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: 2020

Jan

2022

BOUKE DE VRIES: War & Pieces | North America Tour

W&P | ON VIEW
NAS | PRESS & PUBLICATIONS
W&P | GUIDE
W&P | AT MUSEUMS

BOUKE DE VRIES | WAR & PIECES

Exhibiting Internationally | 2012 – Present

War & Pieces is Bouke de Vries’ contemporary interpretation of the decorative sculptures that adorned 17th- and 18th-century banqueting tables.

War & Pieces is currently traveling North America in its extensive tour, landing at its sixth US location in 2022. The installation has been exhibited at venues in Europe and Asia, beginning in 2012 at the Holburne Museum in Bath, England with support from the Arts Council of Great Britain. At each venue, de Vries works with the curators and the collection by responding to the region and its history and interacting with the interior settings. In some venues, he was able to add to the installation using relevant objects from the collection, as at Charlottenburg Palace, which was looted in the Seven Years’ War and almost completely destroyed in the Second World War, adding a special meaning to this era-spanning work.

Bouke de Vries, “War & Pieces”, Installation View at Washington County Museum of Fine Arts, Hagerstown, MD, 2021 – 2022

Ferrin Contemporary, Bouke de Vries, “War & Pieces” 2020-2021, The Frick Pittsburgh, Installation View.

Ferrin Contemporary, Bouke deVries, “War & Pieces” 2019, Hillwood Estate Museum and Gardens, Installation View.

Bouke de Vries, “War and Pieces” 2012-23, Charlottenburg Palace, Berlin. photo: ©Charlottenburg Palace

WAR & PIECES

ON VIEW

This spring, the Lightner Museum’s grand ballroom gallery will be transformed by a dramatic ceramic centerpiece created from thousands of fragments of white porcelain.

War & Pieces is an eight-meter (26-foot) installation by Dutch-born artist Bouke de Vries inspired by the sophisticated figural centerpieces that decorated eighteenth-century European rulers’ banqueting tables. Displayed during the dessert course on special occasions, these figures first made of sugar and later increasingly porcelain, told stories or conveyed political messages to the diners.

Bouke de Vries draws on such traditions in his modern centerpiece, arranged around the mushroom cloud from a nuclear explosion whose force appears to have turned the entire table into a wasteland. Battle rages across this heap of shards old and new, fought by myriad miniature figures with conventional arms. Jesus on the cross and the Chinese Buddhist goddess of compassion, Guanyin, watch over the death and destruction.

THE LIGHTNER MUSEUM

Saint Augustine, FL | April 1 – December 31, 2022

Bouke de Vries: War & Pieces at The Lightner Museum, Saint Augustine, FL April 1 – December 31, 2022. Installation image courtesy of the Lightner Museum.

WORKS ON VIEW

WAR & PIECES | ON VIEW

At The Lightner Museum

MORE ON BOUKE DE VRIES

VIEW MORE BY BOUKE DE VRIES HERE

Born in Utrecht, The Netherlands, Bouke de Vries studied at the Design Academy Eindhoven and Central St Martin’s, London. After working with John Galliano, Stephen Jones, and Zandra Rhodes, he switched careers and studied ceramics conservation and restoration at West Dean College. He has been a full-time studio artist based in London since 2010.

Bouke de Vries, “War & Pieces”, detail

WAR & PIECES GUIDE

WAR & PIECES | TOUR SCHEDULE

INQUIRE ABOUT TOURING PROGRAM HERE

NORTH AMERICAN LOCATIONS

Lightner Museum | FL | 2022

Washington County Museum of Fine Arts | MD | 2022

The Frick Pittsburgh | PA | 2021

Hillwood Estate, Museum & Gardens | D.C. | 2020

The Wadsworth Atheneum | CT | 2019

Montgomery Fine Arts Museum | AL | 2019

EUROPEAN LOCATIONS

Harley Gallery | UK | 2018

Berrington Hall | UK | 2017

Gemeente Museum | Netherlands | 2015–6

Castle d’Ursel | Belgium | 2015

Chateau de Nyon | Switzerland | 2014–5

Yingge Ceramics Museum | Taiwan | 2014

Charlottenburg Palace | Germany | 2013

Whitespace | Netherlands | 2013

Alnwick Castle | UK | 2013

Charlottenburg Palace | Germany | 2013

The Holburne Museum | UK | 2012

PRESS & PUBLICATIONS

SELECT PRESS

Bouke de Vries Reinterprets Spun-Sugar Centerpieces in a Stunning Show at the Wadswo

In A Staged Tabletop Battle, A Sculpture Of Porcelain, Sugar And Plastic | Jill Kaufman

Sculptor Uses Sugar, Porcelain And Transformers As A Commentary On Warfare | Susan Dunne

EXHIBITION CATALOG

AT MUSEUMS

WAR & PIECES

PAST PROGRAMMING

• Bouke de Vries: Virtual London Studio Tour

EVENT: Bouke de Vries: Virtual London Studio Tour

DATE: Saturday, February 26, 2022 • 8:00 am – 5:00 pm
COST: Free

Ages: Adults to teens
Date/time: Saturday, Feb. 26, 3 to 4 p.m.
Location: Virtual
Description: Internationally known Dutch artist Bouke de Vries will guide us through a virtual tour of his London studio. See his large installation called War & Pieces on display at the WCMFA until March 13.

