Project Type: 2024

if you should forget me for a while

if you should forget me for a while

JUNE 27 through AUGUST 25, 2024

Featuring work by Jacqueline Bishop, Melanie Bilenker, Venetia Dale, & Lauren Kalman

ABOUT THE EXHIBITION


INSTALLATION IMAGES

Sienna Patti Contemporary’s summer exhibition features the work of four female artists whose work is deeply personal yet universally relatable. How will we be remembered? Will the memories be truthful? What role do we play in shaping that truth?

Melanie Bilenker‘s detailed work starts with the artist photographing herself at home and then painstakingly rendering it using her hair as the line. Hairwork, an intimate art form, was commonly used to commemorate a loved one, especially during Victorian times. Bilenker gives it a modern twist, immortalizing herself, or at least the impression of herself—a hand lightly touching a mirror. The artist is there, just out of sight. She has made lasting a single short moment. 

Jacqueline Bishop, whose interdisciplinary practice is research-based, is acutely aware of being both an insider and an outsider, having lived longer outside her birthplace of Jamaica than on the island itself. This perspective allows her to view an environment from a distance. Bishop’s series of porcelain plates, Fauna, are showcased in this exhibition alongside a tea set titled The Keeper of All The Secrets, featuring the well-known Caribbean image of the Market Woman. Through collage and porcelain, Bishop weaves together histories of the British Empire, Colonialism, and the Transatlantic Slave Trade.

Venetia Dale also draws from history, collecting recent and antique unfinished embroideries and piecing them together to create tapestries that tell a new story. By stitching together unfinished moments of care and attention, the final embroideries link the labor of these anonymous creators at their points of pause. “I am a mother and the keeper of time in my family,” writes Venetia Dale. “By making space in my work to celebrate a pause or a fleeting gesture of care, these sculptural works become a monument to my labor as well as to the labor of those who came before me.”

In Lauren Kalman‘s recent series To Hold, plaster castings of the artist’s body are made and imprinted onto a blown glass vessel. With multiple assistants manipulating body parts, the plaster castings function like puppets, acting as a proxy for the body pressed against the molten glass. The carefully controlled form of the blown glass vessel is lost with the imprint of the body, leaving both a permanent distortion of the original form and a lasting imprint of the absent body. The To Have and To Hold series is made of wheel-thrown ceramic vessels distorted by holding them against the artist’s actual body – no casting needed. The imprint implies she was once there, the heavy vessel cradled in her arms.

FEATURED ARTWORK


Jacqueline Bishop
Fauna (Edition of 3)
2024
digital print on porcelain, gold lustre
various dimensions

Jacqueline Bishop
The Keeper of All The Secrets (Edition of 3)
2024
digital print on porcelain, gold lustre
12.5″

50 Years in the Making: Alumni Exhibition

50 Years in the Making: Alumni Exhibition

June 13th – September 1st, 2024

At The Clay Studio
Philadelphia, PA

ABOUT THE EXHIBITION


INSTALLATION IMAGES

This Alumni Exhibition showcases artwork to reflect the current practice of the over 150 artist who have participated in The Clay Studio’s Resident Artist Program, Guest Artist Program, and Associate Artist Program over the 50 years since its founding. 

The artists who work within the walls of The Clay Studio are the creative engine that keeps the organization going and focused on supporting professional artists at all levels, emerging, mid-career, and established. We are thrilled to bring together over 100 of the artists who have had meaningful, sometimes career-altering experiences at The Clay Studio while also sharing their creativity and inspiration with our entire community.

ABOUT THE ARTISTS


& FEATURED WORK

Estonian-American, b. 1963 Stavropole, USSR,
lives and works between Cummington, MA, USA and Tallinn, Estonia

Sergei Isupov
“Game Changer”
2023
porcelain, underglaze, glaze
17.5 x 8 x 6.5″.

