Project Type: AT MUSEUMS AND GALLERIES

RIVERS FLOW/ARTISTS CONNECT

RIVERS FLOW/ARTISTS CONNECT

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

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

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

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

RIVERS FLOW/ARTISTS CONNECT


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

ABOUT THE ARTISTS


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

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

FEATURED ARTISTS

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

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

More on Courtney M. Leonard

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

More on Paul Scott

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

More on Jason Walker

PROGRAMMING


Gallery Talk with Artist Courtney M. Leonard

Sunday, June 16, 2024 | 1:30pm

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | STACCATO

COURTNEY M. LEONARD | BREACH: LOGBOOK 24 | STACCATO

Courtney M. Leonard:
BREACH: LOGBOOK 24 | STACCATO


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

ABOUT THE EXHIBITION


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

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

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

EVENTS


OPENING RECEPTION:

Randolph W. Bromery Center for the Arts lobby & UMCA, Amherst, MA 01003
umass.edu/umca

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

Free and Open to All

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

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

RE-OPENING RECEPTION:

September 19, 5:30-8:30pm

5:00pm Artist Talk in Frederick C. Tillis Performance Hall 
UMCA and Bezanson Recital Hall

UMASS ART & SCIENCE CONVENING with COURTNEY M. LEONARD

Tuesday, November 12, 2024 | 5:30-7:30 pm

Join artist Courtney M. Leonard and a panel of UMass scientists for a thought-provoking discussion on the intersection of art and science. Leonard’s exhibition, BREACH: LOGBOOK 24 | STACCATO, currently on view at the University Museum of Contemporary Art, showcases the results of her collaboration with university researchers.

On Tuesday, November 12, they will delve into their collaborative process and share insights into using art as a powerful tool for scientific research and dialogue, particularly concerning climate change and marine biology.

This event is sponsored by the Women for UMass Grants program, dedicated to advancing initiatives that support students and empower women.

Don’t miss this opportunity to learn about how art can influence pressing environmental issues!

Great Hall, Old Chapel
Amherst, MA

ABOUT COURTNEY M. LEONARD


Courtney Leonard Artist Portrait

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

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

Our America/Whose America?

Our America/Whose America?

ABOUT THE EXHIBITION


OUR AMERICA/WHOSE AMERICA?

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

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

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

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

EXHIBITING ARTISTS


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

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

PROGRAMMING


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

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

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

FERRIN CONTEMPORARY ARTISTS AT NCECA


Women Working with Clay: A Shared Purpose

Mar 20, 2024 – Mar 23, 2024

Group Show with Linda Sikora

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

This exhibition is organized by Dara Hartman in conjunction with Coalescence

50 Years in the Making – NCECA Richmond

Mar 20, 2024 – Mar 23, 2024

Group show with Lauren Mabry

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

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

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

EVENTS & TOUR DATES


Location for All Events:

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

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

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

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

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

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

OAWA Tour Graphic April 2024

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

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

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

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

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

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

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

OUR AMERICA/WHOSE AMERICA | 2022


OUR AMERICA/ WHOSE AMERICA?


AUGUST 6 – OCTOBER 30, 2022

LESLIE FERRIN
(Director & Founder) Ferrin Contemporary

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

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

Exhibition At Ferrin Contemporary


1315 MASS MoCA Way, North Adams, MA

ARTISTS & CONTRIBUTORS


Ferrin Contemporary | Exhibition | 2022

OUR AMERICA/WHOSE AMERICA? EXHIBITION CATALOG


Ferrin Contemporary | Exhibition | 2022

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

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

Published by Ferrin Contemporary

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


HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE

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

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

HISTORICAL PERSPECTIVES ON ILLUSTRATION AND RACE

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

SYMPOSIUM FEATURES


Hidden in Plain Sight: Illustrated Ceramics and American Identity

TIMESTAMPS

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

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

Historical Perspectives on Illustration and Race

View the Entire Symposium Playlist from the Norman Rockwell Museum

TIMESTAMPS

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

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

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

PAST PROGRAMMING


Ferrin Contemporary | Exhibition | 2022

OPENING RECEPTION

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

CLOSING RECEPTION

Special Guest Artist Paul Scott (UK)

Thursday, Nov. 3, 2022 |  5-7 pm

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

at Ferrin Contemporary, North Adams, MA

SYMPOSIUM

Historical Perspectives on Illustration and Race

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

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

PORTLAND VASE: MANIA AND MUSE

PORTLAND VASE: MANIA AND MUSE

June 9, 2024 – September 8, 2024

CROCKER ART MUSEUM

216 O Street Sacramento, CA 95814

MORE ABOUT THE EXHIBITION


& INSTALLATION IMAGES

The Portland Vase: Mania and Muse asks why and how a singular Classical vase becomes a legend, an “influencer,” and an artistic and commercial muse across time and place.

