Project Type: EXHIBITION

Sergei Isupov: PAST & PRESENT

Sergei Isupov: PAST & PRESENT

May 7 to July 9, 2022

FERRIN CONTEMPORARY
1315 MASS MoCA Way, North Adams MA

ABOUT THE EXHIBITION


North Adams, MA —

In 2022, Ferrin Contemporary presented new works from internationally renowned sculptor Sergei Isupov. Sergei Isupov: PAST & PRESENT featured new ceramic sculptures presented with both a multi-dimensional, mixed-media wall installation and independent pedestal-based works. Isupov and Ferrin Contemporary have been working together and presenting exhibitions internationally since 1996 and this was the artist’s third solo show in our North Adams gallery location.

This exhibition came at a particularly sensitive time for the artist. Born in Stravapole, Russia in 1963, Isupov is the son of a painter and sculptor. He was raised and educated in Kyiv, Ukraine and Tallinn, Estonia when both of 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 recent 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 Parnaments and their daughter Roosi, they divide their time between two studios/homes in the USA and Estonia.

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. Semi-autobiographical, 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.

Isupov pushes the “in the round” idea of a sculpture to its apex by creating a narrative form that is then painted, using stain and glaze, to deepen the story. Like an Eternity pictured here, is a prime example of Isupov’s skill. He sculpts a form that becomes both man ready to fight and another man, or possibly a moon or ghost, in quiet observation. Two couples occupy different landscapes on their journeys, recto and verso of the piece, and their nakedity and or their brightly clothed bodies reveal and conceal their emotional states. Symbols of hope and confusion depicted as decorative shapes feature threatening clouds, caged animals, beams of light. We can’t help but wonder what did, or what will, become of them.

Both of Isupov’s 2022 exhibitions include works in porcelain and mixed-media drawings produced at Project Art in Cummington, MA. Project Art is a former 19th-Century mill building he owns with Leslie Ferrin, Founding Director of Ferrin Contemporary. The space hosts exhibitions, events, workshops, and artist residencies.

Sergei Isupov: PAST & PRESENT


Ferrin Contemporary | May 7 to July 9 2022

FEATURED ARTWORKS


Click the icons below for artwork details.
Inquire  HERE

Like An Eternity


Past & Present Installation


On The Way


Full Moon Addiction


Marriage for the Ages


Momentary Darkness


Nature is Within Us


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, another survey solo in 2019 at the Russian Museum of Art in Minnesota.

INQUIRE HERE

Sergei Isupov Artist Portrait, 2021, Photo Credit: John Polak

PRESS


EXHIBITION CATALOG


Exhibition and catalog produced by Ferrin Contemporary staff, catalog layout by Rory Coyne, and photography by John Polak.

Published by Ferrin Contemporary, 2022

PAST PROGRAMMING


Public Reception & Artist Talk
June 4, 4-6 p.m. with Sergei Isupov

Sergei Isupov: PROXIMAL DUALITY

May 14, 2022 to October 31, 2022

TurnPark Art Space
2 Moscow Rd, West Stockbridge, MA

Public Firing of Earth & Sky at TurnPark Summer Festival

June 11, 4-10 p.m. at TurnPark Art Space

Learn More

2022 INTERNATIONAL CERAMIC ART FAIR (ICAF)

2022 INTERNATIONAL CERAMIC ART FAIR (ICAF)

2022 INTERNATIONAL CERAMIC ART FAIR

Gardiner Museum
Toronto, Ontario

June 9 – 19, 2022

Featuring work by Cristina Córdova, Sergei Isupov, Mara Superior, and Kukuli Velarde


Virtual Artist Talk with Cristina Córdova

June 17th, 1-2pm EST
see more details below

The International Ceramic Art Fair (ICAF) makes its highly anticipated return to the Gardiner Museum, featuring works by emerging and established ceramic artists from a wide range of backgrounds, and an exciting slate of online and in-person programming.

ICAF 2022 celebrates connections between body, identity, and land. Global mythologies have long connected the human body to the earth, from a Nubian deity fashioning humans from clay to scientific explorations of clay as the first carrier of life. The human body is symbolically if not literally connected to clay, helping us understand who we are as individuals, a society, and a species.