To register for any classes, call 301-739-5727 or via email at info@wcmfa.org.

Click to View on WMFA

ADDITIONAL DETAILS

WASHINGTON COUNTY MUSEUM OF FINE ARTS

Hagerstown, MD | Sept 18, 2021 – Mar 13, 2022

Bouke de Vries, “War & Pieces”, Installation View at Washington County Museum of Fine Arts, Hagerstown, MD, 2021 – 2022

VIEW MORE

WAR & PIECES

PAST PROGRAMMING

• Explosion in the Green Gallery! Bouke de Vries: War and Pieces Comes to the Frick

“The Frick Art Museum’s Green Gallery now features War and Pieces, an extraordinary artwork by contemporary artist Bouke de Vries (Dutch, b. 1960). The artist assembled thousands of white porcelain fragments to create a 24’ long installation evoking the centuries-old tradition of creating elaborate tablescapes, yet wholly contemporary in its outlook.”

Learn more from The Frick Pittsburgh curator Dawn Reid Brean here.

SPECIAL EVENT: London Studio Tour with Bouke de Vries

WEDNESDAY, OCTOBER 21, 2020 AT 5 PM EDT

Presented by The Frick Pittsburgh, this Up-close and personal tour looked inside the London studio of Bouke de Vries, led by the artist himself.

ADDITIONAL DETAILS

THE FRICK PITTSBURGH

Pittsburgh, PA | August 8, 2020–September 5, 2021

Ferrin Contemporary, Bouke de Vries, “War & Pieces” 2020-2021, The Frick Pittsburgh, Installation View.

WAR & PIECES

PAST PROGRAMMING

HILLWOOD ESTATE, MUSEUM & GARDENS

Washington, DC | September 24, 2019 – April 5, 2020

Ferrin Contemporary, Bouke deVries, “War & Pieces” 2019, Hillwood Estate Museum and Gardens, Installation View.

WAR & PIECES

PAST PROGRAMMING

MONTGOMERY FINE ARTS MUSEUM

Montgomery, AL | February 2–June 2, 2019

Bouke de Vries, “War and Pieces”, 2019, Montgomery Museum of Art

“War and Pieces”, Bouke de Vries, 2019, Montgomery Museum of Art

WAR & PIECES

PAST PROGRAMMING

• Public Programs at The Wadsworth Atheneum

Oct. 4 | Gallery Talk: MATRIX 180: “War and Pieces”
Oct. 10 | Art Talk: Bouke de Vries “War and Pieces”
Nov. 8 | Gallery Talk: MATRIX 180: “War and Pieces”
Jan. 5 | War and Pieces Exclusive Dinner

ADDITIONAL DETAILS

THE WADSWORTH ATHENEUM

Hartford, CT | October 4–January 6, 2019

Bouke de Vries, “War and Pieces”, 2018 Wadsworth Antheneum

Bouke de Vries, “War and Pieces” 2018, Wadsworth Antheneum

Bouke de Vries, “War and Pieces”, 2018 Wadsworth Antheneum

Bouke de Vries, “War and Pieces” 2018, Wadsworth Antheneum.

Bouke de Vries, “War and Pieces” 2018, Wadsworth Antheneum

2018-19 Wadsworth Atheneum Exhibition Brochure

Jan

2021

Hollie Lyko & Giselle Hicks at Porches

Presented at The Porches Inn at MASS MoCA, North Adams, MA

2021 Winter Season

ABOUT THE FEATURES

Giselle Hicks is known for her hand-pinched ceramic vessels and slip-cast porcelain tiles that consider volume, repetition, and pattern. Referencing totemic ceramic forms and decorative textiles, her work examines the role of material culture in everyday life—historically and today. Hicks has participated in various artist-in-residence programs including the Anderson Ranch Arts Center, the Arts/Industry Program at the Kohler Company, The Clay Studio in Philadelphia, Greenwich House Pottery, and The Archie Bray Foundation.

Her work has been exhibited at the Museum of Fine Arts in Boston, (Boston, MA), Belger Arts Center, (Kansas City, MO), the John Michael Kohler Arts Center, (Sheboygan, WI), and Bellevue Art Museum, (Bellevue, WA). In 2001, Hicks completed her BFA at Syracuse University, and she received her MFA from the New York State College of Ceramics at Alfred University in 2010.