The Portland Vase, an ancient Roman glass cameo amphora, has resonated with artists, makers, collectors, and consumers for centuries. The Portland Vase: Mania and Muse asks why and how a singular Classical vase becomes a legend, an “influencer,” and an artistic and commercial muse across time and place from artists such as Josiah Wedgwood to sculptor Viola Frey. Featuring more than sixty-five artworks, this exhibition examines the role of brands in our culture, considers why Classical traditions dominate the artistic canon, and how that tradition might be reconsidered and disrupted.

Guest curated by Rachel Gotlieb, PhD.

ABOUT THE ARTISTS


American
b. 1970 Albany, NY
lives and works between Joseph, OR and Meissen, Germany

More on Chris Antemann

Chris Antemann upends not only the Portland Vase but also the famous Bouquet de la Dauphine made by Vincennes, the Royal French manufactory and precursor to Sùvres to illustrate that its porcelain skills rivaled if not superseded German Meissen. Referencing a surtout de table, an ornamental centerpiece displayed in a formal dining room, the forms and pastel colors of her work evoke the exuberance of the 18th-century Rococo style. However, Antemann’s tableau is very much part of the 21st century, critiquing and challenging contemporary gender politics.

-Rachel Gotlieb, Guest Curator, Portland Vase: Mania and Muse, 2024

“An informative and thought-provoking conversation with Rachel Gotlieb led me to dive into research for the bones of the piece. The main concept grew into the idea of playing with the functions of the vase. In one way acting as the backdrop for the figures, no longer in relief, but characters in the garden. In another way, the Portland Vase, in Wedgewood blue makes a cameo on the stage celebrated as a vessel.”

– Chris Antemann, 2024

b. 1982 Rochester, NY,
lives and works in Penfield, NY

More on Peter Pincus

Read about the making of Thetis Confined

“Much like Wedgwood, Pincus adeptly balanced appropriation, innovation, and cross-cultural influences, harnessing the creative tools of clay, technology, and Neoclassical aesthetics to reshape our understanding of the ancient past.”

– Rachel Gotlieb, PH.D, Guest Curator, “The Portland Vase: Mania and Muse”, pg. 80.

American, b. 1951, New York, NY
lives and works in Williamsburg, MA

More on Mara Superior

“Mara Superior responded to the Portland Vase through a broad lens of ceramic histories but specifically aligned her work with Wedgwood’s replicas to dismantle notions of British empire and perfection.”

– Rachel Gotlieb, PH.D, Guest Curator, “The Portland Vase: Mania and Muse”, pg. 84.

PAST PROGRAMMING


Rachel Gotlieb, Ph.D. served as the Ruth Rippon Curator of Ceramics at the Crocker Art Museum (2021-2023). She previously worked ad Chief Curator and Interim Executive Director of the Gardiner Museum in Toronto (2011-2014).

Backstory – Portland Vase: Mania and Muse (via YouTube Live) 
Saturday, August 3rd | 12pm
$8 – $12

Go behind the scenes of the exhibition The Portland Vase: Mania and Muse with this virtual panel discussion featuring speakers across three continents. Moderated by exhibition curator Rachel Gotlieb, with artists Clare Twomey, Glenn Barkley, and Nancy Selvin, this international conversation considers how and why a singular Classical vase became an artistic and commercial muse across time and place, and how these contemporary artists are rethinking and addressing art and social histories through reinterpretations of this iconic vessel.

VIDEO NOW AVAILABLE

Tour – Portland Vase: Mania and Muse
Wednesday, June 12 | 1pm
Free with museum admission

Journey into art on view with docents to guide your visit. Enjoy a drop-in tour any day the Museum is open, or plan ahead for one of the themed tours outlined below. Some tours may be requested in American Sign Language, Cantonese, French, Madarin, and Spanish with a two-week advance notice. Email education@crockerart.org to inquire.

