Project Type: EXHIBITION

02
Nov
2024
COURTNEY M. LEONARD in: Woven Being: Art for Zhegagoynak/Chicagoland

COURTNEY M. LEONARD in: Woven Being: Art for Zhegagoynak/Chicagoland

Woven Being: Art for Zhegagoynak/Chicagoland

The Block Museum of Art | Evanston, IL

January 25–July 13, 2025

Featuring Courtney M. Leonard

ABOUT THE EXHIBITION

Through the perspectives of four collaborating artists with connections to Zhegagoynak—Andrea Carlson (Grand Portage Ojibwe/European descent), Kelly Church (Match-E-Be-Nash-She-Wish Tribe of Pottawatomi/Ottawa), Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe), and Jason Wesaw (Pokagon Band of Potawatomi) —Woven Being explores confluences that are continuing to shape Indigenous creative practices in the region and beyond.

The Chicagoland region is a longstanding cultural and economic hub for Indigenous peoples, including the Council of Three Fires— the Ojibwe, Potawatomi, and Odawa—as well as the Menominee, Miami, Ho-Chunk, Sac, Fox, Kickapoo, and Illinois nations. People from many Indigenous nations call the region home today, and the city of Chicago has the third-largest urban Indigenous population in the United States.

Despite this rich history, Indigenous voices have often been excluded from Chicago’s art histories. This silence is harmful. Guided by Indigenous collaborations, priorities, and voices, the exhibition foregrounds the perspectives of Indigenous artists currently based in the city and those from nations forcibly displaced from the area in the nineteenth century.

Collaborating artists have partnered with The Block to create “constellations” of their own artwork and historical and contemporary artworks, primarily by Indigenous artists of the region. Overall Woven Being will present more than 80 works by 33 artists that speak to the diversity of Indigenous art, materials, and time, including several new and commissioned works and installations. Selections highlight themes we have identified in dialogue with diverse project advisors: kinship between materials, relations across regional landways and waterways,  and the weaving together of past, present, and future.

Seen together, the exhibition works form intimate and interwoven stories that resist monolithic storytelling. Instead of a comprehensive overview of regional art, Woven Being integrates four Indigenous perspectives of Chicagoland’s layered art histories. Such perspectives are central not only to understanding Chicago and its region, but also to understanding the widely interconnected Indigenous stories that have been, and continue to be, woven across the entirety of Turtle Island (North America).

VIEW THE PRESS RELEASE

ARTISTS IN THE EXHIBITION

• Josef Albers (American, born Germany)
• Rick Bartow (Mad River Band of Wiyot Indians)
• Frank Big Bear (White Earth Ojibwe)
• Roy Boney (Cherokee Nation)
• Andrea Carlson(Grand Portage Ojibwe/European descent)
• Avis Charley (Spirit Lake Dakota/Diné)
• Kelly Church (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa)
• Woodrow Wilson Crumbo (Citizen Potawatomi)
• Nancy Fisher Cyrette (Grand Portage Ojibwe)
• Jim Denomie (Lac Courte Oreilles Band of Lake Superior Ojibwe)
• Jeffrey Gibson (Mississippi Band of Choctaw Indians/Cherokee)
• Teri Greeves (Kiowa)
• Denise Lajimodiere (Turtle Mountain Band of Ojibwe)
• Mark LaRoque (White Earth Ojibwe)
• Courtney M. Leonard (Shinnecock Nation)
• Nora Moore Lloyd (Lac Courte Oreilles Band of Lake Superior Ojibwe)