“This series of work is influenced by decorative textiles such as quilts, weavings, and embroidered tapestries. I think the labor dedicated to creating these textiles, particularly the quilt, is a beautiful gesture to the significance of these everyday objects which are integral to the rituals of daily life. I want this work to reflect the same care, attention, and labor that went into making the original textiles. The process of slip-casting has its roots in industry and is used to make a form repeatedly, often on a mass scale. When I begin a new project, I first make a prototype of a pillow by carving a block of plaster into the shape of a soft pillow. Next, I make a two-part plaster mold of the prototype. Once the molds are prepared, I pour colored porcelain-slip into the molds, where it sits for an hour at which point I pour out the excess slip. The plaster mold absorbs the moisture from the porcelain slip, resulting in a hollow form with quarter-inch thick walls. When the form comes out of the mold, I draw the pattern into the surface with a sharp stylus. Once the carving is complete I paint a colored slip over the whole design, wipe the excess off, and what slip remains is inlaid into the carved pattern. The unglazed porcelain looks soft and invites the touch.”

INQUIRE

MORE ABOUT GISELLE HICKS

SHOP SELECT GISELLE HICKS WORKS

GISELLE HICKS

Giselle Hicks, Grey Tiles with Weaving Pattern, 2019, slip cast porcelain, 20 x 20 x 2″.

Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip-cast porcelain, 15 x 15 x 2.5″.

Giselle Hicks, “Grey Tiles with Weaving Pattern”, 2019, slip cast porcelain, 20 x 20 x 2″.

Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip cast porcelain, 20 x 20 x 2″.

Giselle Hicks, “Grey Tiles with Radial Pattern”, 2019, slip cast porcelain, 15 x 15 x 2.5″.

ABOUT THE FEATURES

Hollie Lyko grew up northwest of Philadelphia in the small suburb of Hatfield, Pennsylvania. She earned her MFA in 2019 in Studio Arts from Syracuse University and her BFA in Ceramics from the University of Hartford. Lyko is influenced by the spaces she encountered as a child, both domestic and public. Her studio practice manifests itself from the curio cabinet holding porcelain treasures, to the souvenir of a tourist attraction gift shop.

Lyko’s most recent work, Delft Santa (left) works inversely, allowing the decorative surface to consume every detail of the Santa Claus forms, making these icons of American culture seem eerie and almost unfamiliar. The blue-and-white Delft-inspired floral decals simultaneously act as wallpaper and camouflage, smothering both the Santa masks and the panel itself.

INQUIRE

MORE ABOUT HOLLIE LYKO

SHOP SELECT HOLLIE LYKO WORKS

HOLLIE LYKO

Hollie Lyko, Porches, 2019

Hollie Lyko, “Delft Santa”, 2019, slip-cast porcelain, decals, MDF, 44 x 60 x 5″.

Jul

2020

ART IN THE AGE OF INFLUENCE: Peter Pincus | Sol LeWitt

ABOUT THE EXHIBITION

Art in the Age of Influence is a series of solo exhibitions presented by Ferrin Contemporary during 2020-21 season, considers the impact of artist’s source materials on their artistic process and practice.

Art in the Age of Influence: Peter Pincus | Sol LeWitt, features new works by Peter Pincus inspired by three of Sol LeWitt’s wall drawings, #340, #422 and #289, as seen first-hand in Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA.

Using color theory and formulaic design patterns as points of departure, Pincus creates brightly colored vessels and expansive tile murals. Inspired by Sol LeWitt’s distinctive style, this body of work takes on his influence in their vibrant patterns and forms. LeWitt’s Wall Drawing #422 specifically relates to Pincus’ exhibition centerpiece, a series of 15 large-scale columns that carry colors across the surface of each form which create a large-scale painting when aligned together.

Gallery director, Leslie Ferrin notes “Pincus’ work in this exhibition began during his first visit to our gallery located on the MASS MoCA campus for the opening of a group show, Glazed and Diffused. After a full day exploring Sol LeWitt: A Wall Drawing Retrospective, we had an animated discussion of how the LeWitt works related to his creative practice. Like LeWitt, Pincus often begins a new series using a premise to explore various possibilities of form and color within a shared framework.”

Pincus’s last solo exhibition in 2018, Channeling Josiah Wedgwood was also a result of direct research into the extensive collection at the Birmingham Museum of Art that informed a series of complex forms based on urns and challices. Now, five years later, Pincus’s work for this 2020 exhibition began with a series of premises based on the color theories and conceptual instructions of Sol LeWitt inspired by wall drawings he first saw in person in 2014. This body of work includes containers, vessels and wall tiles, each a result of extensive research and technical experimentation.

“There is a big difference between being influenced by and being in conversation with. As an artist and educator, I am eager to acknowledge those who have elevated my thinking through their work, and to consciously engage with influence as a productive, and insightful element of studio practice. This exhibition is an opportunity to celebrate LeWitt’s approach to making as a foundation, from which I can challenge myself to see new things and grow.”

-Peter Pincus

• INQUIRE

Presented at 1315 MASS MoCA Way, North Adams, MA

July 11 – October 11, 2020

Peter Pincus, ‘Scratch Spin Amphora’ 2020,
colored porcelain, gold luster, 18 x 8 x 8″ (each).

