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Andrew Cornell Robinson"JAMÓN JAMÓN I (Reliquary Generalife)", ceramic sculpture, porcelain vessel, urn2019
2019
$2,500
£1,889.17
€2,181.53
CA$3,493.37
A$3,876.19
CHF 2,030.43
MX$47,532.51
NOK 25,826.40
SEK 24,379.02
DKK 16,269
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About the Item
"JAMÓN JAMÓN I (Reliquary Generalife)", 2019, sold in the frame shown, is one in a series of ceramic sculptures by artist Andrew Cornell Robinson – porcelain, silkscreen engobe, oil, wood, enamel and wax. These objects include ceramic, glass and mixed media grottoes and containers. Based on a shape derived from stylized drawings of reliquary forms and iconography done in Italy. The reliquary is a container of sacred relics and memories.
From Andrew Cornell Robinson – "In researching revolutionary characters and events that reflect aspects of our own time, I was drawn to the story and imagery of the death of Marat. When Charlotte Corday plunged her knife into the heart of Jean-Paul Marat in July of 1793, she created one of the French Revolution’s most powerful martyr heroes. His body and memory were elevated into a ceremonial pantheon. His heart was removed and placed into a makeshift reliquary–a bejeweled urn that had once belonged to the deposed French monarchy. The reliquary served as a focal point for public ceremony and devotion. The cult of the Sacred Heart (Sacré-Coeur de Jean-Paul Marat) derived from Catholic rituals and idolization."
There are currents and cross-currents running through the work – on the form itself, the "jamón" of the title, Robinson is noted in the press release for Queer + Peculiar Craft (Clemente Gallery, December 2019) – "Most queer people face the daily challenge of being their authentic self in societies that often are indifferent or openly hostile to them. In response to notions of visibility Andrew Cornell Robinson’s ceramic and mixed media sculptures explore historical customs as a metaphor for queer-baiting and conformity. His Jamon Jamon series is inspired by the medieval Spanish tradition of offering ham to house guests. This customary form of hospitality may seem commonplace today, but its historical roots come from a desire to sniff out heresy during the inquisition when the pious were looking for expressions of distaste in response to the offer of sliced pork. His use of butchered cuts of ham serves as a metaphor about being “suspected”, and “queer-baited” as a gay man. The sculptures are modeled, cast, and camouflaged with inlaid surface glazes, printed images and hidden messages."
Andrew Cornell Robinson is an interdisciplinary artist working across media (ceramics, textiles, painting, prints, etc.). His work is influenced by collaborative craft communities, traditions, and the performative qualities of cultural production. The underlying ideas exploring identity, histories, rituals, and power in his work aim to create a space for intimate experiences and open narratives.
He studied ceramic sculpture at the Glasgow School of Art and the Maryland Institute College of Art where he received a BFA. He was awarded an MFA from the School of Visual Arts, where he became interested in the intersection of memory, identity, politics, and power. He has been featured in many publications including Sculpture Magazine, Huffington Post, Hyperallergic, Art Info, et al. He has participated in curatorial and research projects and recently was a participating artist in Debtfair a project in the Whitney Biennial.
Andrew has also worked on collaborations with designers such as Donna Karan’s Urban Zen project where his work in ceramics led to workshops with artisans in Haiti and the creation of a ceramic studio in Port-au-Prince. He is currently working with The Powerhouse Arts Workshop and their design team from the Pritzker-prize winning architecture firm Herzog & de Meuron in the design and development of a contemporary industrial fabrication center established to serve the working needs of artists in New York City.
He is currently a member of the faculty at Parsons School of Design and Greenwich House Pottery in New York City. His work has been presented extensively throughout the world with the Anna Kustera Gallery, David & Schweitzer Contemporary, Christopher Stout Gallery, Joyce Goldstein Gallery, Baltimore Contemporary Museum of Art (Maryland), Ross Art Museum (Ohio), the Crafts Council (United Kingdom), Saint Joseph’s University (Pennsylvania) and many more. Andrew lives and works in New York City.
- Creator:
- Creation Year:2019
- Dimensions:Height: 7 in (17.78 cm)Width: 13 in (33.02 cm)Depth: 7 in (17.78 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Toronto, CA
- Reference Number:1stDibs: LU134526410722
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1998 Alfred University, Alfred, NY, Master of Fine Arts Degree
1995 University of Montevallo, Montevallo, AL, Bachelor of Fine Arts Degree
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2024 Impressions, Ferrara Showman Gallery, New Orleans, LA
2021 Wallflowers, Mark Moore Fine Art, Orange Park, CA
2019 Matter of Perspective, Jonathan Ferrara Gallery, New Orleans, LA
2018 In-Between, Mark Moore Fine Art, Orange Park, CA
2017 Perfection of Happenstance, Winston Wachter Fine Art, Seattle,WA
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2004 Politics of Clay, Clay Art Center, Port Chester, NY
New Works, Wexler Gallery, Philadelphia, PA
2003 John Elder Gallery, New York, NY
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New York Ceramics and Glass Fair, w/ Ferrin Contemporary, New York, NY
Sugar, Eutectic Gallery, Portland, OR
2017 C'est le bouquet, Fondation d’entreprise Bernardaud, Limoges, France
The Evocative Garden, NCECA invitational exhibition, Portland, OR
Selections from the PAM permanent Collection, Portland Art Museum, OR
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BC to BC, San Diego Art Institute, San Diego, CA
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2015 Crafting a Collection, Fuller Craft Museum, Brockton, MA
2014 Ceramic Top 40, Red Star Studios, Kansas City, MO
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2008 A Human Impulse, Arizona State University Museum, Tempe, AZ,
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