Project Type: 2022

Our America/Whose America?

Our America/Whose America?

ABOUT THE EXHIBITION


OUR AMERICA/WHOSE AMERICA?

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

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

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

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

EXHIBITING ARTISTS


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

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

PROGRAMMING


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

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

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

FERRIN CONTEMPORARY ARTISTS AT NCECA


Women Working with Clay: A Shared Purpose

Mar 20, 2024 – Mar 23, 2024

Group Show with Linda Sikora

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

This exhibition is organized by Dara Hartman in conjunction with Coalescence

50 Years in the Making – NCECA Richmond

Mar 20, 2024 – Mar 23, 2024

Group show with Lauren Mabry

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

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

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

EVENTS & TOUR DATES


Location for All Events:

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

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

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

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

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

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

OAWA Tour Graphic April 2024

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

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

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

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

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

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

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

OUR AMERICA/WHOSE AMERICA | 2022


OUR AMERICA/ WHOSE AMERICA?


AUGUST 6 – OCTOBER 30, 2022

LESLIE FERRIN
(Director & Founder) Ferrin Contemporary

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

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

Exhibition At Ferrin Contemporary


1315 MASS MoCA Way, North Adams, MA

ARTISTS & CONTRIBUTORS


Ferrin Contemporary | Exhibition | 2022

OUR AMERICA/WHOSE AMERICA? EXHIBITION CATALOG


Ferrin Contemporary | Exhibition | 2022

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

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

Published by Ferrin Contemporary

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


HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE

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

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

HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE

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

SYMPOSIUM FEATURES


Hidden in Plain Sight: Illustrated Ceramics and American Identity

TIMESTAMPS

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

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

Historical Perspectives on Illustration and Race

View the Entire Symposium Playlist from the Norman Rockwell Museum

TIMESTAMPS

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

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

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

PAST PROGRAMMING


Ferrin Contemporary | Exhibition | 2022

OPENING RECEPTION

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

CLOSING RECEPTION

Special Guest Artist Paul Scott (UK)

Thursday, Nov. 3, 2022 |  5-7 pm

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

at Ferrin Contemporary, North Adams, MA

SYMPOSIUM

Historical Perspectives on Illustration and Race

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

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

NEW AMERICAN SCENERY: The Art of Paul Scott

NEW AMERICAN SCENERY: The Art of Paul Scott

CURRENT LOCATION


Shelburne Museum, Shelburne, VT (US)

May 11 – October 20, 2024

NAS | GUIDE & GLOSSARY


New American Scenery has been exhibiting internationally since 2019. 

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

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

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

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

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

New American Scenery Expanded Series & Information:

Across the Borderline


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

READ MORE/VIEW PDF

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

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

The Angola 3


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

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

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

Albany (Souvenirs & Views of New York)


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

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

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

Fleur.de.Sel’s New York


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

READ MORE/VIEW PDF

“New American Scenery, New York and Transferwares”

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

READ MORE/VIEW PDF

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

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

California Wildfires


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

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

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

“Cup Plates”

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

READ MORE/VIEW PDF

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

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

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

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

READ MORE/VIEW PDF

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

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

Pattern Samplers


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

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

Posy Vases


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

NAS | PROGRAMMING


NAS | TOUR SCHEDULE


FOR MORE

View Paul Scott’s Artist Profile

PAUL SCOTT | CURRENT & RECENT

NEW AMERICAN SCENERY IN THE US


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

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

IN PUBLIC COLLECTIONS


ADDITIONAL US COLLECTIONS

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

NAS | AT MUSEUMS


PAST EXHIBITIONS

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

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

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

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

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

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

NAS | PAST


ABOUT THE EXHIBITION

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

THE BOWES MUSEUM


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

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

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

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

FIGURING SPACE

FIGURING SPACE

JANUARY 12th to APRIL 16th 2023

Featuring work by Cristina Cordova and Sergei Isupov

ABOUT THE EXHIBITION


The Clay Studio Presents FIGURING SPACE, an Exhibition of Full-scale Figurative Sculptures by a Dozen Top Ceramic Artists Based in America

The Clay Studio (1425 N. American St), Philadelphia’s preeminent ceramic arts and resident artist’s center, will present Figuring Space, a new exhibition comprised of full-scale, figurative sculptures by 12 leading ceramic artists based in the United States. Each of the artists explores their individual cultural identity and what it means to be human through their figurative sculptures. The powerful figures will serve as a body of evidence to lay bare the issues that permeate American art and social culture. Figuring Space will open on January 12, 2023, and will be on display in The Clay Studio’s Jill Bonovitz Gallery through April 16, 2023.