FERRIN CONTEMPORARY Peter Pincus Art In the Age of Influence Installation View 1 2020

FERRIN CONTEMPORARY Peter Pincus Art In the Age of Influence Installation View 4 2020

FERRIN CONTEMPORARY Peter Pincus Art In the Age of Influence Installation View 3 2020

FERRIN CONTEMPORARY Peter Pincus Art In the Age of Influence Installation View 6 2020

FERRIN CONTEMPORARY Peter Pincus Art In the Age of Influence Installation View 2 2020

VIRTUAL TOUR

Artist Peter Pincus narrates this virtual tour of his during a visit of the installation of his 2020 exhibition, presented at Ferrin Contemporary’s gallery on the campus of MASS MoCA in North Adams, MA.

• VIEW ADDITIONAL VIDEOS

PRESS & FEATURES

• DOWNLOAD THE PRESS RELEASE

Ceramics artist draws inspiration from LeWitt retrospective

Art in the Age of Influence: Peter Pincus | Sol LeWitt is on view at Ferrin Contemporary

ONLINE PROGRAMMING

Everson Museum’s Online Classes and Studio Tours, featuring Peter Pincus, Friday, September 11, 2020, from 1-2:30 pm EST

• LEARN MORE

• WATCH THE SESSION

SELECT ARTWORKS

• MORE ON PETER PINCUS

• SHOP SELECT WORKS

Peter Pincus, ‘Scratch Spin Amphora’ 2020, colored porcelain, gold luster, 18 x 8 x 8″ (each).

Peter Pincus, ‘Losing #422 (15 Vessels), 2020, colored porcelain, 18 x 7 x 5″ (each).

Peter Pincus, ‘Losing #422 (Front of 4 of 15 Vessels), 2020, colored porcelain, 18 x 7 x 5″ (each).

Peter Pincus, ‘Losing #422 (Back of 4 of 15 Vessels), 2020, colored porcelain, 18 x 7 x 5″ (each).

Peter Pincus, “Over Under, Under, Over”, 2020, colored porcelain with inlaid slip, 14 x 7 x 7″.

Peter Pincus, ‘Scratch Spin Amphora’ 2020, colored porcelain, gold luster, 18 x 8 x 8″ (each).

Peter Pincus, “A Familiar Kind of Riddle”, 2018, colored porcelain, gold luster, 89 x 52 x 5″

Peter Pincus, ‘Two-Faced Kraters (Pair)’, 2020, colored porcelain, 11 x 7 x 4″ (each).

Peter Pincus “First Star”, 2020, colored porcelain, wood, 20 x 30 x 3″

Peter Pincus, “Jar Drawing #1: Assignments and Arrangements (3 Jars)”, 2020, colored porcelain, 7 x 5 x 6″ (each)

Peter Pincus, “Jar Drawing #1: Assignments and Arrangements (Yellow Jar)”, 2020, colored porcelain, 7 x 5 x 6″

Peter Pincus, “Jar Drawing #2: Assignments and Arrangements”, 2020, colored porcelain, 7 x 5 x 6″ (each)

INFLUENCE: SOL LEWITT

Art in the Age of Influence: Peter Pincus | Sol LeWitt, features new works by Peter Pincus inspired by three of Sol LeWitt’s wall drawings, #340, #422 and #289, as seen first-hand in Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA.

“There is a big difference between being influenced by and being in conversation with. As an artist and educator, I am eager to acknowledge those who have elevated my thinking through their work, and to consciously engage with influence as a productive, and insightful element of studio practice. This exhibition is an opportunity to celebrate LeWitt’s approach to making as a foundation, from which I can challenge myself to see new things and grow.” -Peter Pincus

• MORE ON SOL LEWITT

Sol LeWitt | Wall Drawing 422, November 1984

Sol LeWitt (B. 1928, Hartford Connecticut)

Wall Drawing 422, November 1984

The room (or wall) is divided vertically into fifteen parts. All one-, two-, three-, and four-part combinations of four colors, using color ink washes.

Color ink wash

On display in the exhibition Sol LeWitt: A Wall Drawing Retrospective

• MORE ON WALL DRAWING 422

Sol LeWitt | Wall Drawing 289, January 1978

Sol LeWitt (B. 1928, Hartford Connecticut)

Wall Drawing 289 (Detail: fourth wall only), January 1978

A 6-inch (15 cm) grid covering each of the four black walls. White lines to points on the grids. Fourth wall: twenty-four lines from the center, twelve lines from the midpoint of each of the sides, twelve lines from each corner. (The length of the lines and their placement are determined by the drafter.)

White crayon lines and black pencil grid on black wall

Whitney. Museum of American Art, New York, Purchase with funds from the Gilman Foundation, Inc. 78.1.1-4

• MORE ON WALL DRAWING 289

Sol LeWitt | Wall Drawing 340, July 1980

Sol LeWitt (B. 1928, Hartford Connecticut)

Wall Drawing 340, July 1980

Six-part drawing. The wall is divided horizontally and vertically into six equal parts. First part: On red, blue horizontal parallel lines, and in the center, a circle within which are yellow vertical parallel lines; second part: On yellow, red horizontal parallel lines, and in the center, a square within which are blue vertical parallel lines; third part: On blue, yellow horizontal parallel lines, and in the center, a triangle within which are red vertical parallel lines; fourth part: On red, yellow horizontal parallel lines, and in the center, a rectangle within which are blue vertical parallel lines; fifth part: On yellow, blue horizontal parallel lines, and in the center, a trapezoid within which are red vertical parallel lines; sixth part: On blue, red horizontal parallel lines, and in the center, a parallelogram within which are yellow vertical parallel lines. The horizontal lines do not enter the figures.