American, b. 1985, Cincinnati, OH
lives and works in Philadelphia, PA

Lauren Mabry
“Glazescape (Molten Cloud)”
Ceramic, glaze
16 x 23 x 11″

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

Paul Scott
“Cumbrian Blue(s), New American Scenery, Philadelphia/06. 02/14/04/24.”
Transfer (screen print) on shell edge pearlware platter
18 x 14.5″

PAUL SCOTT at the Albany International Airport Gallery

PAUL SCOTT at the Albany International Airport Gallery

May 10 – December 31, 2024

ALBANY INTERNATIONAL AIRPORT GALLERY

737 Albany Shaker Road
Albany, NY 12211

ABOUT THE EXHIBITION & PROGRAMMING


CONFECTED, BORROWED & BLUE: Transferware by Paul Scott

Concourse A Gallery is located post-security in the main terminal’s Concourse A. It consists of five walls featuring curated exhibitions of regional artists that change twice yearly. A selection of Paul Scott’s New American Scenery series is now on display in conjunction with his solo exhibition, CONFECTED, BORROWED & BLUE at Shelburne Museum in Shelburne, VT.

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 ALBANY INTERNATIONAL AIRPORT GALLERY


The Albany International Airport Gallery is located on the third floor of the main terminal, and is fully accessible and open to the public daily. It hosts curated exhibitions featuring regional artists and museum collections that change twice yearly.

ALBANY INTERNATIONAL AIRPORT GALLERY

737 Albany Shaker Road
Albany, NY 12211

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

CONFECTED, BORROWED & BLUE

CONFECTED, BORROWED & BLUE

MAY 11 – OCT 20, 2024

SHELBURNE MUSEUM

6000 Shelburne Road
PO Box 10
Shelburne, VT 05482

ABOUT THE EXHIBITION & PROGRAMMING


CONFECTED, BORROWED & BLUE: Transferware by Paul Scott

The first in a series of “interventions” by contemporary artists features works by British artist Paul Scott, known for his provocative reinterpretation of 19th-century transferware. Plates, platters, and jugs by Scott will be displayed alongside objects from the Museum’s collection creating “segues” that spark dialogue between the old and new.

EVENTS


Important Dates:
May 11, 2024 – Opening
Oct. 20, 2024 – Closing


Opening Reception:
June 7, 2024 | 3pm
Free and open to the public


Public Artist Talk:

Friday, June 7th, 2024 | 3pm
Auditorium, Pizzagalli Center for Art and Education
Free with Museum Admission

Join us as artist, author, curator, and gardener Paul Scott discusses his artistic practice, which includes provocative reinterpretations of 19th-century transferware. Scott will pay special attention to the work he produced for the 2024 Shelburne Museum exhibition Confected, Borrowed & Blue: Transferware by Paul Scott. This show is the first in a planned series of “interventions,” in which contemporary artists respond to Shelburne Museum’s outstanding collections. Plates, platters, and jugs created by Scott—including a special commission exploring the role of the sugar industry in the Museum’s founding—are displayed alongside historical ceramics in the Variety Unit, sparking dialogue between past and present.

Talk will last approximately 45 to 60 minutes, followed by an audience Q & A. The Museum will remain open until 7:30 p.m., allowing attendees time to visit the exhibition after the talk.

LINK TO LEARN MORE

 


Study Day with American Ceramics Circle:

June 7, 2024 | 10 – 5pm
Fees: $50 for members; $60 for guests
(admission and lunch are included)
Limited to 20

Join the American Ceramics Circle for a day of private, curator-led tours and programs at Shelburne Museum, Shelburne, Vermont to explore the ceramic collections and a private tour of “Confected, Borrowed & Blue: Transferware” with the artist Paul Scott.

Click HERE to learn more

Click HERE to register

PRESS


Paul Scott’s Provocative Ceramics Reinvent Transferware Traditions

Seven Days | June 19, 2024
Article by Pamela Polston 

A recently opened exhibition at Shelburne Museum, titled “Confected, Borrowed & Blue,” presents a selection of the internationally known British artist’s transferware updated for modern times.

VIEW ARTICLE

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 SHELBURNE MUSEUM


Shelburne Museum is an unparalleled and unique experience of American history, art, and design. Designed to allow visitors the pleasure of discovery and exploration, the Museum includes thirty-nine distinct structures on forty-five acres, each filled with beautiful, fascinating, and whimsical objects. Come play in our gardens and open our many doors. You are welcome here.

Click to Read More HERE

SHELBURNE MUSEUM

6000 Shelburne Road
PO Box 10
Shelburne, VT 05482

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

RIVERS FLOW/ARTISTS CONNECT

RIVERS FLOW/ARTISTS CONNECT

In Rivers Flow / Artists Connect, American artists from the 1820s to the present day explore and illuminate our profound, symbiotic relationship with significant rivers across the globe, from the Hudson and the Susquehanna to the Indus and the Seine.