• Agnes Martin (American, born Canada)
• Wanesia Misquadace (Minnesota Lake Superior Chippewa Tribe Fond du Lac Band)
• George Morrison (Grand Portage Ojibwe)
• Barnett Newman (American)
• Daphne Odjig (Odawa/Potawatomi)
• Virgil Ortiz (Cochiti Pueblo)
• Chris Pappan (Kaw [Kanza]/Osage/Lakota)
• Cherish Parrish (Match-E-Be-Nash-She-Wish Band of Pottawatomi/Ottawa)
• John Pigeon (Pokagon Band of Potawatomi)
• Jason Quigno (Saginaw Chippewa)
• Monica Rickert-Bolter (Prairie Band Potawatomi/Black)
• Sharon Skolnick (Fort Sill Apache/Lakota)
• Rhiannon Skye Tafoya (Eastern Band Cherokee/Santa Clara Pueblo)
• Lisa Telford (Haida)
• Jason Wesaw (Pokagon Band of Potawatomi)
• Joe Yazzie (Navajo)
• Debra Yepa-Pappan (Jemez Pueblo/Korean)

EXHIBITION PUBLICATION

A 160-page multi-authored publication centers Indigenous voices and explores the exhibition’s expansive themes and questions. This book will be available midway through the exhibition run to document the installation and represent the constellations of artwork and thoughtful juxtapositions

Following an introduction by the exhibition’s co-curators, contributors Blaire Morseau (Pokagon Band of Potawatomi), Denise Lajimodiere (Turtle Mountain Band of Ojibwe), John Low (Pokagon Band of Potawatomi), and Anne Terry Straus and Jacqueline Lopez expand on the collaborating artists’ contributions from their own disciplinary and personal vantage points,   These chapters are interspersed with poetry and prose, including by Heid Erdrich (Turtle Mountain Band of Ojibwe), Mark LaRoque (White Earth Ojibwe), and Mark Turcotte (Turtle Mountain Band of Ojibwe), a resource guide focusing on Chicago’s Indigenous-led arts organizations, and installation views of the exhibition.

The Woven Being book is published by The Block Museum of Art at Northwestern University, produced by Marquand Books, Seattle , designed by OTAMI, Montreal, and distributed by the University of Washington Press (Forthcoming in Spring 2025.)

 

ORDER HERE

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.

23
Oct
2024
SERGEI ISUPOV: Ancestor

SERGEI ISUPOV: Ancestor

Anderson Gallery

Bridgewater State University

40 School Street
Bridgewater, MA

November 1 – February 24, 2025

ABOUT THE EXHIBITION

Sergei Isupov presents Ancestor, a dramatic solo exhibition featuring masterworks of figural sculpture at Anderson Gallery at Bridgewater State University. The installation creates a dialog between Isupov’s large busts and figural sculptures along with a web of narratives woven through the work’s illustrated surfaces.

Invited by Jay Block, associate director of collections and exhibitions at Bridgewater, Isupov embraced the opportunity to be an artist-curator and fill Anderson Gallery with selected works from 2008 to the present. A brilliant colorist, Sergei elected to paint the walls a deep red-orange, offsetting and highlighting the fully illustrated ceramic sculptures. Isupov’s large-scale busts from his Androgyny series and hybrid figures from his Humanimals series are placed in engaging dialogs with one another, inviting viewers to reflect on the ancestral narratives within the works and through their own family history. 

“Sergei Isupov’s solo exhibition explores ancestral memories that are packed within narratives drawn from traditional myths, tales and legends. The stories are veiled, cautionary warnings of those mysterious things that go bump in the night, deeply woven and textural, fascinating in appearance and bristling sharp in meaning.” – Jay Block

Isupov’s Ancestor unites a collection of figural sculpture that shows the evolution of ideas in his work. As expressed in the characters he portrays, the sculptures’ interacting eyes and gestures activate relationships that are universal and timeless. Installed in a zig zag, this exhibition explores narratives from his past in dialog with the present, bridging memory and place in choreographed alignments. 

“Regardless of our backgrounds or wherever in the world we came to be, our shared experiences as humans are interwoven and passed on from generation to generation. The exhibition ANCESTOR allowed me to reflect on these works and my sources of inspiration and motivation … When I think of myself and my works, I’m not sure I create them, perhaps they create me.” – Sergei Isupov

Born into a family of Russian artists during the USSR, Isupov spent his childhood in Kyiv, Ukraine, educated in Tallinn, Estonia, and now lives and works in Western Massachusetts.