Red, yellow, blue crayon on red, yellow and blue wall

On display in the exhibition Sol LeWitt: A Wall Drawing Retrospective

• MORE ON WALL DRAWING 340

Jul

2020

Savor: A Revolution in Food Culture

SAVOR: A Revolution in Food Culture

Wadsworth Atheneum Museum of Art | Hartford, CT

February 29, 2020 — January 3, 2021*

*February 29 through March 13, 2020
Extension: September 5 through January 3, 2021

Savor: A Revolution in Food Culture is organized by the Gardiner Museum, Toronto, and curated by Meredith Chilton, Curator Emerita at the Gardiner Museum.

This presentation of the exhibition is a collaboration between the Wadsworth Atheneum Museum of Art and the Gardiner Museum.

Chris Antemann, Savor: Food Culture in the Age of Enlightenment, 2020, Wadsworth Atheneum Museum of Art, Hartford, CT.

Chris Antemann, Savor: Food Culture in the Age of Enlightenment, 2020, Wadsworth Atheneum Museum of Art, Hartford, CT

Chris Antemann, ‘A Little Feast of Folly’ 2019, porcelain, 23 x 12 x 12″.

Images courtesy of the Wadsworth Atheneum Museum of Art

ABOUT THE EXHIBITION

Food and dining were transformed in Europe during the age of Enlightenment by profound changes that still resonate today. What many of us eat, the way food is cooked, and how we dine continues to be influenced by radical changes that occurred in France from 1650 until the French Revolution in 1789.

Savor: A Revolution in Food Culture explores the story of this transformation with rare objects, fascinating histories, and amusing stories. We start in the kitchen gardens at Versailles where advances in horticulture expanded the growing seasons of vegetables and fruits, making a greater selection of foods available year-round. Then we visit the steamy kitchens of cooks who advocated light, flavourful cuisine centuries before our time. Next, we discover surprisingly modern philosophies for healthy eating and vegetarianism, and join ardent foodies as they savor meals served on newly invented ceramic and silver wares, from sauceboats to tureens. Along the way, we explore how social changes were impacting eating then, just as now, as the grand formality of the past was often abandoned in favor of informality and intimacy.

Savor: A Revolution in Food Culture is organized by the Gardiner Museum and curated by Meredith Chilton, C.M., Curator Emerita. Works of art and objects from major North American museums and private collections, as well as key pieces of contemporary ceramics and knitted art, will come together in a delectable feast for the senses designed by Opera Atelier’s Resident Set Designer, Gerard Gauci.

VIEW THE INSTALLATION

Chris Antemann, Savor: Food Culture in the Age of Enlightenment, 2020, Wadsworth Atheneum Museum of Art, Hartford, CT.

Gardnier Museum, ‘Savour: Food Culture in the Age of Enlightenment’, 2019, Installation View.

FEATURED ARTWORK

A Little Feast of Folly”, was created in the artist’s studio in 2019.

CHRIS ANTEMANN’S: A Little Feast of Folly

Chris Antemann, ‘A Little Feast of Folly’ 2019, porcelain, 23 x 12 x 12″.

MORE ON CHRIS ANTEMANN

VIEW MORE BY CHRIS ANTEMANN HERE

Chris Antemann is known for work inspired by 18th-century porcelain figurines, employing a unity of design and concept to simultaneously examine and parody male and female relationship roles. Characters, themes, and incidents build upon each other, effectively forming their own language that speaks about domestic rites, social etiquette, and taboos. Themes from the classics and the romantics are given a contemporary edge; elaborate dinner parties, picnic luncheons, and ornamental gardens set the stage for her twisted tales to unfold.

PROGRAMMING

EVENTS

September 10 | Virtual Gallery Talk: Pleasing the Eye and Palate with curator emeritus at the Metropolitan Museum of Art, Jeff Munger
September 12 | Second Saturdays for Families: Season’s Harvest
September 21 | Online Lecture: Ice Cream in the Age of Enlightenment with food historian Ivan Day
September 29 | Virtual Gallery Talk: Savor: A Revolution in Food Culture with Curator Linda Roth
October 13, 5 pm | Virtual Artist Talk: An Evening with Kate Malone
November 22, 2 pm | The King’s Peas: Food Culture in the Age of Enlightenment with Curator Meredith Chilton

Savor: A Revolution in Food Culture is organized by the Gardiner Museum, Toronto, and curated by Meredith Chilton, Curator Emerita at the Gardiner Museum. This presentation of the exhibition is a collaboration between the Wadsworth Atheneum Museum of Art and the Gardiner Museum.

The exhibition is accompanied by a fully illustrated cookbook, The King’s Peas: Delectable Recipes and Their Stories from the Age of Enlightenment.