LEARN MORE

Distributed for Hirmer Publishers

The University of Chicago Press

PRESS & PRINT


Exhibition Catalog

Portland Vase

Mania and Muse (1780–2023)

With Essays by Anne Forschler-Tarrasch

Traces the history of the Portland Vase as a global influencer in art and ceramics.

The Portland Vase, an ancient Roman glass cameo amphora held in the British Museum, has been a global brand that has resonated with makers, collectors, and consumers for centuries, replicated and reinterpreted countless times. The Portland Vase: Mania and Muse asks why and how a singular Classical vase becomes a legend, an “influencer,” and an artistic and commercial muse across time and place to artists such as Josiah Wedgwood, Viola Frey, Chris Wight, Michael Eden, Nicole Cherubini, and Clare Twomey. Featuring more than sixty-five artworks, this richly illustrated catalog examines the role of brands in our culture, considers why Classical traditions dominate the artistic canon, and speculates on how that tradition might be reconsidered and disrupted.

112 pages | 70 color plates | 10 x 10 | © 2024

$42.00
ISBN: 9783777441566
Published August 2024

"Curators in Conversation: The Portland Vase" Sara Morris, the Crocker’s Ruth Rippon Curator of Ceramics, asks Rachel Gotlieb, guest curator of "The Portland Vase: Mania and Muse," to share a little bit more about her relationship with the Portland Vase and her experience organizing the exhibition.

Ceramics Now Weekly

FEATURE: Curators in Conversation: The Portland Vase

Sara Morris, the Crocker’s Ruth Rippon Curator of Ceramics, asks Rachel Gotlieb, guest curator of “The Portland Vase: Mania and Muse,” to share a little bit more about her relationship with the Portland Vase and her experience organizing the exhibition.

The Portland Vase: Mania and Muse is a new exhibition at the Crocker guest-curated by Rachel Gotlieb, PhD. The exhibition examines the legacy and influence of the ancient Roman glass cameo The Portland Vase in the collection of the British Museum. For over two centuries, the Vase has served as inspiration for artists, including Josiah Wedgewood, Viola Frey, and Clare Twomey, contributing to its fame and significance in the artistic canon. Sara Morris, the Crocker’s Ruth Rippon Curator of Ceramics, asked Gotlieb to share a little bit more about her relationship with the Portland Vase and her experience organizing the exhibition.

Click to Read More HERE

FEATURE: Tracing the history of the Portland Vase as a global influencer in art and ceramics.

“The words “Portland Vase” yield 16,100,000 search results on Google. Entries include the unique ancient glass masterpiece housed in the British Museum, Josiah Wedgwood’s limited-edition 18th-century copies, and countless modern commercial replicas produced in many shapes, sizes, and materials. On Instagram, images of the Portland Vase surface as an aspirational pin-up photo, tattoo, non-fungible token (NFT), and other novelties. The Portland Vase has also served as a plot device in films and musicals, including, most notably Make Me an Offer (1954), starring Peter Finch as an antique dealer in search of a rare green version of the Vase made by Josiah Wedgwood. According to the Corning Museum of Glass, the Portland Vase is as famous as Leonardo da Vinci’s Mona Lisa.”

Click to Read More HERE

ABOUT CROCKER ART MUSEUM


Discover a diverse collection of artworks that span centuries, continents, and cultures at the Crocker Art Museum, the primary resource for the study and appreciation of fine art in the Sacramento region. In addition to a robust schedule of changing exhibitions, visitors can explore California art dating from the Gold Rush to the present; a renowned collection of Master Drawings and European paintings; one of the largest international ceramics collections in the United States; and collections of Asian, African, and Oceanic art.

Engagement with art is at the heart of everything we do, and our calendar of events offers innovative art experiences for visitors of all ages, including family-friendly programs, thought-provoking talks and conversations, inspiring concerts and films, and more. 

