Oct
5
5:30 PM17:30

An Evening with Merrilee Cleveland

Upcoming for the Current Art Fair    Merrilee Cleveland   ,   Pawnee Dream Dance  , 2019, Bronze,  15 × 20 × 10 in,   View on Artsy

Upcoming for the Current Art Fair

Merrilee Cleveland, Pawnee Dream Dance , 2019, Bronze, 15 × 20 × 10 in, View on Artsy

Join Merrilee Cleveland in our Annex space from 5:30 pm- 7 pm for John Lee Matney LTD's presentation of a selection of her smaller bronze sculptures at the Linda Matney Gallery. This exhibit is a companion to the event for Leigh Anne Chambers,' "So this is your fairytale", in our main gallery. Merrilee Cleveland embues her sculptures with a mysterious quality, seemingly both ancient and contemporary at the same time. Her influences include ancient art, literature, mythology, and cultural studies. Works are whimsical yet sublime.

Merrilee Cleveland   ,   Holding onto the Dawn , 2017, Cast bronze, 10 × 5 1/2 × 2 in  View on Artsy

Merrilee Cleveland, Holding onto the Dawn, 2017, Cast bronze, 10 × 5 1/2 × 2 in View on Artsy

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Oct
5
5:30 PM17:30

OPENING RECEPTION FOR SO THIS IS YOUR FAIRYTALE

Opening Reception for So this is your Fairytale

Leigh Anne Chambers   ,   My Neighbor is a Rooster , 2019, Liquid rubber, oil and spray paint on panel, 60 × 36 in,  View on Artsy

Leigh Anne Chambers, My Neighbor is a Rooster, 2019, Liquid rubber, oil and spray paint on panel, 60 × 36 in, View on Artsy

Opening Reception: Saturday, October 5, 2019, 5:30 pm- 8:30 pm

With her dripped paint on faux-marble linoleum, Leigh Anne Chambers puts her finger on the nexus between decoration, popular culture, the still-present urge for "authenticity," as well as the absorption of abstraction into "mainstream" culture. -Vittorio Colaizzi

Sponsored by the Health Journal, Fillmore Found and the Matney Family

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Aug
15
5:30 PM17:30

Closing Reception for Matt Lively's Compound

Photograph by Alexander Germanotta with Matt Lively and Josh Blum

Photograph by Alexander Germanotta with Matt Lively and Josh Blum

Closing Reception for Matt Lively's Compound

Enjoy refreshments and discuss the project with Matt Lively and curator John Lee Matney


"This is an exhibit of in-progress work surrounding the story of a boy who finds a factory that controls the weather. I have created stage sets, objects, and paintings that describe the isolated world in which this story takes place. These objects will later be used to develop the next iteration of this story through photography. The installation will use the language of museum artifacts (think, natural history museum diorama) to create the feeling of immersion into the world of the story. I want to encourage visitors to interact with the exhibit by taking photographs. " Matt Lively, May 2019

Thermoballer , Oil on canvas Courtesy of Glave Kocen Gallery

Thermoballer, Oil on canvas Courtesy of Glave Kocen Gallery

Forced Evolution, Oil on Wood Courtesy of Glave Kocen Gallery

Forced Evolution, Oil on Wood Courtesy of Glave Kocen Gallery

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Aug
15
5:30 PM17:30

John Lee Matney LTD Introduces Miles Cleveland Goodwin

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Meet the artists and view a selection of his work in the John Lee Matney LTD Annex Gallery along with the work of 50 other artists

MILES CLEVELAND GOODWIN , QUEEN ANNE’S LACE,  2019  Oil on canvas  40 ×60 in  ➡︎

MILES CLEVELAND GOODWIN, QUEEN ANNE’S LACE, 2019

Oil on canvas

40 ×60 in ➡︎

MILES CLEVELAND GOODWIN , ORCHARD IN WINTER , 2019  Oil on canvas  36 × 48 in  ➡︎

MILES CLEVELAND GOODWIN, ORCHARD IN WINTER, 2019

Oil on canvas

36 × 48 in ➡︎

MILES CLEVELAND GOODWIN, OLE GIRL, 2019  Oil on canvas  30x24  ➡︎

MILES CLEVELAND GOODWIN, OLE GIRL, 2019

Oil on canvas

30x24 ➡︎

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Jul
20
2:00 PM14:00

Mid-Exhibition Reception for Compound: An Installation by Matt Lively

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JOIN US AND THE ARTIST FOR A MID-EXHIBITION RECEPTION FOR COMPOUND: AN INSTALLATION BY MATT LIVELY.