CANCELLED DUE TO COVID

March 12, 2020- Gallery talk with Curator Linda Roth
March 19, 2020- Gallery talk with Meredith Chilton
March 25, 2020- Panel Discussion: The Dining Room Then and Now
Enjoy what promises to be a fascinating conversation about dining customs across cultures with culinary historian Jessica Harris, designer Thomas Jayne, educator David Dangremond, and curator Brandy Culp. In conjunction with the exhibition, Savor: A Revolution in Food Culture. 5pm reception, 6pm Lecture.

April 9, 2020- Gallery Tour with Curator Jeff Munger
May 7, 2020- Ivan Day Lecture, 5pm reception and 6pm lecture

Jul

2020

CHRIS ANTEMANN in Exposition Ceramiques Gourmandes

CHRIS ANTEMANN

Fondation Bernardaud

In conjunction with the exhibition Exposition Céramiques Gourmandes, organized by Olivier Castaing (Exhibition curator) and Hélène Huret (Director of the Fondation Bernardaud). Artist Chris Antemann’s Dining in the Orangery was a featured installation at Limoge (France) along with works by fourteen international artists with a taste for ceramic: the crème de la crème!

Chris Antemann, “Dining in the Orangery”, 2019, porcelain, china paint, decals, luster, 30 x 62 x 20″.

Chris Antemann, “Dining in the Orangery”, 2019 Installation at Bernardaud

Chris Antemann, “Dining in the Orangery”, 2019, porcelain, china paint, decals, luster, 30 x 62 x 20″.

ON VIEW

June 21, 2019 – October 31, 2020

Exposition Céramiques Gourmandes

FONDATION BERNARDAUD
Limoges, France

Dining in the Orangery

Installation at Bernardaud

When art becomes epicurean, voracious, pie-eyed with the pleasures of the palate—inventing dishes, desserts, pieces montées or banquet scenes—sinking its teeth into an examination of our relationship with food (guilty, sensual, problematic)—we have Céramiques gourmandes, an exhibition cooked up by the Fondation Bernardaud, featuring fourteen international artists with a taste for ceramic: the crème de la crème!

Fired clay and fine fare have long been companions. Gustatory pleasure has inspired artists in every era: what we eat says so much about humankind, its environment and its excesses. The feasts we see here are technical feats, to be savored visually, virtually. Like a mouthwatering promise. You can almost hear the “mmmm”s, “yum”s, and “more”s.

In the 18th century, during the vogue for naturalism, ceramicists played with trompe l’oeil. Fantasies in faience and porcelain, decorated plates or trick displays, were wildly popular through Europe—England, Hungary, Germany, and France. There were reproductions of radishes, artichoke quarters, and hard-boiled eggs, sometimes doused in mayonnaise. Kilns yielded compotiers full of olives and bouchées à la reine. There were terrines in the form of pheasants, ducks, roosters; plates disguised as hearts of lettuce or bunches of asparagus; bonbonnières as lemons. Bestiary and kitchen garden were called upon to decorate festal tables.

Delectation is always a question of taste. Gluttons are scourged; gourmets’ refinement encouraged. What we eat reveals what we are. And in our consumer societies, now grown obese, the question of food is at the heart of sanitary, political, and ecological issues.

MORE ON CHRIS ANTEMANN

VIEW MORE BY CHRIS ANTEMANN HERE

Chris Antemann Portrait

2021 | NATURE/NURTURE II

NCECA 2021 Virtual Conference
Rivers, Reflections, and Reinvention
March 17, 2021 – March 21, 2021

Gallery Presentation
1315 MASS MoCA Way, North Adams
March 17, 2021 – May 29, 2021

In March 2020 we invited a group of women artists to explore the influence of gender and its impact on their creative practice. This year, Nature/Nurture returns with new additional works as a virtual exhibition at NCECA’s first virtual conference, with select works on view at Ferrin Contemporary.

Opening Reception

March 19, 2021 @ 7pm on Zoom

Shop Select Works

Select works available on our Online Store.
Inquire for additional works.

NATURE/NURTURE, Gallery Installation presented in 2020 at 1315 MASS MoCA Way, March 4 -June 27, 2020.

Artists Include:

Cristina Córdova
Giselle Hicks
Lauren Mabry
Anina Major
Crystal Morey
Kadri Pärnamets
Linda Sikora
Sally Silberberg
Rae Stern
Mara Superior
Tricia Zimic

Cristina Córdova, ‘Altar’, 2019, ceramic and photograph installation, 83 x 75 x 82″.

Giselle Hicks, “Group of Vessels”, 2019, stoneware, glaze, 21 x 60 x 8″, 2′ x 5′.

Lauren Mabry, “Glazescape 20.03″, 2020, earthenware, slip, glaze, 12.5 x 9 x 3.5”, view 3.

Lauren Mabry, “Cylinder 20.10″, 2020, earthenware, slip, glaze, 7.25 x 8.5 x 8.5”.

Lauren Mabry, “Cylinder 20.01″ 2020, earthenware, slip, glaze, 8 x 8 x 5”.

Lauren Mabry, ‘Cylinder 20.03’ 2020, earthenware, slip, glaze, 8 x 9 x 9″.

