What types of art do you specialize in?

We specialize in contemporary ceramics from the 1950s onward, including clay and porcelain sculptures.

Do you offer collection services?

Yes, we work with private collectors and artist archives to organize, document, and appraise ceramic art collections for deacquisition or placement.

Can you help with exhibition development?

Absolutely, we collaborate with museums and cultural institutions to develop and present ceramic art exhibitions.

Do you provide touring programs?

Yes, we curate and organize touring exhibitions for contemporary ceramic artists.

What are legacy projects?

Legacy projects include customized services for artists, such as retrospective catalogs, exhibitions, and museum acquisitions.

Project Type: AT MUSEUMS AND GALLERIES

Aug

2025

BETH LIPMAN: One-Self I Sing

Muskegon Museum of Art
296 W. Webster Avenue
Muskegon, MI

On view permanently

ABOUT THE INSTALLATION

One’s-Self I Sing is a large-scale, site- specific installation that investigates the current moment in relation to Deep Time. The sculpture, measuring approximately 180” x 120” x 48”, can be thought of as an “exploded” still life, a genre that holds the capacity to illuminate the ways that we understand our world through visual metaphors.

The sculpture will converge both floors of the new expansion, offering a visual continuity between multiple landings. Different aspects of the composition will be discovered upon entering the museum, ascending/descending the stairs or viewing from the second floor. Objects that reference to the Muskegon Museum of Art’s permanent collection will be incorporated. The marriage of transparent cultural objects and opaque rock formations alludes to what is seen and known juxtaposed with what is concealed and lost over time.

One’s-Self I Sing will be permanently installed in the Fall of 2024.

ABOUT BETH LIPMAN

American, b. 1971, New York, NY
lives and works in Sheboygan Falls, WI

Beth Lipman is an American artist whose sculptural practice generates from the Still Life genre, symbolically representing the splendor and excess of the Anthropocene and the stratigraphic layer humanity will leave on earth. Assemblages of inanimate objects and domestic interiors, inspired by private spaces and public collections, propose portraits of individuals, institutions, and societies.

Temporality and mortality-primary concerns linked to the Still Life tradition are heightened through materiality. Works in glass, wood, metal, photography, and video disrupt the mechanisms of fixed, grand narratives in order to emphasize evanescence at the heart of ‘vanitas’. Sculptural processes become analogies for life cycles, pointing to systems both natural and human that must continually adapt in order to survive.

The works are a meditation on our relationship to Deep Time, a monumental time scale based on geologic events that minimizes human lives. Each installation is a reimagining of history, created by placing cycles often separated by millennia in proximity, from the ancient botanical to the cultural. The incorporation of prehistoric flora alludes to the impermanence of the present and the persistence of life. The ephemera of the Anthropocene become a symbol of fragility as the human species is placed on a continuum where time eradicates hierarchy.

Lipman has received numerous awards including a USA Berman Bloch Fellowship, Pollock Krasner Grant, Virginia Groot Foundation Grant, and a Louis Comfort Tiffany Foundation Grant. She recently completed One Portrait of One Man, a sculptural response to Marsden Hartley for the Weisman Art Museum (MN). Lipman has exhibited her work internationally at such institutions as the Ringling Museum of Art (FL), ICA/MECA (ME), RISD Museum (RI), Milwaukee Art Museum (WI), Gustavsbergs Konsthall (Sweden) and the Renwick Gallery of the Smithsonian American Art Museum (DC). Her work has been acquired by numerous museums including the North Carolina Museum of Art, Brooklyn Museum of Art (NY), Smithsonian American Art Museum (DC), and the Corning Museum of Glass (NY).

Aug

2025

BETH LIPMAN: Hive Mind

Iowa State University
1805 Center Drive
Ames, IA

August 25, 2025 – May 2027

ABOUT THE INSTALLATION

Hive Mind, a large-scale outdoor sculpture fabricated in bronze and glass, captures the dynamics of a highly organized social system, its circular form and rhythm evoking the perpetual cycles of production. The sculpture embodies the process of gathering, binding and conserving knowledge. Objects rise from and sink into the sculpture, hinting at how memory surfaces and recedes. Not everything is visible at all times to every viewer—an analogy for the elusive nature of memory.