Contemporary ceramics has become one of the most dynamic areas of artistic practice in recent years. So it is with much excitement that we invite collectors and curators from around the world to join us for the International Ceramic Art Fair, which has grown to a 10-day celebration of contemporary art, gallery tours, artist talks, performances, and more. Join us in person and online to discover how some of the top galleries and artists are approaching the themes of body, figuration, and the land. We look forward to sharing the diversity, complexity, and accessibility of contemporary ceramics.
– Sequoia Miller, Chief Curator

This year’s Honorary Patron is internationally renowned Kenyan-born British studio potter, Magdalene Odundo.

READ THE PRESS RELEASE

EVENTS


Virtual Artist Talk with Cristina Córdova

June 17th, 1-2pm EST

As part of the International Ceramic Art Fair, join featured artist Cristina Córdova for an online discussion about her work. Córdova creates figurative compositions that examine our shared humanity and question socio-cultural notions of gender, race, and beauty. Registration is free.

Register now

Full event schedule for ICAF 2022

Virtual Curator Talk with Maya Wilson-Sanchez

June 14th, 1-2pm EST

As part of the International Ceramic Art Fair, join Gardiner Museum Curatorial Resident Maya Wilson-Sanchez for a virtual conversation about the work of Kukuli Velarde, a Peruvian-American artist who specializes in painting and ceramic sculptures made out of clay and terracotta. Registration is free.

Register now

Full event schedule for ICAF 2022

FEATURED ARTISTS IN THE EXHIBITION


MAKING PLACE MATTER | The Clay Studio

MAKING PLACE MATTER | The Clay Studio

April 23, 2022 – October 2, 2023


THE CLAY STUDIO

Philadelphia, PA

Featuring Work by Kukuli Velarde

ABOUT THE EXHIBITION


Making Place Matter is an ambitious and experimental exhibition, symposium, and publication that will accompany the opening of The Clay Studio’s newly built home located in Philadelphia’s Kensington neighborhood at 1425 North American Street. On April 8, The Clay Studio will enter into a new chapter of its nearly 50-year history, with the concept of ‘place’ taking on critical importance as the organization grows into its new home. Larger classrooms, state-of-the-art studios, an outdoor sculpture garden, a rooftop event space, and luminous new gallery spaces will meet the increased demand from students, artists, and visitors. Just as significant, building a resonant conversation between clay, artists, and audiences in the new Jill Bonovitz Gallery, Making Place Matter is organized around the complex meanings of place in our contemporary social conversation. The exhibition will open on April 23 and run through October 2, 2022, and is free to the public.

Using clay and cultural heritage as sources of inspiration, Making Place Matter will feature Philadelphia-based, Peruvian-born artist Kukuli Velarde, American-born, Massachusetts-based artist Molly Hatch, and Egyptian American artist Ibrahim Said, now based in North Carolina. Each artist explores the idea of place with regard to personal history, cultural heritage, and social justice. Clay is the material embodiment of place. Made of the earth we stand on, clay has the capacity to articulate cultural perspectives, social engagement, and artistic intentions. By using clay as a means to investigate ideas of place, Making Place Matter will create powerful tools to share with the new and established community, creating a feeling of belonging within the Jill Bonovitz Gallery for The Clay Studio’s various constituencies.

ABOUT THE A MI VIDA PROJECT


Kukuli Velarde’s A Mi Vida project includes a sculptural installation, painting, performance, and off-site interventions. The series focuses on the artist’s desire to prolong the sensation of holding her now elementary-age daughter Vida in her arms as a baby. It also embodies her anguish at the family separation at the U.S. – Mexico border. Like many of Velarde’s works, these clay sculptures entangle reality and dreamscape, blending influences from contemporary life and ancient indigenous Peruvian imagery and patterning.

FEATURED ARTIST IN THE EXHIBITION


KUKULI VELARDE

Kukuli Velarde is a Peruvian-American artist who specializes in painting and ceramic sculptures made out of clay and terra-cotta. Velarde focuses on the themes of gender and the consequences of colonization in Latin American contemporary culture. Her ceramic work is a visual investigation of aesthetics, cultural survival, and inheritance.