CHRIS ANTEMANN: A Stage For Dessert

CHRIS ANTEMANN: A Stage For Dessert

INTERVENTIONS AT THE MINT MUSEUM


Mint Museum, Charlotte, NC

Interventions at Mint Museum Randolph

If you walk through the galleries at Mint Museum Randolph, the art is largely organized by region, type, or era. There are galleries for European art, African art, art of the Ancient Americas, Native American art, and decorative arts. However, within some of these galleries, there are works displayed that are “out of place” or “out of time.” Interventions seek to question the past against the present by placing contemporary artworks alongside works from other eras.

Interventions: Portals to the Past: British Ceramics 1675 – 1825

This exhibition presents over 200 examples of British ceramics. Visitors can learn about these pieces’ functions, styles, manufacturing techniques, and makers. Each region or manufacturer had a unique style and method of creating ceramics, which can be seen in the wide variety of works on display. Included in the exhibition are traditional styles like blue and white Delftware, vessels made to look like vegetables or fruits, commemorative teacups, allegorical figures, decorative figurines of animals, and many more. You can view an online version of this exhibition here.

This exhibition already invites the viewer to analyze our relationship to the past by means of its title. However, in bringing contemporary pieces to this gallery, we can find new ways of looking at a medium’s influence on our present-day society.

Antemann’s work proves that the art of ceramics is still relevant, but its function has changed. Her art focuses on how ceramics exist in the domestic lives of those who own them and what meanings are ascribed to them. Her style is based on that of 18th-century ceramics because she believes that recreating traditions allows us to find new interpretations in the present.

This meeting of past and present is clear in Antemann’s A Stage for Dessert. Numerous figures stand around at a dessert banquet in lively, lighthearted positions. However, Antemann is joking with the viewer to comment on the flirtatious, playful, or even risquĂ© nature of the figures. What could once signify a deep meaning to a 19th-century owner, such as an allegory or a representation of a season, has been adapted into a less serious object.

Information courtesy of mint.wiko.pbworks.com

A Stage for Dessert


Interventions: Portals to the Past: British Ceramics 1675 – 1825 

Images courtesy of The Mint Museum of Art & Ferrin Contemporary

A Stage for Dessert


Previous 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.

Antemann integrates porcelain figures into her reconception of the French parterre. “I imagined what lives were like in the eighteenth century, what these figures would have been doing, what the collectors of these figures would have been doing,” she said. “My centerpiece is a seductive playground for the porcelain figure; they are not static on the base, but in the world, playing and enjoying the environment.” The tableware from Hillwood’s collection on the breakfast room table includes porcelain from a dessert service made by the Jacob Petit manufactory in France around 1835 (acc. no. 24.120), French glassware dating to the 1700s (acc. nos. 23.312–315), and porcelain and silver-gilt flatware made in Russia in the 1800s (acc. no. 25.479).

–Dr. Rebecca Tilles, associate curator of 18th-century French and Western European Fine and decorative arts, Hillwood Estate & Gardens

–Images courtesy of Hillwood Estate, Museum & Gardens, photographed by Erik Kvalsvik

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.

Ebb/Flow: Pritika Chowdhry, Chotsani Elaine Dean and Courtney M. Leonard

Ebb/Flow: Pritika Chowdhry, Chotsani Elaine Dean and Courtney M. Leonard

The phrase “ebb and flow” is defined as a recurrent or rhythmical pattern of coming and going or decline and regrowth.  It is often used to evoke a sense of calm by suggesting that lows will be followed by highs in an endless and certain course. This usage, however, belies the fact that ebbing and flowing also describes the often fierce dynamism and unpredictability of natural and emotional reality.

Addressing the violence of separation, the practice of keeping memories and the invasive effects of colonialism, Pritika Chowdhry, Chotsani Elaine Dean and Courtney M. Leonard contemplate the past, the present and possible futures in their large scale, ceramic-based installation works. The individual works poetically contemplate the 1947 partition of India, the manual and psychological labor of enslaved and free African Americans and the changed environments and indigenous lifeways brought on by outside occupation and settlement.

Crossing boundaries of traditional studio ceramics, sculpture, and conceptual and political art, the Ebb/Flow multimedia installations deepen access to and interrogate sites of historical and cultural upheaval. In addition, they add to the material and subject diversity of  the Weisman’s notable ceramics and American art collections. As such, the Weisman proudly presents these works to evoke reflection on and discussion of some of the most important and resounding issues of our time.