Hive Mind celebrates Iowa State University’s legacy- its contributions and reverberations across critical disciplines such as science, technology and agriculture. Its genesis is its visual reference to the round hay bale, an innovation developed in the 1960’s by ISU professor Wesley Buchele. Like so many other breakthroughs, this one invention catalyzed its respective industry and revolutionized the act of harvesting. Positioned at the heart of campus, where all pathways converge, Hive Mind contains embedded clear glass objects that represent ISU’s past, present, and future.

A solo exhibition entitled Middle of the Story will be on view in the Christian Petersen Art Museum at Iowa State University beginning August 25, 2025.

ABOUT BETH LIPMAN

American, b. 1971, New York, NY
lives and works in Sheboygan Falls, WI

Aug

2025

BETH LIPMAN: Middle of the Story

Christian Petersen Art Museum
Iowa State University
Campbell Gallery, 1017 Morrill Hall

August 25, 2025 – February 13, 2026

ABOUT THE EXHIBITION

In concert with the arrival of the newest sculpture to the Art on Campus Collection, Hive Mind by artist Beth Lipman, University Museums presents a selection of Lipman’s exceptional multimedia sculptures and two-dimensional works of art. The works of art represent a lineage of Lipman’s dynamic explorations into the layering of time examining the intertwining of humanity and nature. From her series of laid tables—featuring an overflowing abundance of fruits, foods, and material culture, all rendered in glass—to her more nuanced photographic images that place glass objects and non-natural elements within various landscapes to address broader environmental concerns, the exhibition surveys Lipman’s research-driven process and her deep connection to the people and places her art engages with. Each installation and object in the exhibition Middle of the Story demonstrates how Lipman deftly uses material culture to represent time and place in three dimensions, culminating in the development and installation of Hive Mind, a major public work of art dedicated to the past, present, and future of the impactful research and people at Iowa State University.

This exhibition is curated and organized by Beth Lipman and University Museums.

Support is provided by the National Endowment for the Arts and the Iowa Arts Council, which exists within the Iowa Economic Development Authority. Generous support for the exhibition was also given by Stewart L. Burger, Wilson Family Endowed Exhibition Fund, Paul and Lynn Hempe, Liz and Randy Hertz, Art Bridges, Marilyn and Paul Gennett, and University Museums Membership.

AVAILABLE TO TOUR

Works from Beth Lipman’s solo exhibition, Middle of The Story are available to tour at institutions and galleries across the USA. Please contact info@ferrincontemporary.com to request a checklist of works from the exhibition, exhibition specs, or additional installation photos.

ABOUT BETH LIPMAN

American, b. 1971, New York, NY
lives and works in Sheboygan Falls, WI

Jul

2025

SERGEI ISUPOV in: Sculpture at The Mount

The Mount | Edith Wharton’s Home

2 Plunkett St
Lenox, MA

May 24 – October 19, 2025

ABOUT THE EXHIBITION

Sculpture at The Mount features works of contemporary outdoor sculpture in a range of media against the backdrop of the vibrant woods, gardens, and grounds of The Mount, the historic home of American novelist Edith Wharton. The 2025 show, comprised of 25 large-scale, juried works, will be free and open to the public from dawn to dusk. A digital guide will be available in both English and Spanish, featuring artist statements recorded in their own words.Sculpture at The Mount features works of contemporary outdoor sculpture in a range of media against the backdrop of the vibrant woods, gardens, and grounds of The Mount, the historic home of American novelist Edith Wharton. The 2025 show, comprised of 25 large-scale, juried works, will be free and open to the public from dawn to dusk. A digital guide will be available in both English and Spanish, featuring artist statements recorded in their own words.Sculpture at The Mount features works of contemporary outdoor sculpture in a range of media against the backdrop of the vibrant woods, gardens, and grounds of The Mount, the historic home of American novelist Edith Wharton. The 2025 show, comprised of 25 large-scale, juried works, will be free and open to the public from dawn to dusk. A digital guide will be available in both English and Spanish, featuring artist statements recorded in their own words.

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.