Velarde has had multiple solo exhibitions, most recently including Kukuli Velarde: The Complicit Eye at Taller Puertorriqueño (Philadelphia, PA), Kukuli Velarde at AMOCA (Pomona, CA), and Plunder Me, Baby at Peters Project Gallery (Santa Fe, NM). Her work may also be found in numerous public institutions, including the Museum of Fine Arts (Houston, TX), the John Michael Kohler Arts Center (Sheboygan, WI), and the Museo de Art Contemporaneo de Lima, (Lima, Peru).

Velarde is the recipient of numerous grants, including a John Simon Guggenheim Fellowship, a Pollock Krasner Foundation Grant, a United States Artists Knight Fellowship, and a PEW Fellowship in Visual Art. She was awarded the Grand Prize for her work exhibited at the Gyeonggi International Ceramic Biennale in Icheon, South Korea. Velarde holds a BFA (magna cum laude) from Hunter College of the University of New York. Velarde lives and works in Philadelphia, PA.

VIEW MORE ON KUKULI

INQUIRE •  HERE  •

Kukuli Velarde, “A Mi Vida III”, 2017, earthenware underglaze, paint, resin, 24 x 10 x 6″

MORE ON THE CLAY STUDIO


THE CLAY STUDIO


1425 N American Street, Philadelphia, PA 19122

 

The Clay Studio is a nonprofit arts organization with internationally renowned artist residency programs, classes and events, exhibitions, community engagement programs, a shop, and more. They serve as a place where established and emerging artists come to shape their careers, a vital resource for arts education at local schools and community organizations, and a destination where people from every neighborhood in Philadelphia and all over the world can explore the vast world of clay. Visit theclaystudio.org for more information.

EVENTS


Making Place Matter Symposium

Saturday, June 4th | 9am – 5pm

Buy tickets here

Akinsanya Kambon at Jack Shainman Gallery

Akinsanya Kambon

April 9th – May 7th, 2022

Jack Shainman Gallery

524 W 24th St
New York, NY

From Jack Shainman Gallery:

Jack Shainman Gallery is pleased to present our first solo exhibition of works by Akinsanya Kambon. Located at our 524 West 24th Street space, the exhibition features Kambon’s raku-fired ceramic sculptures which will be making their New York City debut.

In addition to the rich stories that permeate the works, process plays a crucial and fundamental role in Kambon’s practice. The sculptures on view are fired in a kiln using an American raku technique. Heated to approximately 1800- 2000 degrees Fahrenheit the pieces are removed, red hot, with tongs and exposed to the air as they are transferred to a drum filled with combustibles such as hay, sawdust, newspaper, and eucalyptus leaves. Sealed with an airtight lid, the materials ignite. The lack of oxygen forces the detritus to smolder, and the smoke in this enclosed environment combines with molten glaze to bring about changes to the color that are evident once cooled.

Though the process is unpredictable, when successful the result is a beautiful, iridescent patina. For Kambon, this uncontrollable transformation is one of the many aspects of his practice that is guided by spiritual forces greater than himself. Above all, it is this formal process coupled with the nuanced stories and histories of the gods and goddesses that bring an even greater depth to each figure.

From learning, to processing, to sharing the knowledge he has encountered over the years, the sculptures Kambon creates are vessels through which he works through these motions. While Osanyin is a complex character in Kambon’s telling, he does reflect the knowledge that existed in African history that has been lost through time due to colonization. What’s more, the sculptures on view are the realization of Kambon’s own coming to terms with this collective loss of memory and history.

Learn more at Jack Shainman Gallery >

CHRIS ANTEMANN: An Occasion to Gather

CHRIS ANTEMANN: An Occasion to Gather

In conjunction with the exhibition The Luxury of Clay: Porcelain Past and Present, organized by Rebecca Tilles, Curator of 18th-century Western European Art, a selection of contemporary ceramics by artist Chris Antemann can be viewed interspersed among the objects from Hillwood’s permanent collection in the dining and breakfast rooms on the first floor of the mansion. The installation is the fourth in a series of Hillwood collaborations with contemporary ceramicists including Eva Zeisel (2005), Bouke de Vries (2019), and Vladimir Kanevsky (2021). On view through June 26, 2022.