SATURDAY, JULY 20, 2 PM- 5 PM

Enjoy refreshments, view the progress, and discuss the work with Matt Lively and curator John Lee Matney

"This is an exhibit of in-progress work surrounding the story of a boy who finds a factory that controls the weather. I have created stage sets, objects, and paintings that describe the isolated world in which this story takes place. These objects will later be used to develop the next iteration of this story through photography. The installation will use the language of museum artifacts (think, natural history museum diorama) to create the feeling of immersion into the world of the story. I want to encourage visitors to interact with the exhibit by taking photographs. " Matt Lively

Linda Matney Fine Art Gallery, 5435 Richmond Rd, Williamsburg VA

Sponsored by: The Health Journal and the Matney Family

Special Thanks to Glave Kocen Gallery


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Jun
8
11:00 AM11:00

Closing Reception for Accumulate with an Appearance by Ani Hoover

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Join Artist Ani Hoover at the Closing Reception for Accumulate.

Saturday, June 8, 11am-5pm
 Learn More


Join the discussion with Ani Hoover about her work and practice. Enjoy refreshments including nitro cold brew coffee by Column 15 Coffee from 2-5pm.

Read our Interview with Ani Hoover

Linda Matney Fine Art Gallery, 5435 Richmond Rd, Williamsburg VA

Sponsored by: The Health Journal and the Matney Family

Ani Hoover is a professional artist working in the field for over 20 years. She began her art career as a painter and received both a BFA and MFA for painting. Around 2010 her work began to shift to focus on sculpture, installation and fiber-based practices. Her process embraces recycled materials and low-tech methods for creating art. She favors materials and processes that link her the DIY movement and craft making culture. Hoover’s work is in the collection of the Albright-Knox Art Gallery, the Burchfield Penney Art Center, the University of Buffalo’s Anderson Gallery, and in many public and private collections around the country.

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Apr
27
3:00 PM15:00

Opening Reception for Accumulate: Works by Ani Hoover

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ACCUMULATE: WORKS BY ANI HOOVER, OPENING RECEPTION, SATURDAY, APRIL 27, 3-6PM 

Meet the Artist and Enjoy Refreshments

Linda Matney Fine Art Gallery, 5435 Richmond Rd, Williamsburg VA

Ani Hoover is a professional artist working in the field for over 20 years. She began her art career as a painter and received both a BFA and MFA for painting. Around 2010 her work began to shift to focus on sculpture, installation and fiber-based practices. Her process embraces recycled materials and low-tech methods for creating art. She favors materials and processes that link her the DIY movement and craft making culture. Hoover’s work is in the collection of the Albright-Knox Art Gallery, the Burchfield Penney Art Center, the University of Buffalo’s Anderson Gallery, and in many public and private collections around the country. 

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Apr
13
2:00 PM14:00

Image At Surface Opening Reception

ZHENGYANG HUANG'S IMAGE AT SURFACE INSTALLATION, APRIL 10-20. 


MEET THE ARTIST AT THE RECEPTION ON SATURDAY, APRIL 13, 2-4PM

 VIEWING BY APPOINTMENT OR WALK-IN APRIL 18-20, 11AM-5PM




Materiality is not limited to touchable objects. The image a video/film creates is also a moving material, like fluttering fabric. When we see a material, the visual information triggers our tactile cognition and a sense of materiality so that we recognize how this material will feel if we touch it. This phenomenon happens with digital images as well. Giuliana Bruno, who studies surfaces in different media, says that an image is a material that manifests itself on the surface of media. For me, a video has a virtual materiality, but a video does not manifest its materiality in the same way as a physical object. For instance, in the videos I made for Majiang Project, the filmic settings lack a sense of space and seem flattened. The floral patterned and saturated red and green colors in the background makes the video’s image bright. The cut between scenes is smoothly connected with body gestures. The red seamlessly transitions into the green as if two pieces of fabric were stitched together. The whole video triggers a sense of materiality, similar to that triggered by fabric. It is not touchable like physical fabric, yet as a virtual materiality it influences us on a sensory level.