VIEW THE EXHIBITION CATALOG

PROGRAMMING

CLOSING RECEPTION

Monday, February 24th, 2025 | 3:30 – 4:30 PM
Bridgewater State University

Free | All are welcome

ABOUT SERGEI ISUPOV

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

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

Isupov has a long international resume with work included in numerous collections and exhibitions, including the National Gallery of Australia, Museum Angewandte in Kunst, Germany, and in the US at the Carnegie Museum of Art, Crocker Art Museum, Everson Museum of Art, Fine Arts Museum of San Francisco, Museum of Arts and Design, Museum of Fine Arts–Boston, Museum of Fine Arts–Houston, Mint Museum of Art, and Racine Art Museum. In 2017, his solo exhibition at The Erie Art Museum presented selected works in a 20-year career survey titled Hidden Messages, followed by Surreal Promenade e, another survey solo in 2019 at the Russian Museum of Art in Minnesota.

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

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11
Oct
2024
Stephen Bowers: A Conference of Birds

Stephen Bowers: A Conference of Birds

Stephen Bowers: A Conference of Birds

Lauraine Diggins Fine Art

Boonwurrung Country
5 Malakoff Street
North Caulfield VIC Australia 3161

October 26 – December 7, 2024

Featuring Stephen Bowers

ABOUT THE EXHIBITION

This exhibition is full of vivid images portraying birds in colour-saturated settings where they overlap complex fragmentary backgrounds, many derived from engravings and textiles. The rich mash-ups of visual ideas on the backgrounds are playfully and skillfully rendered using meticulous brushstrokes often suggestive of those industrial process

EXHIBITION CATALOG & MEDIA

View the illustrated catalogue for Stephen Bowers: A Conference of Birds, including an essay by Leslie Ferrin.

“I live in a small rural town settled in the 1700’s by English colonists on the land of the Indigenous people, the Norwottucks. Located at the Western end of Hampshire County in the foothills of the Berkshires, an area known as the Hilltowns, we are about 110 miles west of Boston and 180 miles North of New York City. As director of Ferrin Contemporary, from where I sit in my office, Australia is half a world away. Yet, as I look at images of works in this exhibition, I vividly recall my own residency and research in the place where these pieces have their genesis – Adelaide, South Australia. 

The journey that brought me to Adelaide began in the summer of 2006, the year we established Project Art, a ceramic focused residency initiative located in an old historic river mill we had renovated on Main Street in Cummington, a small New England village. Stephen was well known to us through his exhibitions at art fairs, museums and galleries in the US – and he was one of the first guests at Project Art.”

–Leslie Ferrin

VIEW THE CATALOG ON ISSUU

Stephen Bowers Interview with the Artist 2024 | By Lauraine Diggins Fine Art

Stephen Bowers discusses his ceramic artwork, the inspirations and methods of production. In this exhibition A Conference of Birds, Stephen has created a ‘flock’ of ceramic plates depicting birds derived from historical illustrations, which were often completed from museum specimens. A focus for Stephen in this exhibition was to achieve a background of even saturated colour, which is a difficult feat to achieve. Certain plates break up the colour through the use of patterning or feature a sunburst effect, similar to that found on guitars. The plates are further adorned with roundels of patterns, looking to designs by English artists William Morris, a major figure of the Arts and Crafts movement of the 19th century and William Kilburn, a leading designer of the 18th century. This use of patterning explores the notion of patterns-in-nature and nature-in-pattern and how we appropriate nature, as well as speaking to Stephen’s environmental concerns, the fragments reflecting the disconnection between humanity and the natural world.