Images courtesy of Hillwood & Ferrin Contemporary

An Occasion to Gather


Installation at Hillwood Estate, Museum, & Gardens

Chris Antemann’s elaborate porcelain centerpiece—depicting a host of partially clad revelers gathered around a table under an impressive porcelain temple—is a celebration of the eighteenth-century banqueting craze among European elites. Antemann takes inspiration from historical engravings and eighteenth-century Meissen centerpieces, including the Temple of Love, designed by Johann Joachim Kändler while the factory’s chief modeler.

A Stage for Dessert


Installation at Hillwood Estate & Gardens

“An Occasion to Gather” Chris Antemann’s porcelain centerpiece, is filled with 18th-century style ceramic sweets, takes inspiration from the garden sculptures and eighteenth-century design of Hillwood’s French parterre. As with the dining room table display, here Antemann references eighteenth-century dining culture and the porcelain centerpieces commonly used as table decoration by European elites.

In the adjacent breakfast room,

Harbor (AP)


More on the Collaboration with MEISSEN  •  HERE  •

I am fascinated by 18th-century porcelain figures and what made them so popular: a culture of ritual at the court, with its costumes, powdered wigs, painted faces, and that infatuation with banquets and the extremely complex way of presenting serving platters ‘à la française’ at feasts or receptions. I use the esthetic of those figurines, very modish in France at that time, to recount and parody the relationship between men and women in society or seduction.

-Chris Antemann

MORE ON CHRIS ANTEMANN


View More by Chris Antemann  •  HERE  •

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

DACHA & MANSION INSTALLATIONS


PAST PROGRAMMING

The allure of porcelain has beguiled collectors and others for centuries. Challenging as well as costly to produce, porcelain’s material qualities—impermeable, extremely hard, translucent, and a brilliant white—brought it great esteem early on. Porcelain originated in China, and the competition to manufacture it in Europe was fierce. European manufactories often appropriated designs from one another and recruited workers from their rivals with knowledge of the long-guarded formula.

The Luxury of Clay: Porcelain Past and Present traces the discovery and early history of porcelain in western Europe and Russia in the eighteenth and nineteenth centuries while also highlighting Marjorie Merriweather Posts’s interest in porcelain objects and the pieces she acquired. Juxtaposed to historical porcelain wares are a selection of contemporary ceramics taking cues from porcelain traditions and historical models from Europe and Asia.

Throughout the exhibition works by the contemporary artists and ceramists Cindy Sherman (b. 1954), Bouke de Vries (b. 1960) and Chris Antemann (b. 1971) underscore the continued inspiration and influence of historical porcelain on artists today.

EXHIBITING ARTISTS


Hillwood Estate, Museum & Gardens Related Programs

Explore stories behind porcelain past and present.

 

In this lecture celebrating the installation of two elaborate centerpieces in the dining and breakfast rooms as part of The Luxury of Clay: Porcelain Past and Present, artist Chris Antemann describes the development of her ceramic artwork inspired by eighteenth-century porcelain figures.

Rebecca Tilles, curator, explores the porcelain collections of Consuelo Vanderbilt (1877-1964), Anna Thompson Dodge (1871-1970), and Marjorie Merriweather Post (1887-1973), Hillwood’s founder.

VIDEOS FEATURING CHRIS ANTEMANN


Rebecca Tilles, curator, explores the porcelain collections of Consuelo Vanderbilt (1877-1964), Anna Thompson Dodge (1871-1970), and Marjorie Merriweather Post (1887-1973), Hillwood’s founder.

In this lecture celebrating the installation of two elaborate centerpieces in the dining and breakfast rooms as part of “The Luxury of Clay: Porcelain Past and Present,” artist Chris Antemann describes the development of her ceramic artwork inspired by eighteenth-century porcelain figures. She will discuss how she drew inspiration from Hillwood’s French parterre, porcelain collection, and interiors, as well as many other sources for her sculptural tableaux and complex process of constructing them. Learn how Chris crafts new narratives from historical forms, informed by her ten-year collaboration on unique and limited edition artworks with MEISSEN, Europe’s oldest porcelain manufactory.