The body, as a concept, is intimately tied to ceramic art. Clay is often used as a proxy for the physicality of flesh and has the capacity to articulate cultural perspectives, social engagement, and artistic intention. Furthermore, figurative sculptures have been at the center of public debate as monuments honoring individuals with dark histories are being reexamined and sometimes removed. Figuring Space uses that conversation – who gets to be seen and celebrated – as the backdrop to present a collection of works used to usurp the painful history of bodies on display in American history. Together, the artists will assert their autonomy and subjectivity by presenting cultural critiques through lenses of their own choosing, including race, gender, class, and anti-war ideas as inspiration for their own powerful stories.

Each of the artists selected for Figuring Space is known for creating contemporary, representational work that incorporates concepts and designs inspired by their cultural heritage.

FIGURING SPACE


The Clay Studio | 1425 N American Street, Philadelphia, PA

Cristina Córdova, “EVA XV”, 2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides; 60 x 18 x 22″.

Sergei Isupov, “On the Way”, 2020, porcelain, slip, glaze, 58.5 x 38 x 18″.

Upcoming

MAR & APR

Clay & Conversations: Season 5

bi-weekly zoom conversations (in person and on zoom) at 1 pm on Thursdays

MORE ON THE FEATURED ARTISTS


  • View More by Sergei Isupov HERE
  • View More by Cristina Cordova HERE

Native to Puerto Rico, Cristina Córdova creates figurative compositions that explore the boundary between the materiality of an object and our involuntary dialogues with the self-referential. Images captured through the lens of a Latin American upbringing question socio-cultural notions of gender, race, beauty, and power.  Córdova has received numerous grants including the North Carolina Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, and a prestigious United States Artist Fellowship award in 2015.

EVA XV


2022, unglazed: finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides
60 x 18 x 22″

ON EVA & MATERIAL EXPERIMENTATION

I have been sculpting my daughter since she was 9. This 15-year-old version of Eva is unglazed and finished with burnished earth pigments from the island of Puerto Rico mixed with casein, lime, and oxides. They came specifically from two areas, one in Fajardo near the coast, where the rainforest is, and one from Orocovis in the mountainous center. Written on her back are the words “de monte y mar” ( “from mountain and sea” ) in gold, a phrase from the song Verde luz by El Topo (Antonio Cabal Vale), which became a symbol of national Puerto Rican pride and an anti-colonialist anthem.

In my practice, the image of Eva is the embodiment of change and possibility. It speaks to the inevitability of transience and the inherited threads of code that perpetuate both genes and identity. This piece seeks to perform both as a symbol and a relic by holding in its materiality a part of the Island that has thematically bound this whole series through the years, exploring the riches and vulnerabilities of this small Caribbean nation that is my home.

DOWNLOAD STATEMENT PDF

Isupov is the son of a painter and sculptor. While born in Stravapole, Russia in 1963, Isupov was raised in Ukraine from 1964, educated in Kyiv and moved to attend the university of art in Tallinn, Estonia in 1984 at a time when these now separate countries were part of the USSR. Isupov’s family, his father, mother and brother, all established artists, currently reside in Kyiv, Ukraine. With the backdrop of the current war there and threats of Russian aggression in Estonia, Isupov’s studio work took on an urgency to counter the overwhelming anxiety and concern for his family facing down threats to their safety and the loss of their formerly peaceful lives. Now, with his wife, artist Kadri Pärnaments and their daughter Roosi, they divide their time between two studios/homes in the USA and Estonia.

ON THE WAY


2020, large-scale figure, porcelain, slip, glaze, 58.5 x 38 x 18″

ON THE WAY & IMPACT OF WORLD EXPERIENCE

On the Way is one of a pair of related, multi-figured, life-sized sculptures produced over several months in 2019-2020. These works strangely, foreshadow the present situation in Ukraine. “Most of my work depicts human relationships through contrasts and comparisons which makes it easy for anyone to find messages or meanings that may or may not be my original intention. Upon reflection, it is easy to connect the expressions, gestures and movements to current events but in reality, all my work comes out of my life experience – growing up during USSR, experiencing its breakup and the establishment of fifteen independent countries – followed by coming to America as a young artist in the 90’s.”