ABOUT STEPHEN BOWERS

LEARN MORE ABOUT STEPHEN BOWERS

Stephen Bowers (b.1952, Sydney, lives and works in in Norwood, South Australia) is a self-taught artist working in ceramics- often focusing on strikingly decorative textiles, wallpapers, comic strips, natural history illustration found within the imagery of his childhood in the mid-1970’s. Close observation of his often seemingly innocent decorations of cockatoos, kangaroos, and willow patterns, reveals subtexts of irony, commentary, and social observation, inviting viewers to look beyond the bravura of the surface to discover a complex and layered world.

Bowers has participated in numerous international exhibitions within Australia and overseas, including the UK, Norway, Italy, Denmark and China and here in the states. His work is included in numerous permanent collections, including the Art Gallery of Western Australia, Peabody Essex Museum (Salem, MA), Brooklyn Museum of Art, (NY, NY), National Museum of Art Architecture and Design, (Oslo, Norway), Los Angeles County Museum of Modern Art, (LA, CA), Queen Victoria Museum and Art Gallery, (Launceston, Tasmania)  Museum of International Ceramic Art, (Denmark), Australian National Gallery, (Canberra, Australia), Powerhouse Museum, (Sydney, Australia) National Museum of History, (Taipei Taiwan), Parliament House, (Canberra Australia), among many others.

20
Sep
2024
LAUREN MABRY in Clocking In: 2024 Arts/Industry Residents

LAUREN MABRY in Clocking In: 2024 Arts/Industry Residents

Clocking In: 2024 Arts/Industry Residents

December 14 – March 2, 2025

At the John Michael Kohler Arts Center
Sheboygan, WI

Featuring work by Lauren Mabry

ABOUT THE EXHIBITION

As part of the Arts Center’s celebration of Arts/Industry’s fiftieth anniversary, the twelve artists in residence at the Kohler Co. factory during 2024 will exhibit their work in a yearlong group exhibition, Clocking In: 2024 Arts/Industry Residents.

Since 1974, over five hundred artists have participated in the Arts Center’s Arts/Industry residency. The program, operated in collaboration with Kohler Co., offers artists the time and space to focus on the creation of new work in the company’s pottery and foundry studios, encouraging experimental art making on the factory floor and engagement with Kohler Co. associates.

The exhibition will present four residents’ work at a time, in rotations of approximately four months each. Connections between the artists and their work will surface as the exhibition evolves, similar to the experience of a residency. Artists will show a range of work—some previously created, some newly commissioned for the exhibition, and some made during their residency.

Artists featured in the exhibition include first-time residents Shae Bishop, Justin Favela, Cathy Hsiao, Sahar Khoury, Lauren Mabry, and Ger Xiong/Ntxawg Xyooj. Returning Arts/Industry alumni artists Sharif Bey, Mary Anne Kluth, Harold Mendez, Martha Poggioli, Lee Emma Running, and Edra Soto will also present work in the exhibition.

ABOUT LAUREN MABRY

Lauren Mabry, Artist Portrait in her studio, 2022. Photo by Ryan Collerd.

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

Lauren Mabry is recognized internationally for her bold, dynamic glazes and inventive use of material, color, and form. Her ceramic vessels, objects, and dimensional paintings embrace experimentation as a way to question the boundary between abstract painting, minimalist sculpture, and process art.

Mabry is the recipient of individual grants from the Pew Center for Arts & Heritage, the Independence Foundation, and the National Council on Education in the Ceramic Arts  Emerging Artist Award, and she has worked at the Jingdezhen International Studio in China and the Gaya Ceramic Art Center in Bali, Indonesia.

Mabry has shown in numerous institutions including the Bemis Center for Contemporary Art, (Omaha, NE), Fuller Craft Museum (Brockton, MA) and Milwaukee Art Museum, (Milwaukee, WI), and her work is included in the collections of the Nelson-Atkins Museum of Art, (Kansas City, MO), Daum Museum of Contemporary Art, (Sedalia, MO), Nerman Museum of Contemporary Art, (Overland Park, KS), and Sheldon Museum of Art, (Lincoln, NE).