Jun

2025

COURTNEY M. LEONARD | BREACH #2

BREACH #2
edition
2024
ceramic sperm whale teeth on a wooden pallet

RECENTLY ON VIEW

BREACH #2 | RECENTLY ON VIEW

Courtney M. Leonard in Weather and the Whale

Exhibition at Institute of the Arts and Sciences, UC Santa Cruz, Santa Cruz, CA
May 29, 2025 – March 8, 2026

Courtney M. Leonard: BREACH: LOGBOOK 24 | SCRIMSHAW

Exhibition at the New Bedford Whaling Museum, New Bedford, MA
June 1 through November 3, 2024

Connect the Dots: Journey through the Lilley Museum Permanent Collection

On view permanently at the Lilley Museum of Art.
Photos courtesy of the Lilley Museum of Art.

COURTNEY M. Leonard: Logbook 2004-2023

Installation at The Heckscher Museum of Art
June 10, 2023 – November 12, 2023

ABOUT THE WORK

ABOUT

ABOUT BREACH #2

With works on on view at museums, historic sites and science institutes, Courtney M. Leonard continues to establish connections with collections and engage with local communities wherever her work is presented. The core of her practice involves deep research involving curators, scholars, and scientists during multiple site visits. Her multimedia installations are developed in response to what is learned along the way.

Throughout Summer 2025 in her Minnesota studio, Courtney completed new commissioned works and a series of Scrimshaw Studies, now available through Ferrin Contemporary.

Many of the current exhibitions feature one of Courtney’s most recognized works, BREACH #2. The ongoing, limited series of 13 sculptures began in 2015. Currently, seven are in public collections and on view in current exhibitions. Each sculpture features Leonard’s signature burnished ceramic whale teeth arranged on a wooden pallet to commemorate the whales that wash ashore in her nation’s home of Shinnecock, NY.

Follow links in the newsletter to learn more about BREACH #2, exhibitions, available works, and new acquisitions. We welcome visits to the gallery to learn more and see the new Scrimshaw Studies on view now.

ARTIST STATEMENT

Can a culture sustain itself when it no longer has access to the environment that fashions that culture?

Due to nation to nation agreements with the United States government as well as New York State, topics of sovereignty, imposed law and environmental issues impacting our nation, The Shinnecock Nation of what is now referred to as Long Island, NY, has and continues to struggle with access to the material of the whales as they wash ashore having been often struck by the shipping boats that pass our waters. As indigenous people in a nation to nation agreement with the United States Government we try our best to work with, advise and maintain our rights to such access and the impact of these current states as marine mammals are protected under federal law.

Through the work of BREACH and by having the opportunity to travel to and connect with other indigenous water communities throughout the world, I have been able to research and learn about our common struggles and unique narratives as they pertain to “access” and “understanding”. One example being the struggles many communities face regarding the regulation and discrepancy of the ivory industry as it pertains to indigenous patrimony and practice. Communities in portions of Africa are collecting heaps of Elephant Ivory taking them to a common location and setting them afire to burn as a response to poaching and an increase of the Elephant into aspects of “extinction”.

In 2014, Prince William had wanted the monarchy to also make a stance and rid the entire royal collection of their ivory as his mother Princess Diana was so active in this regard during her lifetime as it pertained to the Elephant Ivory “industry”. This has yet to happen, however at or around the same time in 2014, Paris did a call-to-action act of collecting ivory on a blue tarp in a city courtyard and crushing the pile as a response. And yet, small coastal indigenous water communities that rely on our symbiotic relationship to our environment are constantly struggling to maintain our ways of life and connection to place and being.

We are placed within a lumped narrative that simply is not the same and often does not work. The indigenous youth from communities that still practice subsistence harvesting are often harassed and threatened while the suicide rates within our indigenous communities remain at the highest. These practices have everything to do with life and care and understanding. They are a way to maintain being of place and our responsibility as caretakers to that place. The works that form the BREACH: Logbooks and “BREACH #2” are also a simple visual response to a larger call to questioning, acknowledgement and potential understanding of ways of action that does not negate our individual responsibility.