Isupov is a master of nonlinear narration. Combined with his unmatched, masterful skills as both painter and sculptor, the resulting works draw from the past and reflect on the present. Semiautobiographical, Isupov’s intimate narratives interweave poignant representations of men and women, parents and children, shown alongside one another, their pets pointing to the naive sense of security we hold in our daily lives. These works explore individual, interior landscapes and the continually expanding dualities of the self within complex psychological relationships. Intensely personal yet universal, these works in the context of the present day, remind and call upon us to value, protect and preserve the precarious balance we all stand to lose at any present moment.

DOWNLOAD STATEMENT PDF

PROGRAMMING


*Exhibition Catalog can be ordered HERE.

The Clay Studio: Figuring Space Publication Date: January 2023. This catalog features highlights on the artists in the exhibition and includes commentary by Jennifer Zwilling, Curator & Director of Artistic Programs at TCS, and Dr. Kelli Morgan, who are working together to make Figuring Space relevant to our audiences and the art historical record. Dr. Morgan is a curator, educator, and social justice activist who specializes in American art and visual culture has worked with TCS in the past. Her scholarly and activist work combine to make her incredibly qualified to examine the issues of racial politics and the artistic use of the figure in this exhibition. Morgan has developed and championed new curatorial methodologies that privilege the voices of museum audiences, breaking the misconception that museums should hold all the authority dictating how to experience art. Collaboration with colleagues of varied experiences produce expansive curatorial perspective. Together, we are endeavoring to create an exhibition that can offer truly meaningful experiences for every person who walks into the gallery at The Clay Studio.

  • 2023 Catalog
  • The exhibition catalog also includes color photography of select works in the exhibition.
  • 8 x 10 x .5
  • Available for purchase for $15.00
  • Item:TCS-2252

Upcoming | MAR & APR

Clay & Conversations: Season 5

bi-weekly zoom conversations (in person and on zoom) at 1 pm on Thursdays

Clay & Conversations: Season 5

Series of conversations and get-togethers with ceramic artists, curators, scholars, and friends.

Join The Clay Studio in person at their fourth-floor Conference Room or dial in on Zoom.

OPENING RECEPTION | Thursday, January 12

The Clay Studio will host a special opening reception to launch Figuring Space on Thursday, January 12, from 5 to 8 p.m.

RSVP HERE

Figuring Space Workshop Creating Expressive Facial Features | Friday, January 13, from 1 to 4 p.m.

For those looking for an in-depth look at Figuring Space, The Clay Studio will host the Figuring Space Workshop – Creating Expressive Facial Features, a special workshop led by featured artists Sergei Isupov and Jonathan Christensen Caballero. On Friday, January 13, from 1 to 4 p.m., participants of all skill levels will watch the two highly-acclaimed figurative artists give demonstrations as they explain their techniques for creating expressive facial features in clay. The Creating Facial Features in Clay workshop is an in-person-only event.

Tickets to attend are $100 each and available for purchase HERE.
Please contact Josie Bockelman (josie@theclaystudio.org) for discount information for this workshop.

Figuring Space Symposium | Friday, January 13, from 9:30 a.m. to 3:30 p.m.

To further expand on the ideas and themes of this exhibition, The Clay Studio will host a special Figuring Space symposium on January 13, where guests can hear lectures and panel discussions from the artists and curators. From 9:30 a.m. to 3:30 p.m., attendees will hear from the twelve featured artists about what making full-scale figurative sculptures means to their art practice. The co-curators, Dr. Morgan and Zwilling, will also share their ideas about figurative sculpture in contemporary art through the lens of social activism as well as the form’s evolution throughout American art history.

Both of these events are free and open to the public. Audiences can also register to participate in the Figuring Space symposium virtually by registering HERE .

VIDEO


Tip Toland and Sergei Isupov are two of the dozen artists whose work appears in Figuring Space, an exhibition of life-size ceramic figurative sculpture. We are thrilled to have these talented artists as guests to ask them about their inspirations for the ideas and styles of their work.

Cristina is one of the dozen artists whose work appears in Figuring Space, an exhibition of life-size ceramic figurative sculpture. We are thrilled to have this talented artist as a guest to ask her about her inspirations for the ideas and styles of her work.