RAYMON ELOZUA AT PORCHES INN

RAYMON ELOZUA AT PORCHES INN

NOT SO STILL LIFES: Photography

Presented at
The Porches Inn at MASS MoCA
231 River St. North Adams, MA 01247

ABOUT THE FEATURE

Ferrin Contemporary curates changing art by gallery artists at Porches Inn, often concurrent with the exhibitions. Porches Inn is a short walk from the gallery on the MASS MoCA campus in North Adams. 

FERRIN CONTEMPORARY is pleased to present Raymon Elozua at Porches Inn. The series of photographs in the dining room and reception areas are selected from various series of still lifes and abstractions drawn from years of research, object study collections and photographic documentation of industry and decay. 

Raymon Elozua is a transdisciplinary visual artist working in the Catskills region of New York. His extensive studio practice consists of large-scale sculpture in ceramic, steel and glass, photography, visual research and archiving, web-based projects, and other forms of documentation. Elozua’s work often references the vessel, abstract expressionism, industrial decline and decay, and regionalism. 

Elozua has been awarded three grants from the National Endowment for the Arts, a New York State Foundation for the Arts Grant, and a Virginia A. Groot Foundation Grant. His work has been exhibited at The Carnegie Museum of Art, Metropolitan Museum of Art, The Mint Museum of Art and The Mint Museum of Craft and Design, Museum of Fine Arts (Houston), and Yale University Art Gallery, among others. He has taught at The California College of Arts & Crafts, Louisiana State University, New York University, Pratt School of Design, and The Rhode Island School of Design. Elozua’s solo exhibition Structure/Dissonance opens at The Everson Museum of Art in Fall 2022. 

THIS TENDER, FRAGILE THING

THIS TENDER, FRAGILE THING

This Tender, Fragile Thing

February 15th – April 30th, 2022

Jack Shainman Gallery

The School, Kinderhook, NY

Featuring works by
Akinsanya Kambon

This Tender, Fragile Thing shines a contemporary lens on the gallery’s 2005 exhibition The Whole World is Rotten, which juxtaposed Black Panther materials from the gallery collection alongside works by contemporary artists. This creative exchange highlighted the culture of the 1960s and the development, goals, and achievements of the Black Power movement – the call for people to define themselves and the world on their own terms. By expanding this concept across the 30,000 square feet of The School, the exhibition offers an opportunity to broaden the dialogue and display these pieces in an environment that encourages contemplation and learning.

Though the path to improvement is impossible to define, the multitude of voices collapse the past, present, and future in search of answers. We are left, through many of the works, with a call to advance – to recall, and more urgently, to reconsider. The exhibition’s title quietly acknowledges that progress is a tender, fragile thing. Its interpretation can be broadly and openly considered, though there is value, weight, and inspiration in every part of the complex and nuanced path of progress.

In honor of the work and commitment the Black Panther Party showed to bettering its local communities, Jack Shainman Gallery will be donating a portion of the proceeds to Hearts of GoldM.A.D.E. TransitionsSave The Hampton House and Soul Fire FarmTo support and learn more about these black led organizations, please visit the gallery’s website.

Born as Mark Teemer in Sacramento, California, Akinsanya Kambon is a former Marine, Black Panther, and art professor. Kambon’s clay sculptures, representing African deities and spirits, are fired using the Western-style raku technique — a challenging, dangerous, and unpredictable process that creates prismatic and iridescent glaze finishes. Drawing heavily on narrative tradition and personal experiences, including extensive travels throughout Africa, Kambon’s work celebrates perseverance through hardship, cultural pride, and his gift as a storyteller.

OUTSIDE TIME: Rae Stern

OUTSIDE TIME: Rae Stern

ABOUT THE EXHIBITION


As an immersive experience, the installation Outside Time presents dozens of porcelain objects that upon touch light up from within, exposing hidden lithophanes. Combining innovative technology with traditional techniques, the work examines the elusive and ephemeral nature of memory as both a personal and universal phenomenon.