The majority of whales killed per year (over 60%) are struck by shipping boats. And so while organizations such as Green Peace, PETA, and Sea Shepard fight against traditional subsistence harvesting, how many of these individuals carry cell phones, source their clothing and materials locally or are in fact a part of our mass ocean transit system of import/export and therefore the killing of whales?

BREACH #2 is an offering and account of one whale. About 48-60 teeth or the representation of the lower jaw of one sperm whale shipped and ready on a pallet for what ever may come next.

(Featured in the exhibition, “Without A Theme” at the Mashantuckett Pequot Museum, March 31 – November 2, 2017)

NEWS

Speaker for the whales: Indigenous artist interprets endangered right whale’s legacy and meaning | May 2024 | Amherst Bulletin

“Leonard’s works for the BREACH exhibition explore the practical and symbolic connections between endangered right whales and her Indigenous community. They include ceramic sculpture, paper sculpture and a video installation.”

READ THE FULL ARTICLE HERE

May

2025

COURTNEY M. LEONARD in: Connect the Dots | Journey through the Lilley Museum Collection

Lilley Museum of Art

1664 North Virginia Street
Reno, Nevada

on view: permanent collection

INQUIRE FOR AVAILABLE WORK BY COURTNEY M. LEONARD

ABOUT THE EXHIBITION

To “connect the dots” means to understand the interrelatedness of different facts or events. Connecting the dots is also a logic puzzle, and a fun game for kids. This installation is meant to encourage you to take a meandering journey, to explore the history of a broad and diverse collection, leaving room for contemplation and play. Pairings and installations around themes of place, people, and materiality compel us to think about the artists who made the work, the conditions and time periods the work was made, and our relationship to both.

There is a spirit of shared authorship throughout, with contributions and reflections from artists, scholars, and community members.

This exhibition brings together artworks from across the Lilley Museum of Art’s permanent collection. It includes recent acquisitions and loans from significant collections. Most of the works on display are on view for the very first time.

I hope this exhibition fosters curiosity and critical reflection about the places and things we care about, the objects and memories we collect, and the havoc and harmony we bring as humans while living on this fragile earth.

Stephanie Gibson, Director
John and Geraldine Lilley Museum of Art

ABOUT BREACH #2 | Now part of the Lilley Museum of Art Permanent Collection

The Breach #2 series began in 2014-5 in response to a 2005 event, when a 50-ton finback whale carcass washed up on a beach close to the Shinnecock Indian Nation’s territory on eastern Long Island. The mammal is vital to the tribe’s history and culture, but since treaty agreements are not recognized by the federal government, the whale was federally protected. Members from Shinnecock went down to perform ceremonies and pray for the whale’s spirit, but the remains of the animal were disposed of by the city.

The artist asks, “can a culture sustain itself when it no longer has access to the environment that defines it?”

This sculpture is made through a process of coiling, slipcasting, firing, and an acrylic glaze. Each piece is handmade and hand-sanded. The delicate porcelain is juxtaposed against a weathered shipping pallet, representative of an industry that is responsible for the fragility of the world-wide whale population. Each year thousands of whales are struck by container ships, like the one that was killed in 2005.

ABOUT COURTNEY M. LEONARD

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

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.

Leonard’s work is in the permanent public collections of the United States Art In Embassies, the Crocker Art Museum, the Heard Museum, ASU’s Art Museum and Ceramic Research Center, the Peabody Essex Museum, the Nerman Museum of Contemporary Art, the Museum of the North, the Mystic Seaport Museum, and the Pomona Museum of Art.

Leonard has been the recipient of numerous awards, fellowships, and residencies that include The Andy Warhol Foundation, The Robert Rauschenberg Foundation, The Rasmuson Foundation, The United States Art In Embassies Program, and The Native Arts and Culture Foundation.

Apr

2025

COURTNEY LEONARD in: Making in Between: Indigenous Americans

American Museum Of Ceramic Art (AMOCA)

399 N Garey Ave
Pomona, CA

May 24–November 30, 2025

INQUIRE FOR AVAILABLE WORK BY COURTNEY M. LEONARD

ABOUT THE EXHIBITION

This project is the third and final exhibition in AMOCA’s “Making in Between” series, which brings together works by artists who explore identity, culture, and community.