Lauren Mabry, “Glaze Flow Blocks 20.02″, 2020, earthenware, slip, glaze, 11.5 x 9 x 11.75”

Anina Major, “Hybrid Gourd”, 2019, stoneware, glaze, 18 x 18 x 14″.

Crystal Morey, “Three Graces” 2019, hand-sculpted porcelain, 19 x 10 x 8″.

Kadri Pärnamets, “Moor” 2019, porcelain, slip, glaze, 8 x 9 x 6″.

Kadri Pärnamets, ‘Noon Dance’ 2019, porcelain, slip, glaze, 8.5 x 9 x 4.5″

Kadri Pärnamets, “Sultry Night” 2019, porcelain, slip, glaze, 6 x 10.5 x 5.5″.

Kadri Pärnamets, “Waggle Dance”, 2019, porcelain, slip, glaze, 11.5 x 6.5 x 6″.

Linda Sikora, “Bucket Jar”, 2019, porcelain, underglaze, salt glaze, 11 x 10.5 x 10.5″

Linda Sikora, “Tall Cylinder Jar”, 2019, porcelain, underglaze, salt glaze, 11 x 7.5 x 7.5″

Linda Sikora, “Low Cylinder Box”, 2019, porcelain, underglaze, salt glaze, 6 x 8 x 8″

Linda Sikora, “Dome Jar”, 2019, porcelain, underglaze, salt glaze, 12.5 x 9.5 x 9.5″

“Nature/Nurture” Installation View, Sally Silberberg, 2020.

Sally Silberberg, “Black Striae”, 1988-2019, porcelain, enameled wooden base, 11 x 16.5 x 17″.

Sally Silberberg, “Blue Striae”, 1988-2019, porcelain, enameled wooden base, 15 x 12 x 12.5″.

Rae Stern, “Steve Sherry: Not old friends but good friends” 2019, unglazed porcelain, digital components, LED light, rechargeable lithium-ion batteries, 3D printed TPU filament, vintage furniture.

Mara Superior, “Isolation Creation”, 2020, English porcelain, cobalt oxide, gold luster, glaze, 12.75 x 16.5 x 1.25″

Mara Superior, “Shelter in Place”, 2020, English porcelain, cobalt oxide, gold luster, glaze, 7.5 x 9.5 x .75″

Mara Superior, “A Pair of Seeing Eyes”, 2020, English porcelain, ceramic oxides, gold luster, glaze, 4 x 18 x .75″

Mara Superior, “Only One Planet Earth”, 2019, high-fired porcelain, ceramic oxides, underglaze, glaze, gold leaf, 16 x 16 x 1.5”.

Tricia Zimic, “Tiger Trade” & “Greed”, 2016-2018, installation view.

Tricia Zimic, “Greed”, 2016, porcelain and glaze, 9 x 12.5 x 8″.

Tricia Zimic, “Diligence/Kintsugi”, 2021, porcelain, graphite, 15.5″ x 11.5″ x 11.5″

2020 | NATURE/NURTURE

1315 MASS MoCA Way, North Adams
March 4 – June 27, 2020

Ferrin Contemporary is pleased to present Nature/Nurture, a group exhibition of twelve contemporary female artists invited to explore the influence of gender and its impact on their practice.

This timely exhibition explores these ideas that range from direct interpretations of the natural world to more abstract notions, such as the construction of gender and the endowed role of women within their personal and professional careers. Works in clay range in form from individual vessels to composed still lifes and figural and abstract sculpture.

Gallery director Leslie Ferrin chose a group of twelve female artists whose works and careers provide a range of diverse perspectives related to age, cultural identity and work being done in contemporary ceramics. Considering the impact that the #MeToo movement is having on all professions, Ferrin asked the artists to pause and reflect on the role gender plays in their artistic practice and to consider the nurturing experiences that have shaped them.

Ferrin writes, “A renewed awareness and galvanizing commitment for change is surging through American cultural and academic institutions, organizations and businesses of every sort, exposing the crying need for structural change; specifically, the advancement of equality for artists of all genders and elimination of sexual harassment, wage discrimination and other forms of sexism that continue to affect the lives of women, transgender and non-binary individuals. As part of the movement to reverse and rebalance with new priorities and opening doors, it is crucial to offer opportunities to artists who have been historically marginalized.”

Nature assigned these artists, who identify as female, on a given path, whereas nurture is an accumulation of experiences, influences and impact with both positive and negative results on personal and professional lives. Seen as a whole, this group of twelve women artists who live and work throughout the USA, is representative of the rising tide of professional opportunities for women artists. While significant earnings and advancement gaps remain, a course correction is underway through the increasing number of gender and culturally specific exhibitions. As priorities shift for museum collections, educational public programming and private collectors, these efforts to course-correct are bringing recognition to artists previously overlooked and undervalued and to undocumented legacies. Nature/Nurture seeks to contribute to and further this recognition.

Inspired by the important work of Judith Butler and Helen Longino, the artists in the show were invited to explore the influence of ‘Nature/Nurture’ within their practice. The work ranges from more direct interpretations of the natural world, to more abstract notions, such as the construction of gender, and endowed role of women.