The body of work was created by Stern during her year-long term as Visiting Artist at the Belger Crane Yard Studios and utilizes a porcelain lithophane technique on which she collaborated with Aya Margulis. The ceramic objects are set in bricolage of vintage furniture and juxtaposed with works in paper.

During her stay in Kansas City, Stern conducted community outreach to locate pre-WWII images from the personal albums of local Holocaust survivors and their family members. The images that inspired the lithophanes portray daily scenes from pre-war life in communities across Europe that were later annihilated.

Material culture functions as a medium in Stern’s work and amplifies the sociological and psychological values encapsulated in objects that are traditionally (dis)regarded as decorative art. The pre- and post-war furniture was carefully collected and echoes the ever changing context in which the porcelain objects exist. The use of technology provides an unfamiliar experience with the familiar objects advancing the potential of contemporary ceramics to offer an engaging experience.

By creating an immersive experience and allowing the viewers to touch the ceramic objects, the installation environment brings to life narratives and memories assigned to family heirlooms and explores the potential and limitations of porcelain and paper as repositories for fading memories.

In conjunction with the current refugee crisis, the work invites the viewers to reflect on how all immigrants and refugees, from all societies, leave behind rich memories of normalcy, culture and love.

CURRENTLY ON VIEW


The power of memory is immeasurable. Individual recollections are the building blocks of our sense of self, while collective memories help define our culture. In this exhibition, six artists use clay to explore formative moments in their lives as well as stories passed down through generations, inviting viewers to consider both the uniqueness of every individual and our shared identities.

Clay has been used to create functional and decorative objects for millennia. The artists in Shaping Memories continue the rich artistic tradition of clay, exploring its creative potential and versatility. A ceramic object can preserve information about the society in which it was made for thousands of years, a charge these artists take seriously in the creation of their work. What happens when people, cultures, and traditions are forgotten, and histories are erased? How can objects help us remember, honor, and share stories of our time?

FEATURED ARTISTS
Pattie Chalmers
Hollie Lyko
Jiha Moon
Rae Stern
Ehren Tool

Organized by the Virginia Museum of Contemporary Art. Curated by Alison Byrne, Deputy Director, Exhibitions and Education.

SHAPING MEMORIES: EXPRESSIONS IN CLAYVIRGINIA MUSEUM OF CONTEMPORARY ART


November 27th, 2021 through March 6th, 2022

PAST INSTALLATION


Rae Stern: In Fugue features new, groundbreaking works in porcelain and paper. On view September 26, 2019 – February 8, 2020 at the Belger Crane Yard Studios, the exhibition focuses on the elusive and ephemeral nature of memory as both a personal and universal phenomenon. Through the manipulation of translucent attributes of porcelain and paper, and with innovative use of digital technology, the works pose questions about the relationship between object, memory, and time.

IN FUGUE | BELGER CRANE YARD


September 26, 2019 – February 8, 2020

IN FUGUE | BELGER ARTS | EXHIBITION CATALOG


Flip through to view Rae Stern’s In Fugue: Outside Time at Belger Arts catalog.

NEWS AND MEDIA

More information to come

HYPOMNEMATA: Rae Stern

HYPOMNEMATA: Rae Stern

ABOUT THE EXHIBITION


Recently on view at the Belger Crane Yard Gallery, the exhibition Rae Stern: In Fugue debuted new works in porcelain and paper and focuses on the elusive and ephemeral nature of memory as both a personal and universal phenomenon.

To create the large scale translucent paper, Stern manipulated the thickness of the pulp without using any pigment. The daylight shines through the thinner parts of the handmade paper, exposing the image.

In this work, Stern revisit the photographs of five young women, whose photographs she collected for the Outside Time installation. The illuminated youthful gazes, are contrasted by the tragic events that later unfolded in their lives.

Stern wonders which medium is the most suitable for these fleeting memories. While juxtaposing the paper with the porcelain she asks:

“If each material has its own set of vulnerabilities, which will outlast the other? How dependent is our collective memory on our choice of medium?”