In 2020, Making in Between: Contemporary Chinese American Ceramics featured works by six first- and second-generation artists who shared themes of cultural heritage, identity, language, politics, migration, and displacement. In 2023, Making in Between: Queer Clay shifted the lens to consider influences on identity, centering queerness as an unapologetic presence and featuring works by historical artists whose identities have remained largely unseen alongside contemporary makers.

Making in Between: Indigenous Americans exhibits works by Mercedes Dorame, Anita Fields, Courtney M. Leonard, and Cannupa Hanska Luger, artists who embrace their heritage and explore boundary-pushing themes of identity, culture, history, and community. MIB: IA introduces a breadth of unique narratives from these trailblazing artists and complicates viewers’ expectations of what constitutes contemporary Indigenous art.

The exhibition is accompanied by catalog featuring full color images and new essays by Kendra Greendeer, Larissa Nez, and Isabella Robbins.

ABOUT COURTNEY M. LEONARD

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

Apr

2025

SERGEI ISUPOV: Moments from Eternity

District Clay Center

2414 Douglas St NE
Washington, DC

April 25 – May 25, 2025

Opening Reception: Friday, April 25 | 6-8 PM
Free, Illustrated Artist Talk: Saturday, April 26 | 1 PM
Workshop | FIGURE: Form + Surface with Sergei Isupov, April 26-27, 2025

VIEW ALL PROGRAMMING

INQUIRE FOR EXHIBITION CHECKLIST

ABOUT THE EXHIBITION

This April, District Clay Center (DCC) is honored to invite you to a solo exhibition and weekend workshop with internationally-renowned artist Sergei Isupov.

Drawing from a narrative-rich art practice, Moments from Eternity reflects on Isupov’s life as a multinational dual citizen. Born in Russia during the USSR, raised in Kyiv, Ukraine, and education in Tallinn, Estonia, Isupov emigrated to begin a new life in 1994. Sergei’s recent sculptures and installation Past & Present capture the atmostphere in the wake of Russian aggression near his families in Ukraine and Estonia. Ever hopeful, Isupov’s work capture life’s challenges with universal human emotions, telling stories across time and place.

Moments from Eternity features the Empaths, Isupov’s newest group of nine free- standing “statutettes” created in 2025 for the exhibition and presented with selected works from Past & Present.

FIGURE: Form + Surface, the corresponding workshop, will allow participants to learn the techniques Isupov uses to sculpt these porcelain masterworks.

PROGRAMMING

Art Across Borders: An Artist Talk with Sergei Isupov

April 23, 2025, 5:30 EDT
Estonian Embassy
2131 Massachusetts Avenue NW
Washington, DC

Join us at the Embassy of Estonia for an artist talk with internationally renowned artist Sergei Isupov.

Free | All are welcome

MORE DETAILS & REGISTRATION

OPENING RECEPTION

Friday April 25, 6-8 PM
District Clay Center

Join District Clay Center for the opening reception of “Moments from Eternity” with Sergei Isupov! Attendees will hear Isupov discuss his work on view.

The reception will take place at 6 PM on April 25 at District Clay Center in central Washington DC. During the reception, Isupov will give an introductory artist talk and discuss his work on view. Following the lunch break on Saturday, Sergei will give an illustrated talk featuring images of his studio practice and feature select works from throughout his career. Both talks will provide context for the techniques students learn during the workshop. The reception and artist talk will be open to the public.

RSVP HERE

Illustrated Artist Talk

Saturday, April 26, 1 PM
District Clay Center

FREE | All Are Welcome

FIGURE: Form + Surface with Sergei Isupov

April 26-27, 2025, 10:00 AM – 5:00 PM
District Clay Center

In this weekend workshop with internationally renowned artist Sergei Isupov, students will learn how to build form and develop surfaces to create a portrait bust in clay. The workshop begins with a Friday night public gallery reception prior to demonstrations and hands-on instruction on Saturday and Sunday.