In 2007, Mabry completed her BFA from Kansas City Art Institute, and she received her MFA from the University of Nebraska-Lincoln in 2012. Mabry is represented by Pentimenti, (Philadelphia, PA), and Ferrin Contemporary.

20
Sep
2024
COURTNEY M. LEONARD in Shifting Shorelines: Art, Industry, and Ecology along the Hudson River

COURTNEY M. LEONARD in Shifting Shorelines: Art, Industry, and Ecology along the Hudson River

Shifting Shorelines: Art, Industry, and Ecology along the Hudson River

Wallach Art Gallery at Columbia University | New York, NY

October 5, 2024 – January 12, 2025

Featuring Courtney M. Leonard

ABOUT THE EXHIBITION

Shifting Shorelines brings together historic and contemporary art, visual culture, and environmental science to engage the history of human existence, commerce, and industry along the Hudson estuary. Focusing on the river’s edges from Albany southward to its flow into the Atlantic Ocean, the exhibition foregrounds the impact of local industry on the natural environment, highlighting the history of the river’s distinctive ecological features such as brackish and salt marshes, mudflats, and beaches, along with the docks, factories, and buildings that crowded them out. Through visual and material evidence, Shifting Shorelines demonstrates the various cycles of exploitation, damage, and reclamation.

Shifting Shorelines actively engages in a critical dialogue with images of the river as a natural paradise by showing these seemingly hegemonic portrayals alongside contrasting representations that consider the exploitation and environmental damage to the river that has accompanied many of the human endeavors along its shores. In so doing it offers a counter reading of the received art historical narratives—narratives overwhelmingly grounded on the work of white male artists—that aims for a rich and complex understanding of the legacy, life, and livelihoods along the river informed by the voices and experiences of a broad range of creators.

The exhibition will be accompanied by a publication as well as academic and public programming.

Installation view of Courtney M. Leonard: Intermodal at the Pomona College Museum of Art, January 22 - May 19, 2019

ARTISTS IN THE EXHIBITION

Henry Ary • Victor Gifford Audubon • Alvin Baltrop • Gifford Reynolds Beal • Julie Hart Beers • George Bellows • Daniel Putnam Brinley • Johann Hermann Carmienke • Frederic Edwin Church • Thomas Cole • Glenn O. Coleman • Samuel Colman • Thomas Commeraw • John V. Cornell • Jasper F. Cropsey • Henry Golden Dearth • Aaron Douglas • Joellyn Duesberry • Ernest Fiene • Kryn Frederycks • Reva Fuhrman • Emil Ganso • Marie-François-Régis Gignoux • Shi Guorui • David Hammons • Joost Hartgersz • Palmer Hayden • Edward Hopper • Donna Hogerhuis • Every Ocean Hughes • William Henry Jackson • Yvonne Jacquette • David Johnson • Abraham Leon Kroll • Athena LaTocha • Ernest Lawson • An-My Lê • Courtney M. Leonard • Marie Lorenz • George Benjamin Luks • John Marin • Reginald Marsh • Gordon Matta-Clark • Alex Matthew • Alan Michelson • Charles Frederick William Mielatz • Jacques Gerard Milbert • Thomas Moran • William H. Moschett • Ruth Orkin • Anthony Papa • Lisa Sanditz • Henry Schnakenberg • Jean-Marc Superville Sovak • Alfred Stieglitz • Joseph Vollmering • John Ferguson Weir • Worthington Whittredge

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.

22
Aug
2024
PAUL SCOTT in Hudson River Valley: Echoes

PAUL SCOTT in Hudson River Valley: Echoes

Gamble Family Gallery

Dunedin Fine Art Center
Dunedin, FL

September 13 – December 23, 2024

ABOUT THE EXHIBITION

Group exhibition of artists and experiences encountered in Dunedin’s October 2022 travels to the Hudson River Valley hosted by DFAC’s beloved auxiliary, the Sterling Society.

ABOUT PAUL SCOTT

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.