Pearlware, Polish, and Privilege: Artwork by Paul Scott

Pearlware, Polish, and Privilege: Artwork by Paul Scott

October 27, 2022 – February 26, 2023

LSU MUSEUM OF ART

Shaw Center for the Arts
100 Lafayette Street, Fifth Floor
Baton Rouge, LA 70801

ABOUT THE EXHIBITION & PROGRAMMING


Pearlware, Polish, and Privilege: Artwork by Paul Scott

Paul Scott transforms factory-made tableware with subversive imagery and commentary. He replicates traditional porcelain designs developed by late 18th-century English artisans, such as the Willow pattern or Spode’s Blue Italian. These early ornamentations included appropriated motifs copied from hand-painted blue and white wares imported from China, and were mass-produced using printed glaze transfers applied on porcelain and pearlware blanks.

At first glance, Scott’s contemporary redesigns are indistinguishable from manufactured originals. This intentional mimicking is the result of years of studio practice and academic research into the lost history of British and European transferware. The resulting objects seamlessly blend modern and conceptual imagery, posing compelling observations on current issues such as environmental destruction, racism, gentrification, and social injustice.

The series New American Scenery is the result of a multi-year grant from the Alturas Foundation that enabled Scott to travel and conduct research throughout the United States. He studied transferware in museum collections and visited many of the sites illustrated on their surfaces. The historic originals were not made in America. The objects were supplied by British companies that plied the burgeoning post-Revolution market with decorative and luxury goods. In the early 1800s, factory owners and agents traveled to the New Republic, meeting with merchants and taking orders for British-made ceramics. Local artists were often commissioned to sketch subject matter, including idyllic landscapes, dignitaries, landmarks, and historical sites, which, as engravings, would be used to decorate tableware earmarked for export. These highly prized English objects, initially marketed to an expanding upper class, were available in varying consumer levels. Popular mass-produced designs were sold to an ever-growing merchant and middle class who had the funds to afford decorative objects, while wealthier households commissioned their own patterns, often printed on finer bone china or porcelain

In this exhibition, Scott’s artworks are paired with objects from the LSU Museum of Art’s permanent collection to provoke further contemplation on the issues presented by the artist.

PROGRAMMING & EVENTS


Important Dates:
Oct. 27, 2022 – Opening
Feb. 26, 2023 – Closing


Art at Lunch: Angola Plantation

Wednesday, February 15 at 12 PM

  •   

Join us for the special WEDNESDAY Art at Lunch, as Dr. John Bardes, Assistant Professor of History at LSU, provides a historic overview of Angola Plantation. Bring a lunch—we’ll supply the water and sodas. Third-floor LSU MOA offices. FREE.

  • LSU Museum of Art100 Lafayette Street, Third FloorBaton Rouge, LA, 70801United States (map)

Video: LSU LECTURE | “Cumbrian Blue(s): New American Scenery, Transferwares for the 21st Century” Sunday, November 16, 5:00 pm Paul Scott, ceramics artist, will give a Paula G. Manship Endowed Lecture to the College of Art & Design on Wednesday, November 16, 2022 at 5:00 p.m. in 103 Design Building Auditorium.

Artist Gallery Talk: Paul Scott  

Tuesday, November 16 at 6:00 p.m.

Meet Paul Scott, the featured artist of Pearlware, Polish, and Privilege, and learn about his innovative printmaking techniques. FREE.

LECTURE | “Cumbrian Blue(s): New American Scenery, Transferwares for the 21st Century”

Past Event | Sunday, November 16, 5:00 pm

Paul Scott, ceramics artist, will give a Paula G. Manship Endowed Lecture to the College of Art & Design on Wednesday, November 16, 2022 at 5:00 p.m. in 103 Design Building Auditorium.

LEARN MORE

WATCH THE RECORDING OF THE LECTURE

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

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

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

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

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

ABOUT THE EXHIBITION LENDERS & SPONSORS


Paul Scott is the Paula G. Manship Endowed Lecture Series Visiting Artist. This exhibition is a collaboration between the LSU College of Art + Design, the LSU School of Art, and the LSU Museum of Art.