Intermediate, Ages 18 year+

$540.00 | $486.00(members)

MORE DETAILS & REGISTRATION

MEDIA

Art Across Borders: An Artist Talk with Sergei Isupov

District Clay Center and the Embassy of Estonia are proud to present an artist talk with internationally renowned artist Sergei Isupov. Hosted at the embassy in Washington, DC, Isupov is joined by Aari Lemmik (Counselor for Press and Cultural Affairs) and Connor Czora (Creative Director at DCC).

“Art Across Borders” takes place in conjunction with Isupov’s solo exhibition at District Clay Center, “Moments from Eternity”. The exhibition reflects on Isupov’s experiences as an Estonian-American artist, documenting his life as a multinational dual citizen. Born in Russia during the USSR, raised in Kyiv, Ukraine, and educated in Tallinn, Estonia, Isupov emigrated to begin a new life in 1994. Sergei’s recent sculptures and “EMPATHS” installation capture the atmosphere in the wake of Russian aggression near his families in Ukraine and Estonia. “FIGURE: Form + Surface”, the corresponding workshop, allowed participants to learn the techniques Isupov uses to sculpt these porcelain masterworks.

DCC would like to thank Sergei Isupov, Aari Lemmik, the Embassy of Estonia, and Leslie Ferrin for making this event possible.

Viewers may learn more about the show at DistrictClayCenter.com/moments-from-eternity—sergei-isupov .

To learn more about Isupov’s work, visit SergeiIsupov.com . To learn more about the Embassy of Estonia, visit Washington.mfa.ee .

ABOUT SERGEI ISUPOV

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

Mar

2025

CRISTINA CÓRDOVA in: El Puente

ABOUT THE EXHIBITION

A metaphorical bridge, El Puente, exists between Puerto Rico and the US, which share a complex and often misunderstood political and cultural relationship. How do we express El Puente through the lens of Puerto Rican artists?

This exhibition centers on legacy and culture, focusing on multi-generational artists in dialogue with the US through their education, residencies, and career opportunities. Co-curator Cristina Córdova characterizes this phenomenon as a continuous loop of communal encounters and mutual influence, followed by a momentary respite in which the encounters are assimilated and transformed within the artistic community. This pattern has taken place over many years and generations, moving back and forth between two territories inextricably connected yet distinctly separate, sometimes with intention and at times unconsciously. What are the influences of this bridge on the insular art community in Puerto Rico and how do the experiences evolve in the vacuum of an underresourced arts community?

Through the lens of Puerto Rican artists who have cultivated long- and short-term connections with the US throughout their formative and professional trajectories, El Puente offers insights into how these connections shape and inform the artistic practices, perspectives, and creative trajectories of Puerto Rican artists and consequently feed into the broader landscape of contemporary American craft in an evolving and continuous dynamic.

RECENT LOCATIONS

EL PUENTE

Group Exhibition in the John & Robyn Horn Gallery
Penland School of Craft, Penland, NC

April 1, 2025 – June 7, 2025

FEATURED ARTISTS

Cristina Córdova
Ada del Pilar Ortiz
Luis Gabriel Sanabria
Jaime Suárez

ABOUT CRISTINA CÓRDOVA

Puerto Rican, b. 1976, Boston, MA
lives and works in Penland, NC

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

Córdova has had solo exhibitions at the Alfred Ceramic Art Museum, (Alfred, NY), and her work is included in the collections of the Renwick Gallery of the Smithsonian American Art Museum, (Washington, DC), Colección Acosta de San Juan Puerto Rico, (San Juan, PR), the Mint Museum of Craft + Design, (Charlotte, NC), and Museum of Contemporary Art, (San Juan, PR). In 1998, Córdova completed her BA at the University of Puerto Rico, and she received her MFA from the New York State College of Ceramics at Alfred University in 2002. Córdova is represented by Ferrin Contemporary.

INQUIRE

If you’d like to open the conversation to show El Puente at your institution, please fill out this form to begin the process. We look forward to working with you!

Mar

2025

BETH LIPMAN’S “MILES’ LAW”

Miles’ Law
2023
glass, wood, fabric, adhesive, polyurethane
66 x 86 x 56″

(pictured) Beth Lipman’s Miles Law on view in the Stark Rotunda, Vero Beach Museum of Art

If you’d like to show Beth Lipman: Miles’ Law at your institution, please fill out this form to begin the process. We look forward to working with you!