Paul Scott, Artist Portrait, 2022

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20
Aug
2024
ON VIEW | Ferrin Contemporary at Project Art

ON VIEW | Ferrin Contemporary at Project Art

Ferrin Contemporary exhibits artwork from represented artists and collections in the galleries at Project Art in Cummington, MA. View artists’ most recent works, installations from recent traveling exhibitions, and objects and artworks from artist archives and Ferrin Contemporary’s historic collection.

OUR INSTALLATION SPACES

THE SUMMER GALLERY

Ferrin Contemporary’s Summer Gallery is situated on the south end of Project Art and hosts curated exhibitions in a more traditional white-box setting.

Now on view in the Summer Gallery:

SHOWROOM

The showroom provides a more domestic, residential setting to view artworks. Works are displayed on both pedestals and period furniture, alongside a sitting area where visitors can peruse a selection of artist and our library of books and catalogs.

Now on view:

The Studios at Project Art exhibits small works by resident artists.

Now on view in the Studio:

07
Aug
2024
Jacqueline Bishop: THE KEEPER OF ALL THE SECRETS, Culture& | Stoke-On-Trent, UK

Jacqueline Bishop: THE KEEPER OF ALL THE SECRETS, Culture& | Stoke-On-Trent, UK

August 23 through November 3, 2024

Culture& x V&A Wedgwood Collection

Barlaston, Stoke-on-Trent
UK

Featuring Jacqueline Bishop’s The Keeper of All The Secrets

Jacqueline Bishop, "The Keeper of All The Secrets", 2023, digital print on porcelain, various dimensions, John Polak Photography

ABOUT THE EXHIBITION

As part of our public programme Time, Space and Empire – a multi-site, cross-arts programme of artist commissions, installations, talks and films that explore the imperial history of Stoke-on-Trent and Maritime Greenwich World Heritage Site – Culture& is working with the V&A Wedgwood Collection on a display of ceramic works by contemporary artist Jacqueline Bishop. The artwork is a 13-piece porcelain table service called The Keeper of All the Secrets based on a well-known Caribbean image, the Market Woman. It combines historic botanical illustration and depictions of enslaved West Africans and Indigenous people.

ABOUT TIME, SPACE AND EMPIRE

Culture& is excited to launch Time, Space and Empire (2024-2025), a multi-site, cross-arts programme exploring the concepts of time, space, and the development of Britain’s sea power during the expansion of its former empire in relation to the Maritime Greenwich World Heritage Site in Southeast London and the Potteries in Stoke-on-Trent, Staffordshire.

Programmes include artist interventions in heritage sites, working with community-led organisations to empower underrepresented audiences, and creating research opportunities for diverse talents. The project will also explore how the colonial economy brought changes to what was consumed and considered to be ‘good taste’.

DOWNLOAD PROGRAM BOOKLET

FEATURED ARTWORK

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

READ MORE ABOUT THE KEEPER OF ALL THE SECRETS

Jacqueline Bishop, "The Keeper of All The Secrets", 2023, digital print on porcelain, various dimensions, John Polak Photography

PROGRAMMING

Museum Late: Time, Space and Empire
A Long Table on Sugar, Tea, Plants and Pottery

Friday, August 23 | 6 – 8pm

BOOK YOUR FREE TICKET

Jacqueline Bishop: Fauna Poetry Reading

Saturday, August 24 | 1 – 2pm

BOOK YOUR FREE TICKET

Long Table on Sugar, Tea, Plants, and Pottery

Saturday, August 24 | 3 – 4pm

BOOK YOUR FREE TICKET

READ MORE ABOUT PROGRAMMING

11
Jul
2024
CLAYSCAPES

CLAYSCAPES

Clayscapes

At the Everson Museum of Art

Syracuse, NY

April 13 through October 20, 2024

Featuring:
Cristina CĂłrdova
Paul Scott
Steven Young Lee

ABOUT THE EXHIBITION

When he was in college in the 1970s, Syracuse artist and entrepreneur Don Seymour named a series of ceramic landscape sculptures Clayscapes. This hybrid word, with roots in the earth and the ceramic community that is built around shaping it, felt so powerful that when he founded his ceramic supply business in 2003, he named it Clayscapes. A year later, a studio was added, and in 2010, a gallery.