However, I do not intend to just make videos. I am more interested in connecting this virtual materiality with the physical materiality in the physical space we approach. The whole work is to be a continuum of surfaces on which the materiality manifests itself. This continuum is formed as the digital surface and the physical surface are stitched together. In one of my video installations, a video shot with a peephole lens is projected onto a sink full of black-dyed water. The black-dyed water is so still and reflective that it almost becomes a solid, while the projected light layers a soft, moving and absorbing image on the dark solid surface. In the video, the peephole lens is constantly being touched, blocked, wiped, blurred, stained, and cleaned, as if the membrane of water is touched from beneath. What is being touched is both the surface of the lens in the video and the surface of the physical water, as the two share one connected surface. The video’s virtual materiality not only can be connected with a physical materiality but also can connect the physical space we move through. In another installation, four sets of objects and projected videos are set up in four different rooms, where the viewer walks to each room to see the whole work. As the videos are synced up with each other, what’s been seen in the video in one room continues in the next room. From the first to the fourth room the four different videos connect different space. In these and many other ways, we perceive and sense the virtual materiality physically.


Zhengyang Huang, 2019



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Mar
23
5:00 PM17:00

Closing Reception for Abound: New Paintings by Teddy Johnson

Lilac , 2018,  Linda Matney Gallery , $3,200,  Contact Gallery

Abound: New Paintings by Teddy Johnson

”Throughout most of these works, hands search, climb, embrace, push forward, and fall back, both together and separately. They interweave across the picture plane through a space that is hinted at or imagined” Teddy Johnson, 2018

Meet the artist and enjoy refreshments. Select works from this artist.

View on Artsy

Statement:

For me, painting is a way to find a personal center in a place where the present, past, and future co-mingle. Painting is a mechanism for processing and meditating on systems, while responding to immediate and far-flung surroundings. It is also a way to imagine, construct, and recollect. Human experience and history are ongoing inspirations for my work.

Ideas of Realization, Struggle, Birth, and Rebirth, inform the works presented.  

Throughout most of these works, hands search, climb, embrace, push forward, and fall back, both together and separately. They interweave across the picture plane through a space that is hinted at or imagined. 


Some of the works use paper as an observed setting. Collected ephemera and detritus such as Bingo cards act as the raw materials of assemblages, which I observe and interpret through oil paint and brush. These compositions of ephemera and everyday detritus jumble and layer about the picture plane, alternately revealing and obscuring.


Teddy Johnson ,  Descent/Ascent , 2018,  Linda Matney Gallery , $3,200,   Contact Gallery

Teddy Johnson, Descent/Ascent, 2018, Linda Matney Gallery, $3,200,

Contact Gallery

Teddy Johnson ,  Across the Ocean Deep , 2017,  Linda Matney Gallery , $3,200,  Contact Gallery

Teddy Johnson, Across the Ocean Deep, 2017, Linda Matney Gallery, $3,200, Contact Gallery


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Feb
22
6:00 PM18:00

Opening Reception for Transposition at the Highpoint

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Special Thanks to McKim Williams, Lou Ann Zell, TUSK Creative Agency, and Casa Forensics

TRANSPOSITION AT THE HIGHPOINT FEBRUARY 22- APRIL 19, 2019

3300 WEST BROAD STREET, RICHMOND VA

OPENING RECEPTION: FEBRUARY 22, 6-9PM

Meet Artist Xiaofei Gao and Curator John Lee Matney at the reception

View on Artsy

Transposition is a collection of works curated in conjunction with Landmark Arts & Cultural Exchange, an American group that helps coordinate opportunities for important contemporary arts and artists to travel between countries and facilitates for meaningful cultural exchange.
The Transposition works display this freedom, featuring an array of subjects, moods, and methods, from landscapes to figures, the deeply personal to the cautiously socio-political, and the serious and contemplative to the whimsical and ironic, all presented in varying degrees of realism and abstraction. Working in oils, the artists maintain a conscious connection to Chinese ink painting traditions while utilizing modes familiar in Western art such as naturalism, expressionism, and surrealism.