The cultural, societal, and spiritual significance of rivers is universal, as proven by their lasting presence in art and our collective imagination. In Rivers Flow / Artists Connect, American artists from the 1820s to the present day explore and illuminate our profound, symbiotic relationship with significant waterways, such as the Hudson River, the Susquehanna, and the Missouri, as well as symbolic representations.

The Hudson River Museum’s new West Wing galleries, basking in a dramatic view of the Hudson River and the Palisades, are an opportune setting for this exhibition. It features works by more than forty exceptional artists exploring various aspects of river subject matter from diverse perspectives and heritages. Together, the artists demonstrate—through painting, printmaking, photography, sculpture, and video—their role in recalling and reinforcing our instinctive connection with rivers.

The exhibition considers these bodies of water through aesthetic, functional, spiritual, and ecological lenses. The Allure of the River section addresses the interrelation of scenic beauty and our attraction to rivers. In Sustainer of Life, artists investigate the essential need for access to rivers for water, food, and transportation—our daily infrastructure—as well as profound sacred connections. Finally, Endangered Rivers: A Call to Action reflects on urbanization, industry, and the critical need for continued conservation and activism.

RIVERS FLOW/ARTISTS CONNECT


At the Hudson River Museum | Yonkers, NY | Feb 2 – Sep 1, 2024

ABOUT THE ARTISTS


In many ways, the artists and the rivers they depict are kindred spirits. Just as rivers shape the land and surmount obstacles on their inexorable journey to the sea, artists also boldly confront barriers and challenges, from land access to environmental change. Their creative expressions help us see rivers with new eyes, and perhaps even a renewed sense of wonder, connection, and purpose, as we consider our own community’s rivers and our own responsibility for stewardship.

The exhibition is co-curated by Laura Vookles, Chair of HRM’s Curatorial Department, and guest curator Jennifer McGregor.

FEATURED ARTISTS

Norman Akers • Joe Baker • James Bard • Bahar Behbahani • Karl Bodmer • Daniel Putnam Brinley • Lorenzo Clayton and Jacob Burckhardt • James & Ralph Clews • Samuel Colman • Betsy Damon • John Douglas • Joellyn Duesberry • Robert S. Duncanson • Elaine Galen • Scherezade Garcia • John Hill and William Guy Wall • Daniel Ridgeway Knight • Courtney M. Leonard • Rejin Leys • Maya Lin • Mary Fairchild Low • Ellen Kozak • John Maggiotto • James McElhinney • Frances McGuire • Alison Moritsugu • Tammy Nguyen • Don Nice • Jon Louis Nielsen • James Prosek • Winfred Rembert • Alexis Rockman • Shuli Sadé • Charlotte Schulz • Madge Scott • Paul Scott • Francis Augustus Silva • Joseph Squillante • Jerome Strauss • William Villalongo • Jason Walker • Mansheng Wang • Susan Wides • Tom Yost

b. Shinnecock, 1980
lives and works in Northfield, Minnesota

More on Courtney M. Leonard

English, b. 1953
lives and works in Cumbria, UK

More on Paul Scott

American, b.1973, Pocatello, ID
lives and works in Cedar City, UT

More on Jason Walker

PROGRAMMING


Gallery Talk with Artist Courtney M. Leonard

Sunday, June 16, 2024 | 1:30pm

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | STACCATO

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | STACCATO

Courtney M. Leonard:
BREACH: LOGBOOK 24 | STACCATO


University Museum of Contemporary Art at UMASS | Amherst, MA
February 14 – May 10, September 19 – December 9, 2024

ABOUT THE EXHIBITION


The artist Courtney M. Leonard, a citizen of the Shinnecock Nation of Long Island, explores marine biology, Indigenous food sovereignty, migration, and human environmental impact through visual logbooks that investigate the multiple definitions of the term “breach.”

BREACH: LOGBOOK 24 | STACCATO is the result of a multi-year artist residency initiated by the UMCA in collaboration with the UMass College of Natural Sciences and partially funded by the National Endowment for the Arts. The installation will fill the UMCA’s Main, East and West Galleries. It includes paintings, sculptures, and video exploring the life and kinship ties of Staccato, a North Atlantic Right Whale killed by a ship strike in 1999, whose remains are housed in the UMass Natural History Collections.