FEATURED WORKS

(pictured left) Hypomnema; Shoshana (Rossa), 2019, Handmade paper, 28 x 20.5″

(centered) Hypomnema; Kate, 2019, Handmade paper, 71 x 33.5″

(pictured right) Hypomnema; Lili, 2019, Handmade paper, 38 x 27.5″

(pictured left) Hypomnema; Regina, 2019, Handmade paper, 34.5 x 22″

(pictured right) Hypomnema; Aennie, 2019, Handmade paper, 70 x 45″

CURRENTLY ON VIEW


Rae Stern’s “In Fugue: Hypomnemata” handmade paper works, illuminated with both natural and artificial light. Five seleced pieces hang from the atrium ceiling, hovering above the public forum and visible upon entry to the building.

Stern’s work focuses on the elusive and ephemeral nature of memory as both a personal and universal phenomenon. The photographs that inspired this group of works on paper were chosen by Stern out of the images collected for her immersive installation Outside Time — currently on view at the Virginia Museum of Contemporary Art (Virginia MOCA) through March 6th.

Click here to download a media release about the exhibit.

LEON FAMILY GALLERY


Virginia Beach, VA | On view now

PAST INSTALLATION


Rae Stern: In Fugue features new, groundbreaking works in porcelain and paper. On view September 26, 2019 – February 8, 2020 at the Belger Crane Yard Studios, the exhibition focuses on the elusive and ephemeral nature of memory as both a personal and universal phenomenon. Through the manipulation of translucent attributes of porcelain and paper, and with innovative use of digital technology, the works pose questions about the relationship between object, memory, and time.

BELGER CRANE YARD


Kansas City, MO | September 26, 2019 – February 8, 2020

IN FUGUE EXHIBITION CATALOG


An exhibition catalog is now available as a limited edition. The publication includes essays by Glenn Adamson and Margaret Carney, alongside photography by T. Maxwell Wagner.
Also included are the stories behind the images that inspired the work, as well as an essay by the artist about the process of creating the exhibition.

The publication was designed by Dan Saal in collaboration with the artist. The design brings to life the tactile experience of the exhibition in a two-dimensional format. The project received generous support from Evelyn and Dick Belger.

To view or purchase the “Rae Stern: In Fugue” Catalog, please visit Rae Stern’s website.

NEWS AND MEDIA


Exhibition preview directed and produced by Johanna Brooks.
Filmed on site at the Belger Art Center and Crane Yard Studios, Kansas City, MO. 2020

BOUKE DE VRIES: War & Pieces | North America Tour

BOUKE DE VRIES: War & Pieces | North America Tour

  • W&P | ON VIEW

  • NAS | PRESS & PUBLICATIONS

  • W&P | GUIDE

  • W&P | AT MUSEUMS

BOUKE DE VRIES | WAR & PIECES


Exhibiting  Internationally  |  2012 – Present

 

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

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


WAR & PIECES


ON VIEW

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

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

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

WAR & PIECES | ON VIEW


At The Lightner Museum

MORE ON BOUKE DE VRIES


VIEW MORE BY BOUKE DE VRIES HERE

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

Bouke de Vries, “War & Pieces”, detail

WAR & PIECES | TOUR SCHEDULE


INQUIRE ABOUT TOURING PROGRAM HERE

EUROPEAN LOCATIONS


Harley Gallery | UK | 2018

Berrington Hall | UK | 2017

Gemeente Museum | Netherlands | 2015–6

Castle d’Ursel | Belgium | 2015

Chateau de Nyon | Switzerland | 2014–5

Yingge Ceramics Museum | Taiwan | 2014

Charlottenburg Palace | Germany | 2013

Whitespace | Netherlands | 2013

Alnwick Castle | UK | 2013

Charlottenburg Palace | Germany | 2013

The Holburne Museum | UK | 2012

WAR & PIECES


PAST PROGRAMMING

• Bouke de Vries: Virtual London Studio Tour

WAR & PIECES


PAST PROGRAMMING

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

WAR & PIECES


PAST PROGRAMMING

WAR & PIECES


PAST PROGRAMMING

WAR & PIECES


PAST PROGRAMMING