Support for this exhibition and all LSU MOA exhibitions is provided by the generous donors to the Annual Exhibition Fund: Louisiana CAT; The Imo N. Brown Memorial Fund in memory of Heidel Brown and Mary Ann Brown; The Alma Lee, H.N. and Cary Saurage Fund; Charles “Chuck” Edward Schwing; Robert and Linda Bowsher; Becky and Warren Gottsegen; LSU College of Art + Design; Mr. and Mrs. Sanford A. Arst; and The Newton B. Thomas Family/Newtron Group Fund.

LSU MUSEUM OF ART

Shaw Center for the Arts
100 Lafayette Street, Fifth Floor
Baton Rouge, LA 70801

INQUIRE


Additional works may be available to acquire, but not listed here.

If interested in lists of all works and series: Send us a message

Kadri Pärnamets: CHOREOGRAPHY OF WATER

Kadri Pärnamets: CHOREOGRAPHY OF WATER

NOVEMBER  17, 2022 to JANUARY 28, 2023

FERRIN CONTEMPORARY
1315 MASS MoCA Way, North Adams MA

OPENING RECEPTION
Saturday, Dec. 3, 3-5 pm
At Ferrin Contemporary, North Adams, MA

ABOUT THE EXHIBITION


North Adams, MA –

Ferrin Contemporary is proud to present a new exhibition about one of our most precious resources, water.

Kadri Pärnamets: THE CHOREOGRAPHY OF WATER features porcelain sculptures, vases, and cups as a meditation on this universal element. The exhibition is open now with a reception for the artist on Sat., Dec. 3, 3-5 pm.

After installing her work in the gallery, Pärnaments stood outside in the rain, looking in on her work. “It’s amazing to me, we all share this substance. Everyone all over the world is sharing the same water,” said the artist whose primary inspiration for this work is rain.

The exhibition features her biomorphic, organic vessel forms. Thinking of herself as a choreographer, the artist explores shapes that connect to water, from cloud to cup. Pärnaments interests range from fragile, natural environments to female identity and this is evident across form, color, and function.

CHOREOGRAPHY OF WATER


Ferrin Contemporary | Nov 17 2022 to Jan 28 2023

Kadri Pärnamets works in porcelain using traditional hand-building and sculpting techniques to combine surface and form. Her biomorphic, organic forms provide a means to convey her personal interests ranging from fragile, natural environments to female identity. Her surface treatments feature a range of gesture and expression with either abstract shape or narrative figure painting, inspired by painters from the European Renaissance and Impressionist eras, like Lucas Cranach the Elder and Edouard Manet.

Pärnamets’ work has been shown internationally at the Estonian Museum of Applied Art and Design (Tallinn, Estonia), at the International Tea Trade Expo (Shanghai, China), and many others. Since 1996, she has participated in symposiums in Latvia, Lithuania, Estonia, Switzerland, USA, Norway, and Hungary.

Pärnamets graduated from the Art Institute of Tallinn, Estonia with a BA/MFA in Ceramics. Dividing her time between Estonia and USA, her primary studio is the USA at Project Art in Cummington, MA. She is represented by Ferrin Contemporary.

INQUIRE HERE

CUPS

*Cups by Kadri Pärnamets will be released to the online shop in groups of 10 and will remain online for a limited time.

PROGRAMMING


Public artist reception | Sat., Dec. 3, 3-5 pm

Now open at Ferrin Contemporary
exhibition continues through Jan. 28, 2023

PREVIEW EVENT | Oct 1 – 2, 2022

Hilltown Open Studio Tour
at Project Art, Cummington, MA

Conversing in Clay: Ceramics from the LACMA Collection

Conversing in Clay: Ceramics from the LACMA Collection

ABOUT THE EXHIBITION


One of the earliest and best-preserved areas of artistic production across the globe, ceramics remains a vital field of expression and experimentation into the present. Conversing in Clay: Ceramics from the LACMA Collection explores the medium through 14 case studies, placing historical works in visual dialogue with contemporary examples to illuminate symbolic meanings, technical achievements, and resonances throughout time. The exhibition examines how artists working today relate to international artistic traditions of the medium, both through deliberate references to the past and by engaging with aspects of clay materiality that have inspired makers over the centuries. Drawing from LACMAs wide-ranging collections, the exhibition also highlights many recent contemporary acquisitions, including works by Nicholas Galanin, Steven Young Lee, Courtney Leonard, Paul Scott, Mineo Mizuno, Elyse Pignolet, and more.

AT LOS ANGELES COUNTY MUSEUM OF ART


Los Angeles, CA | August 7, 2022 – May 21, 2023