Image credits (L to R): Courtney M. Leonard, Breach Logbook 22: Cull (detail), installation view, 2022. Ceramic, paint, and video. Weisman Art Museum commission.; Pritika Chowdhry, Silent Waters (detail), 2009. Ceramic, wax, and sound. 2015.2.1.1-2015.2.1.101; Chotsani Elaine Dean, Comptoir de commerce: saadje, navigeren, waarde, 2022. Ceramic, resin, and seeds. Lent by the artist.

Weisman Art Museum Exhibition Link  HERE

Courtney M. Leonard Artist Profile HERE

PROGRAMING


Artist Talk: “Perspectives on Water” with Courtney M. Leonard
Nov 29 2023 | 6 – 7pm

333 E River Road
Minneapolis, MN 55455
United States

Additional Details

NOTICE: THIS EVENT IS BEING POSTPONED FOR ACCESSIBILITY REASONS – DUE TO A BURST PIPE, THE WEISMAN ART MUSEUM GARAGE IS TEMPORARILY CLOSED UNTIL THE AFFECTED SYSTEM CAN BE REPAIRED. In order to ensure all speakers and attendees are able to access the event with ease, the event is postponed until spring/summer 2024. We will continue to provide updates regarding this program.

In the meantime, consider spending time with a RICH, MULTIMEDIA INTERVIEW the Weisman’s Interpretation Assistant Eileen Bass conducted in September, 2023. You can also visit Courtney Leonard’s site-specific work, BREACH: Logbook 22 | Cull in the Riverview gallery, during museum open hours.

Ceramic artist Courtney M. Leonard (Shinnecocke) will discuss her work Breach Logbook 22: Cull in conversation with Ojibwe leader and activist Sharon Day, Dr. Kate Beane, Executive Director of the Minnesota Museum of American Art and adjunct faculty in American Indian Studies at the University of Minnesota, and Vicente Diaz, Chair of the Department of American Indian Studies, and Director of The Native Canoe Program, at the University of Minnesota-Twin Cities. This conversation will be moderated by Dr. Roxanne Biidabinokwe Gould, a professor emerita of Indigenous Education and Environmental Studies at the University of Minnesota Duluth.

Leonard’s body of work examines histories of water and seeks to activate conversations about industrial impacts on water, inter-species connections, climate change, and the shifting relationships between humans and water, as informed by the past. Presented in conversation with the exhibition, Ebb/Flow, currently on view at WAM. Q&A to follow.

PRESS


In September, the Weisman Art Museum’s Interpretation Assistant, Eileen Bass, interviewed artist Courtney M. Leonard in connection with her site-specific artwork BREACH: Logbook | CULL, 2022. The resulting interview is a rich record of Leonard’s process and weaves between topics of: clay, water rights, the passage of time, and her experience as an indigenous artist in non-indigenous arts spaces. 

EILEEN BASS is currently studying at the University of Minnesota and is pursuing a double major in Anthropology and English, with a minor in Creative Writing. Her communities are the Hunkpapa Lakota of the Standing Rock Sioux Reservation, the Mvskoke Creek Nation of OK, and she is enrolled in the Sac & Fox Nation of OK. She is currently studying Dakota language because she lives in Minnesota. Her interests include language revitalization, museum repatriation, tribal sovereignty, and Indigenous storytelling/truth telling within the current literary climate.

Courtney M. Leonard (Shinnecock, b.1980) 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.
Pearlware, Polish, and Privilege: Artwork by Paul Scott

Pearlware, Polish, and Privilege: Artwork by Paul Scott

October 27, 2022 – February 26, 2023

LSU MUSEUM OF ART

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

ABOUT THE EXHIBITION & PROGRAMMING


Pearlware, Polish, and Privilege: Artwork by Paul Scott

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

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

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

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

PROGRAMMING & EVENTS


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


Art at Lunch: Angola Plantation

Wednesday, February 15 at 12 PM

  •   

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

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

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

Artist Gallery Talk: Paul Scott  

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

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

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

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

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

LEARN MORE

WATCH THE RECORDING OF THE LECTURE

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

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

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

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

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

ABOUT THE EXHIBITION LENDERS & SPONSORS


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

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

LSU MUSEUM OF ART

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

INQUIRE


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

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

Paul Scott: New American Scenery at Albany Institute of History & Art

Paul Scott: New American Scenery at Albany Institute of History & Art

August 13, 2022–December 31, 2022

THE ALBANY INSTITUTE OF HISTORY & ART

1125 Washington Ave
Albany, NY 12210

ABOUT THE EXHIBITION


Paul Scott: New American Scenery

This exhibition features the artwork of British artist Paul Scott, paired with transferwares, prints and paintings from the Albany Institute’s collection. Together, they enact a dialogue between present and past—between Scott’s observations of America today and the constructed ideals and romanticized views consumed by Americans in the nineteenth and early twentieth centuries. 