RECENTLY ON VIEW

on view in the Stark Rotunda

Vero Beach Museum of Art | Vero Beach | 2025

installation photos coming soon

AT THE TABLE

WCU Fine Art Museum at Western Carolina University| Culowhee, NC |August 13 – December 6, 2024

GLASS: ART. BEAUTY. DESIGN.

at Hillwood Estate, Museum & Gardens | Washington, D.C. | June 10, 2023 – Jan 14, 2024

“Transparent or opaque, fragile yet impervious, glass has inspired artists and designers, stimulated scientists and engineers, and captivated collectors with its beauty and practicality. Hillwood founder Marjorie Merriweather Post was no exception, and she amassed over 1,600 pieces of glass, created in the 17th-20th centuries in China, Western Europe, Russia, and the United States. This special exhibition will highlight this lesser-known aspect of Hillwood’s collection, featuring a range of styles and techniques, while placing the historic creations in dialogue with astounding contemporary artworks.

Contemporary pieces on loan for the exhibition, by artists Karen LaMonte, Tim Tate, Joyce Scott, Beth Lipman, Fred Wilson, and Debora Moore, will highlight the enduring fascination with glass and developments in the landscape of glass art. Works by artists Karen LaMonte and Joyce Scott will speak to Post’s love for beadwork and fashion, while a sculpture by Beth Lipman will replace a historic table collected by Post. Enchanting glass flowers and orchids by Debora Moore are juxtaposed with Hillwood’s fresh flower arrangements on view.” — Hillwood Estate, Museum & Gardens

ABOUT MILES LAW

More on Beth Lipman HERE

“Miles’ Law is a new large-scale work designed to investigate Marjorie Merriweather Post’s use of diplomacy to bridge political, cultural, and societal divides. The sculpture is a rumination on Rufus Miles’s phrase, ‘Where you stand depends on where you sit,’ and explores how one’s view of a situation is shaped by one’s relationship to it. Post deftly employed domestic rituals that literally “brought people to the table” such as dinner parties and other social functions to subtly persuade disparate individuals to empathize with another point of view.” — Beth Lipman

NEWS

Hillwood Museum’s ‘Glass’: More than just a pretty vase

Review by Mark Jenkins | June 26, 2023

Read the full article HERE

AVAILABLE TO TOUR

If you’d like to show Beth Lipman: Miles’ Law at your institution, please fill out this form to begin the process. We look forward to working with you!

On view permanently

ABOUT THE INSTALLATION

ABOUT BETH LIPMAN

August 25, 2025 – May 2027

ABOUT THE INSTALLATION

ABOUT BETH LIPMAN

ABOUT THE EXHIBITION

AVAILABLE TO TOUR

ABOUT BETH LIPMAN

The Mount | Edith Wharton’s Home

May 24 – October 19, 2025

ABOUT THE EXHIBITION

BREACH #2 | RECENTLY ON VIEW

ABOUT

More on Courtney M. Leonard HERE

ABOUT BREACH #2

ARTIST STATEMENT

NEWS

Speaker for the whales: Indigenous artist interprets endangered right whale’s legacy and meaning | May 2024 | Amherst Bulletin

on view: permanent collection

ABOUT THE EXHIBITION

ABOUT BREACH #2 | Now part of the Lilley Museum of Art Permanent Collection

May 24–November 30, 2025

ABOUT THE EXHIBITION

April 25 – May 25, 2025

ABOUT THE EXHIBITION

PROGRAMMING

OPENING RECEPTION

Illustrated Artist Talk

MEDIA

ABOUT THE EXHIBITION

RECENT LOCATIONS

FEATURED ARTISTS

ABOUT CRISTINA CÓRDOVA

INQUIRE

RECENTLY ON VIEW

on view in the Stark Rotunda

at Hillwood Estate, Museum & Gardens | Washington, D.C. | June 10, 2023 – Jan 14, 2024

ABOUT MILES LAW

More on Beth Lipman HERE

NEWS

Hillwood Museum’s ‘Glass’: More than just a pretty vase

AVAILABLE TO TOUR