“Possibility is not a luxury; it is as crucial as bread.”
― Judith Butler, Undoing Gender, 2004

PRESS & FEATURES:

Download the Press Release

Read Nature of Nurturing | Newsletter Series “On Nurturing” by Artists and Director

Artsy, Beautiful Bizarre, THE BERKSHIRE EAGLE, WAMC, and The Rogovoy Report

ONLINE PROGRAMMING:

ZOOM/ONLINE PROGRAM | Women in Ceramics with Garth Johnson at Everson Museum of Art – Friday, May 15, 2020.

Learn More & Watch the Video Recording

“Nature/Nurture” Installation View, with Anina Major, 2020.

“Nature/Nurture” Installation View, 2020.

“Nature/Nurture” Installation View, Kadri Parnamets, Mara Superior, 2020.

“Nature/Nurture” Installation View, Crystal Morey, Mara Superior, Kardi Parnamets, 2020.

“Nature/Nurture” Installation View, 2020.

“Nature/Nurture” Installation View, Rae Stern and Linda Sikora, 2020.

“Nature/Nurture” Installation View, Linda Sormin, 2020.

“Nature/Nurture” Installation View, Sally Silberberg, 2020.

“Nature/Nurture” Installation View, Giselle Hicks and Tricia Zimic, 2020.

“Nature/Nurture” Installation View, Tricia Zimic and Giselle Hicks, 2020.

“Nature/Nurture” Installation View, 2020.

Nature/Nurture – Ferrin Contemporary from Great Sky Media on Vimeo.

MORE ON THE ARTISTS

Cristina Córdova
Giselle Hicks
Lauren Mabry
Anina Major
Crystal Morey
Kadri Pärnamets
Linda Sikora
Sally Silberberg
Linda Sormin
Rae Stern
Mara Superior
Tricia Zimic

W&P | ON VIEW

NAS | PRESS & PUBLICATIONS

W&P | GUIDE

W&P | AT MUSEUMS

BOUKE DE VRIES | WAR & PIECES

Exhibiting Internationally | 2012 – Present

WAR & PIECES

ON VIEW

WAR & PIECES | ON VIEW

At The Lightner Museum

MORE ON BOUKE DE VRIES

WAR & PIECES | TOUR SCHEDULE

NORTH AMERICAN LOCATIONS

EUROPEAN LOCATIONS

PRESS & PUBLICATIONS

SELECT PRESS

EXHIBITION CATALOG

WAR & PIECES

PAST PROGRAMMING

EVENT: Bouke de Vries: Virtual London Studio Tour

WAR & PIECES

PAST PROGRAMMING

SPECIAL EVENT: London Studio Tour with Bouke de Vries

WAR & PIECES

PAST PROGRAMMING

WAR & PIECES

PAST PROGRAMMING

WAR & PIECES

PAST PROGRAMMING

Presented at The Porches Inn at MASS MoCA, North Adams, MA

2021 Winter Season

ABOUT THE FEATURES

GISELLE HICKS

ABOUT THE FEATURES

HOLLIE LYKO

ABOUT THE EXHIBITION

Presented at 1315 MASS MoCA Way, North Adams, MA

July 11 – October 11, 2020

VIRTUAL TOUR

MORE ON ART IN THE AGE OF INFLUENCE

PRESS & FEATURES

ONLINE PROGRAMMING

SELECT ARTWORKS

INFLUENCE: SOL LEWITT

Sol LeWitt | Wall Drawing 422, November 1984

Sol LeWitt | Wall Drawing 289, January 1978

Sol LeWitt | Wall Drawing 340, July 1980

Wadsworth Atheneum Museum of Art | Hartford, CT

February 29, 2020 — January 3, 2021*

FEATURED ARTWORK

CHRIS ANTEMANN’S: A Little Feast of Folly

MORE ON CHRIS ANTEMANN

PROGRAMMING

EVENTS

CHRIS ANTEMANN

ON VIEW

June 21, 2019 – October 31, 2020

FONDATION BERNARDAUD Limoges, France

Dining in the Orangery

MORE ON THE EXHIBITION

ORGANIZED BY

ARTISTS

MORE ON CHRIS ANTEMANN

ABOUT FACE: Contemporary Ceramic Scultpure

Exhibiting in the US since 2019

ABOUT FACE | TOUR SCHEDULE

EXHIBITION LOCATIONS

EXHIBITION INCLUDES WORK BY

FEATURED ARTISTS

FEATURED FROM COLLECTIONS

ABOUT FACE

PAST PROGRAMMING

ABOUT FACE

PAST PROGRAMMING

ABOUT FACE

PAST PROGRAMMING

EXHIBITION CATALOG

Featured Artist Giselle Hicks at Porches

Presented at The Porches Inn at MASS MoCA, North Adams, MA

2020 Summer Season | On View starting July 31, 2020

FONDATION BERNARDAUD
Limoges, France

1315 MASS MoCA Way, North Adams
March 4 – June 27, 2020