BREACH: LOGBOOK 24 | STACCATO was created in partnership with the UMass College of Natural Sciences and is supported by the National Endowment for the Arts, The Office of the Provost, The Class of 1961 Artists’ Residency Fund, the Massachusetts Cultural Council, the UMass Natural History Collections and the UMassFive College Credit Union. Significant research and exhibition contributions came from Kathrine Doyle, staff in the UMass Biology Dept and Vertebrate Collections Manager for the UMass Natural History Collections, Tristram Seidler, Curator of the UMass Herbarium, and Michelle D. Staudinger, Ph.D., UMass Department of Environmental Conservation. Emily Volmar, a UMass undergraduate Natural Resource Conservation major, was a summer Art & Science research assistant for this project. Her work and that of UMass Postdoctoral Researcher Amy Teffer was supported by the Northeast Climate Adaptation Science Center.

EVENTS

OPENING RECEPTION:

Feb 21, 5:00 -7:00pm
Randolph W. Bromery Center for the Arts lobby & UMCA, Amherst, MA 01003
umass.edu/umca

Opening Reception & Talk: Wednesday, February 21 | 5:00 p.m. – 7:30 p.m.
Randolph W. Bromery Center for the Arts, 151 Presidents Drive, Amherst MA 01003

Free and Open to All

5:00 p.m. Artist Talk in Frederick C. Tillis Performance Hall 
All are invited to hear from artist Courtney M. Leonard in conversation with poet Abigail Chabitnoy, Assistant Professor, UMass MFA program for Poets & Writers, in the Frederick C. Tillis Performance Hall.

6:00 p.m. – 7:30 p.m. Reception in Bromery Lobby and UMCA
Enjoy appetizers in the Bromery Lobby and chat with the artist. Meet the scientific team from the UMass College of Natural Sciences who worked on this multi-year collaboration and visit the exhibition in the museum.

ABOUT COURTNEY M. LEONARD

Courtney Leonard Artist Portrait

Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonard’s current work embodies the multiple definitions of “breach”, an exploration and documentation of historical ties to water, whale and material sustainability.

In collaboration with national and international museums, cultural institutions, and indigenous communities in North America, New Zealand, Nova Scotia, and the United States Embassies, Leonard’s practice investigates narratives of cultural viability as a reflection of environmental record.

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.

2024 INTERNATIONAL CERAMIC ART FAIR (ICAF)

2024 INTERNATIONAL CERAMIC ART FAIR (ICAF)

MAY 23, 2024 – JUNE 2, 2024

At the Gardiner Museum
Toronto, Ontario

ABOUT THE 2024 INTERNATIONAL CERAMIC ART FAIR


& Symposium

The International Ceramic Art Fair (ICAF) is a 10-day celebration of some of the most compelling recent ceramic art, featuring works by emerging and established artists from a wide range of backgrounds, as well as online and in-person programming by artists and curators.

ICAF 2024 focuses on the theme of gathering to explore ways in which artworks, and clay as a medium, can bring us together to create common ground. Amid political, religious, ethnic, class, and cultural divides, gathering enables us to focus on how we are united in our humanity, highlighting shared experiences and needs. Gathering encourages listening, as we share space within the action of coming together. To gather is also to collect our resources, both internal and external, for healing and survival. We gather with emotional and spiritual intention, honouring our full capacities as beings to face the challenges and opportunities we encounter. ICAF 2024 highlights Canadian and international artists who engage clay as a medium for coming together to reassert our shared bonds with each other and the earth.

PROGRAMMING


PREVIEW GALA

Wednesday May 22, 7 – 10 pm

Be among the first to view and purchase exceptional ceramic works from leading galleries and artists at the International Ceramics Art Fair’s exclusive Preview Gala. Proceeds from this fundraising event support the Gardiner Museum’s Community Access Fund, making clay programs more widely available to communities with limited access to arts education.

Dress: Cocktail attire

If you require any accommodations to ensure your participation, please inform us in advance.
*Charitable tax receipt issued post-event for the maximum allowable amount.