For the past five years, Scott has examined, reworked, and reinterpreted the transfer-printed ceramics that English potteries produced by the thousands throughout the nineteenth century. These earthenware plates, platters, and pitchers, printed in shades of blue, red, purple, and black, graced many American dining tables and presented images of picturesque scenery and stately public buildings. In his series, New American Scenery, Scott scrutinizes the American landscape from a contemporary perspective, one that grapples with issues of globalization, energy generation and consumption, capitalism, social justice, and immigration, as well as the human impact on the environment. The images that Scott creates for his ceramics depict unsettling views of nuclear power plants, aging urban centers, abandoned industrial sites, wildfires, and isolating walls. As representations of the American landscape, they suggest a subversion of the picturesque aesthetic—the unpicturesque picturesque—and a new, disturbing norm.

PROGRAMMING & EVENTS


Important Dates:
Aug. 13, 2022 – Opening
Jan. 3, 2023 – Closing


LECTURE | PAUL SCOTT: NEW AMERICAN SCENERY

Sunday, November 6, 2:00 to 3:00pm

In this lecture, Paul Scott will discuss his artistic process and provide exclusive insights into Paul Scott, New American Scenery.

Included with gallery admission at Albany Institute of History & Art

LEARN MORE

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 GuldagergĂ„rd public sculpture park in Denmark.

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

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

ABOUT THE EXHIBITION LENDERS & SPONSORS


Historical Background

Founded in 1791, the Albany Institute of History & Art is one of the oldest museums in the United States. It also is the major repository for the region’s heritage, with nationally significant collections. The genesis of the Albany Institute of History & Art began with The Society for the Promotion of Agriculture, Arts, and Manufactures, founded in New York City in Federal Hall. Supported by the New York state legislature, to which it served as an informational advisor, the society met to improve the state’s economy through advances in agricultural methods and manufacturing technologies. In accordance with the condition that they meet where the legislature convened, the society moved to Albany in 1797, when it became the state capital. From 1998 to 2001, the Albany Institute raised $17 million to bring the museum galleries and facilities up to twenty-first-century standards with a renovation and expansion project that created the museum you know today.

THE ALBANY INSTITUTE OF HISTORY & ART

1125 Washington Ave
Albany, NY 12210

INQUIRE


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

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

New American Scenery: Printed Ceramics by Paul Scott at Aberystwyth, UK

New American Scenery: Printed Ceramics by Paul Scott at Aberystwyth, UK

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

PROGRAMMING & EVENTS


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 GuldagergĂ„rd public sculpture park in Denmark.

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

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

ABOUT THE EXHIBITION LENDERS & SPONSORS


Aberystwyth Arts Centre was founded in the 1970s by the University College of Wales, Aberystwyth with the ambition to serve not just the College, but also the town and the surrounding counties. 

50 years on

The Arts Centre was built with the ambition of serving not only the College but also the town and surrounding area, acting as a bridge between “town and gown”. Thanks to this initial vision, today, 50 years later, we have become a thriving cultural hub, providing the communities of Mid Wales with access to the very best arts experiences, right on their doorstep.

INQUIRE


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

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

A CLAY BESTIARY

A CLAY BESTIARY

ABOUT THE EXHIBITION

September 27, 2014—January 4, 2015
Hunterdon Art Museum, Clinton, NJ

This ceramics exhibition focuses on the animal kingdom, offering visitors the opportunity to see real and imaginary creatures of all shapes and sizes in fresh and unique ways. The works chosen are not ‘”literal” representations or depictions of animals, but artists’ concepts and interpretations.

This group show includes the work of Ferrin Contemporary artists Jason Walker, Red Weldon Sandlin, and Sergei Isupov.

EVENTS

September 28, 2pm
Artist talk with Garth Johnson