In Central New York, clay is literally a part of the landscape. The ample deposits of clay beneath our feet were formed over many millennia by the weathering of minerals, including the pink granite from the shores of Lake Ontario that comprises a substantial part of the Everson’s building. These resources made it possible for Indigenous Onondaga potters to make some of the most distinctive wares of the Haudenosaunee Confederacy. As the area became colonized by Europeans, potters produced durable crockery for food and alcohol storage, as well as massive amounts of brick and tile. In 1841, W. H. Farrar started a small pottery business, becoming the Onondaga Pottery Company in 1871, and later evolving into Syracuse China, which was at one point the largest manufacturer of porcelain dinnerware in the United States.

Clayscapes is a tribute to clay’s ubiquitous presence in our lives, and to the powerful metaphorical and spiritual role that it can play. The Everson’s famous collection of ceramics is filled with works that explore the landscape—from artist Robert Arneson’s monumental celebration of California’s mountainous landscape to Uruguayan-born Lidya Buzio’s earthy vessels adorned with the skyline of her adopted home in New York City. The collection contains many commercially produced souvenir plates and pitchers meant to commemorate and memorialize specific places. These wares are a distinctive part of the Museum’s collection, and they provide inspiration for contemporary artists such as Paul Scott, who makes commemorative plates that reflect the ways that humans have altered the landscape and exploited its resources.

As artists continue to shape clay, Clayscapes recognizes the ways in which clay shapes us. The Everson’s ceramic collection is filled with work that documents the joys and sorrows of humankind’s relationship with the Earth. This exhibition pays tribute to the powerful connection between artists and the world around them.

Everson Museum of Art
401 Harrison Street
Syracuse, NY 13202

More on the Exhibition HERE

25
Jun
2024
JACQUELINE BISHOP: Fauna

JACQUELINE BISHOP: Fauna

Fauna
2024
digital print on commercial porcelain, gold lustre
various dimensions

ARTWORK

FAUNA

Tea Service | Limited Edition Set 

Jacqueline Bishop," Fauna (Saucer)", 2024, digital print on porcelain, gold lustre, 5.5 x 5.5 x 1".
Jacqueline Bishop,"Fauna (Sugar Pot)", 2024, digital print on porcelain, gold lustre, 5 x 6 x 4".
Jacqueline Bishop,"Fauna (Cream Pitcher)", 2024, digital print on porcelain, gold lustre, 5 x 5.5 x 3".

ABOUT THE WORK

ABOUT “FAUNA”

More on Jacqueline Bishop HERE

Jacqueline Bishop’s interdisciplinary practice is focused on making visible the ephemeral, in speaking aloud the unspoken, in telling untold stories and voicing voicelessness. Bishop is acutely aware of what it means to be simultaneously an insider and an outsider having lived longer outside of her birthplace of Jamaica than on the island itself. This has allowed her to view a given environment from a distance.

Fauna arises out of Bishop’s long-standing questions about the position of black women in Caribbean society. Her first collection of poems published in 2006, also titled ‘Fauna’, used Caribbean flowers as metaphors to explore the lives of enslaved women. Bishop sees this new commissioned work as a visual manifestation of these poems.

Further research revealed that prior to the ending of the slave trade there was no attention given to either the maternal health of pregnant women or their babies. Where and to whom did enslaved women turn when they were trying to conceive, could not conceive or found themselves with unwanted pregnancies? The answer lay in the plants, flowers, fruits and herbs of Jamaica. Each one contained a unique botanical element that could either end an unwanted pregnancy or encourage fertility. In Fauna Bishop has surrounded the women and their children with healing and protective herbs. Indeed, in one case, the mother is offering her child up to the arms of the natural environment.