Single ticket: $250
Package of 10: $2,000
Young Patron Circle: $200
By Phone: 416.408.5051

 

LESLIE FERRIN: MEET ME AT International Ceramic Art Fair at the Gardiner Museum, Toronto

Thursday May 23rd | 1:30-2:30pm
Gardiner Museum
111 Queens Park Toronto, ON M5S 2C7 Canada

Ferrin Contemporary invites you to join Leslie Ferrin for an in person tour of ICAF the International Ceramic Art Fair hosted by the Gardiner Museum in Toronto! The 4th annual fair is a 10-day celebration of contemporary ceramic art that features works by emerging and established artists from a wide range of backgrounds. In addition to Ferrin Contemporary, five international galleries and selected independent artists present recent works in the museum galleries exploring this year’s theme Gathering.

On May 23, the in-person event with Leslie Ferrin is a great opportunity to learn about the work of three gallery artists, Jacqueline Bishop, Peter Pincus and Linda Sikora with gallery director, Leslie Ferrin. 

RSVP HERE
The first five people who RSVP and all members of the museum will be given complimentary admission.

JACQUELINE BISHOP IN CONVERSATION WITH RONALD CUMMINGS

Saturday, May 29, 2024, 6 – 8pm

 

Join ICAF for a conversation between Jacqueline Bishop, featured artist at the International Ceramic Art Fair (ICAF), and Ronald Cummings, associate professor in the Faculty of Humanities’ Department of English and Cultural Studies at McMaster University in Hamilton, Ontario. Jacqueline is represented by Ferrin Contemporary in Massachusetts.

This discussion will examine Bishop’s most recent work, Narratives of Migration, which traces family histories of migration and in particular, migration journeys between Jamaica and England. These family portraits and narratives become one way of mapping a history of colonial relations and genealogical entanglements. According to Bishop “it is both my family’s history and a larger English/Jamaican history that I have sought to trace.” Images of family in Narratives of Migration are also layered with flora and fauna “taken from the island to fill English gardens and give rise to the field of Natural history.”

The conversation will also explore Bishop’s ongoing attention to Caribbean lives and landscapes across her visual work, including her plates and porcelain tea services: The Market Woman’s StoryHistory at the Dinner TableThe Keeper of All The Secrets, and Fauna.

FREE with registration

REGISTER HERE 

ARTIST TOUR & POTTERY DEMONSTRATION WITH LINDA SIKORA

Saturday, May 25, 2024, 9:30am – 12:30pm

 

Featured artist Linda Sikora will lead a tour of her work in the International Ceramic Art Fair (ICAF), followed by an exclusive studio demonstration. Lind a is represented by Ferrin Contemporary in Massachusetts.

Experience firsthand the artist’s unique way of transforming her intuitively and spontaneously made pressed forms into three-dimensional sculptures. Linda will demonstrate both wheel throwing and the making of a pitcher pot referencing early medieval pottery. She will offer insight into her methods of constructing, loading, firing, glazing, and installation, as well as her artistic philosophy. Don’t miss this unique opportunity to learn from one of the most thoughtful and articulate makers in the field of contemporary ceramics.

$45 General | $38 Gardiner Members | $38 Students with valid Student ID

 

PURCHASE TICKETS HERE

CERAMIC CRITIQUE WITH LINDA SIKORA

Saturday, May 25, 2024, 2 – 4:30pm

 

Bring your ceramic work to the Gardiner Museum for a professional critique with featured artist Linda Sikora. Linda is a Professor of Ceramic Art at the New York State College of Ceramics, Alfred University. 

Participants are invited to bring 1-2 pieces of work in progress for the artist’s feedback. Critique will be offered on an individual or group basis depending on the number of participants and the similarity of works. This is an invaluable opportunity to receive guidance from a leading ceramic artist and professor.

$30 General | $25.50 Gardiner Members | $22 Students with valid Student ID

 

PURCHASE TICKETS HERE

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | SCRIMSHAW

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | SCRIMSHAW

Courtney M. Leonard:
BREACH: LOGBOOK 24 | SCRIMSHAW


New Bedford Whaling Museum
New Bedford, MA

June 14 through November 3, 2024

ABOUT THE EXHIBITION


Courtney M. Leonard (Shinnecock, b.1980) is a multi-media installation artist, ceramicist, and filmmaker, who has contributed to the Offshore Art movement. In collaboration with museums, cultural institutions, and indigenous communities in North America, New Zealand, Nova Scotia, and the United States Embassies, Leonard’s practice investigates narratives of Indigenous food sovereignty, marine life, and human environmental impact.

