cristina Córdova pictured.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Kadri Pärnamets pictured.

“The Women” at Ferrin Contemporary in North Adams, MA. Work by Caroline Slotte and Claire Curneen pictured.

The Women

Ferrin Contemporary presents selected works by women artists whose primary medium is clay. On view in the gallery and online, we introduce new works by emerging and established artists along with masterworks available from private collections and artist archives.

STUDIO POTTER: WOMEN IN CERAMICS

Winter/Spring 2017
Women in Ceramics Vol. 45 No. 1

In this issue: nine essays remembering the life of Karen Karnes, a deep investigation of the legacy of women in wood-firing, several narratives about artists’ personal journeys in clay, essays on the lives of California artist Ruth Rippon and Swedish artist Hertha Hillfon, a dynamic discussion of contemporary motherhood, international perspectives from Canada, the United Kingdom, Turkey, and India, a look at fourth-wave feminism, and more.

Click for info on Studio Potter.

Click to request complimentary issue online.

“Ruth Rippon, Her Story”
by Nancy M. Servis

Rippon’s artistic production is extensive and leaves an indelible mark on the artistic landscape of Northern California. … The breadth of her work mirrors the artist herself: technically accomplished, experimental, conceptually grounded, and quietly emotive.

Click here for more.

Artist Salon – Nancy M. Servis
Wednesday, November 8
at 6–8:30 pm

Project Art
54 Main St, Cummington, Massachusetts 01026

Join visiting scholar, Nancy M. Servis, from Sacramento, California, for an image-illustrated presentation ‘State of Clay: Bay Area Ceramics,’ followed by a potluck at Project Art.

From pottery to sculptural expression, Servis unveils the dynamic variety of ceramics found in Northern California. Long recognized as a vital and populous state with extensive clay deposits, California has been the home of refined vessel-makers and artistic rule-breakers for over 75 years, particularly in the San Francisco Bay Area.

Her lecture contextualizes clay’s extensive use that includes stylistic architecture in Oakland, impassioned potters like Antonio Prieto and Marguerite Wildenhain from the 1950s, and unabashed practitioners like Peter Voulkos and Robert Arneson. They along with select others like Viola Frey, Ruth Rippon, and Ron Nagle laid Nancy Servis’ groundwork for what exists today – a population of fine artist-makers whose work coexists with those who embrace sculpture or even defy ceramic tradition.

Nancy is a recognized art historian, gallerist, and author. She has served as curator, educator and arts administrator in the greater San Francisco Bay Area for over twenty years.

Click for facebook page.

PETER PINCUS: Channeling Josiah Wedgwood

November 10–December 29, 2018

Canary Syndrome

Made in Mountaindale II

2018 MASTERS IN CRAFT

ABOUT THE EXHIBITION

ABOUT SERGEI ISUPOV

CRISTINA CÓRDOVA: Del balcón

solo exhibition

ABOUT THE EXHIBITION

CRISTINA CÓRDOVA: Del balcón

FEATURED ARTWORKS

ABOUT THE ARTIST

THE FRICK PITTSBURGH

7227 Reynolds St., Pittsburgh, PA February 17–May 27, 2018

ABOUT THE EXHIBITION

INSTALLATION

EXHIBITING ARTISTS

PAST PROGRAMMING

FEATURED WORKS

SIN-YING HO: PAST FORWARD

NYC&G FAIR 2018

Dirk Staschke "Vanitas 1"

THE WOMEN

RELATED NEWS, PUBLICATIONS + EVENTS

7227 Reynolds St., Pittsburgh, PA

February 17–May 27, 2018