Fauna was commissioned by The Harris and will go on display when the museum re- opens in Spring 2025. Unveiling overlooked and brutal histories of slavery and colonialism, Bishop’s work is an important acquisition for The Harris’ ceramic collection. Creating dialogues with other pieces in The Harris’ collection, most importantly an oil painting recently identified as ‘A Jamaica Landscape’ (c. 1774), attributed to George Robertson, Bishop said that her work “intervenes in the idyllic presentation of slavery and enslavement of the painting to present enslaved women using the environment to shield themselves and their children. Both works speak to each other.” Both works will be displayed together as this timely acquisition will play an integral part in a new display exploring the global history of tea, weaving together histories of British Empire, Colonialism and the Transatlantic Slave Trade.

Jacqueline Bishop (b. 1971, Kingston, Jamaica) lives and works in New York and Miami, Florida. Bishop worked with Emma Price; a British ceramicist based in Stoke- on-Trent in the former Spode factories in the realisation of this new work.

Recent exhibition solo exhibitions include British Art Studies, Paul Mellon Center, London (2022); SRO Gallery, Brooklyn, New York (2018); Meyerhoff Gallery, Baltimore, Maryland (2016). Recent group exhibitions include The Valentine Museum, Richmond, Virginia (2024); Gardiner Museum, Toronto, Ontario, CA (2024); Fitzwilliam Museum, Cambridge (2023); Ferrin Contemporary, North Adams, MA (2022); British Ceramics Biennial (2021); Stoke-on-Trent (2021) and Jamaica Biennial, National Gallery of Jamaica. Kingston (2017).

NEWS

NEWS

New Acquisition: Fauna by Jacqueline Bishop

The Harris is thrilled to announce a new acquisition to our collection, presented by the Contemporary Art Society

Jacqueline Bishop’s interdisciplinary masterpiece, ‘Fauna’, sheds light on overlooked narratives of enslaved women in Caribbean society. Commissioned by The Harris, this evocative ceramic work intertwines botanical elements with maternal themes, unveiling poignant stories of resilience. Displaying alongside historical pieces, ‘Fauna’ sparks dialogues on the global history of tea and colonialism. Don’t miss its unveiling in Spring 2025!

READ MORE HERE

Jacqueline Bishop, “Fauna”, 2024, digital print on porcelain, gold lustre, Simon Critchley Photography

RECENTLY ON VIEW

RECENTLY ON VIEW

Jacqueline Bishop,”Fauna (Tea Service)”, 2024, digital print on porcelain, gold lustre, Tea Set with Teapot, Cup, Saucer, Cream Pitcher, Sugar Pot, Rectangular Plate, Oval Plate; Teapot: 6 x 9 x 5.5″. John Polak Photography.

Emily Cole: Ceramics, Flora, and Contemporary Responses

May 3 – November 2, 2025

Exhibition at Thomas Cole National Historic Site

218 Spring St
Catskill, NY

Featuring work by Jacqueline Bishop and Courtney M. Leonard

Jacqueline Bishop,"Fauna (Tea Service)", 2024, digital print on porcelain, gold lustre, Tea Set with Teapot, Cup, Saucer, Cream Pitcher, Sugar Pot, Rectangular Plate, Oval Plate; Teapot: 6 x 9 x 5.5".

Jacqueline Bishop,”Fauna (Tea Service)”, 2024, digital print on porcelain, gold lustre, Tea Set with Teapot, Cup, Saucer, Cream Pitcher, Sugar Pot, Rectangular Plate, Oval Plate; Teapot: 6 x 9 x 5.5″.

if you should forget me for a while

June 27 through August 25, 2024

Exhibition at Sienna Patti Contemporary
Lenox, MA

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

AVAILABLE TO TOUR

AVAILABLE TO TOUR

If you’d like to show Jacqueline Bishop’s “Fauna” at your institution, please fill out this form to begin the process. We look forward to working with you!