Leonard’s largest body of work to date, titled BREACH, is an ongoing exploration of the historical and contemporary ties between place, community, whales, and the maritime environment. The various iterations of the project, created for individual institutions and settings, investigate the multiple definitions of the term “breach.” A “breach” is a break, a gap in a wall, a river overflowing to breach its banks. Legally, breach means the failure to abide by the law or observe an agreement; it is a violation or infraction, a breach of trust. Breach also describes the act of a whale breaking the surface to rise above the open water. To “step into the breach” implies moving into the unknown. BREACH is an ongoing artistic exploration of these multiple meanings, engaging environmental vulnerabilities and the settler state’s failure to uphold relations and treaties with coastal Indigenous nations.

Leonard’s works conjure the remains of whales, waterfront industrial infrastructure, and oyster shells, evoking community ties to water, Shinnecock scientific knowledge, and current practices for mitigating coastal erosion and water contamination. Such works enact healing and celebrate resiliency and joy on unceded lands and waters. Leonard will produce an entirely new body of work for the installation at the New Bedford Whaling Museum, which continues her interest in coastal communities and historical whaling, while engaging the museum’s history, collections, and community partnerships with culture bearers from the Mashpee Wampanoag tribe, also known as the People of the First Light.

BREACH: Logbook 24 | SCRIMSHAW will be opening with the twined exhibition “The Wider World and Scrimshaw,” which takes the Museum’s scrimshaw collection (objects carved by whalers on the byproducts of marine mammals) and places it in conversation with carved decorative arts and material culture made by Indigenous community members from across the Pacific and Arctic.

Courtney M. Leonard:
BREACH: LOGBOOK 24 | SCRIMSHAW


New Bedford Whaling Museum | New Bedford, MA
June 14 through November 3, 2024

EVENTS

Exhibition Opening Reception
Friday, June 14, 2024 | 5:00-7:00 pm

Members and invitees of the New Bedford Whaling Museum only
RSVP required
Members who would like to RSVP to the opening reception can email membership@whalingmuseum.org or call Gillian Fournier at 508-717-6853

BECOME A MEMBER OF THE NEW BEDFORD WHALING MUSEUM

Conversation with Artist Courtney M. Leonard
Friday, October 4, 2024 | 6pm
$10 for museum members, $20 for non-members

Join the New Bedford Whaling Museum on Friday, October 4 for a special edition of the New Bedford Whaling Museum’s First Friday series, featuring an artist talk, full access to the museum, a lite reception and more.

Presented in conversation with the exhibition, BREACH: Logbook 24 | SCRIMSHAW on view June 1 to November 3, 2024. Q&A to follow.

Leonard will be joined by artist HOLLY MITITQUQ NORDLUM, an Iñupiaq artist working to revitalize the tradition of Inuit tattoo in Alaska. Nordlum trained with Maya Sialuk Jacobsen, an Inuit tattooist from Greenland. A growing cadre of Indigenous female practitioners see the reclaiming of tattoo as a way to heal from colonization and as a statement of pride and cultural affiliation. Many are mentored through Nordlum’s Tupik Mi apprenticeship program.

PURCHASE TICKETS HERE

PRESS

Scrimshaw Takes Over the New Bedford Whaling Museum in Summer Exhibitions

The Wider World & Scrimshaw and Shinnecock artist Courtney M. Leonard’s BREACH: Logbook 24 | SCRIMSHAW explore sites of encounter and exchange across the Pacific and Arctic Oceans.

Courtney Leonard Artist Portrait

Courtney M. Leonard is an artist and filmmaker, who has contributed to the Offshore Art movement. Leonard’s current work embodies the multiple definitions of “breach”, an exploration and documentation of historical ties to water, whale and material sustainability.

In collaboration with national and international museums, cultural institutions, and indigenous communities in North America, New Zealand, Nova Scotia, and the United States Embassies, Leonard’s practice investigates narratives of cultural viability as a reflection of environmental record.

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.

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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.

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“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.

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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.

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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…

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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