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Feb
16
5:00 PM17:00

Opening Reception for Abound: New Paintings by Teddy Johnson

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Opening Reception for Abound: New Paintings by Teddy Johnson

Meet the artist and enjoy refreshments

Statement

For me, painting is a way to find a personal center in a place where the present, past, and future co-mingle. Painting is a mechanism for processing and meditating on systems, while responding to immediate and far-flung surroundings. It is also a way to imagine, construct, and recollect. Human experience and history are ongoing inspirations for my work.

Ideas of Realization, Struggle, Birth, and Rebirth, inform the works presented.  Throughout most of these works, hands search, climb, embrace, push forward, and fall back, both together and separately. They interweave across the picture plane through a space that is hinted at or imagined. 

Some of the works use paper as an observed setting. Collected ephemera and detritus such as Bingo cards act as the raw materials of assemblages, which I observe and interpret through oil paint and brush. These compositions of ephemera and everyday detritus jumble and layer about the picture plane, alternately revealing and obscuring.


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Feb
7
to Feb 9

Closing Event for our Winter Exhibition and Salon Open House

A Special Three Day Event at the Gallery for Art Patrons

Support the gallery by selecting works of art from Liminal Manifestation and our Salon Gallery Collection, learn about upcoming programs and exhibitions, and enjoy some light refreshments.

Gallery view of Liminal Manfestations

Gallery view of Liminal Manfestations

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Merrilee Cleveland  , Orion , ca. 2017, Cast Bronze, 27 × 10 × 27 in

Merrilee Cleveland , Orion, ca. 2017, Cast Bronze, 27 × 10 × 27 in

Rebecca Brantley,  Untitled #5, 2017 , 2017, Watercolor and acrylic 19 × 26 × 1/5 in

Rebecca Brantley, Untitled #5, 2017, 2017, Watercolor and acrylic 19 × 26 × 1/5 in

Teddy Johnson,  The Deposition, Oil on canvas, 31.5 x31.5

Teddy Johnson, The Deposition, Oil on canvas, 31.5 x31.5

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Nov
17
2:00 PM14:00

Closing Reception for Kristen Peyton: The Function of Light

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Color in essence is a function of light. Where light exist, color follows—illuminating space and form.

"What holds the work together as a body in The Function of Light is not so much a common subject matter, but an exploration of color and color’s shape. Much of my work lacks figure or set-up, as I find myself more inclined to search for painting possibilities in the visual experiences of my everyday surroundings. My work, rather, is an active response to moments of visual surprise encountered naturally in daily living. I respond to a surprising interaction of color or an intriguing interplay of geometric shapes by which I can foresee a painting. Most often I am interested in small, unassuming scenes that present instances of visual tension and release.

My work aims to express my first impression and reveal my search for the aesthetic essentials of a chosen moment. I invite my perception of light and color to guide my image-making process and let intuition lead the way. I invent, omit, and simplify whenever necessary to arrive at a pleasing balance between observation and memory. My aim is to bring my viewer to profound presence by making known the poetics of color."

FOLLOW ARTISTS IN THIS SHOW

KRISTEN PEYTON

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Oct
13
2:00 PM14:00

Opening Reception for Kristen Peyton: The Function of Light

Quadrant Panes , 2017, Oil on Canvas, 48 × 48 × 1 in; 121.9 × 121.9 × 2.5 cm

Quadrant Panes, 2017, Oil on Canvas, 48 × 48 × 1 in; 121.9 × 121.9 × 2.5 cm

Color in essence is a function of light. Where light exist, color follows—illuminating space and form.

"What holds the work together as a body in The Function of Light is not so much a common subject matter, but an exploration of color and color’s shape. Much of my work lacks figure or set-up, as I find myself more inclined to search for painting possibilities in the visual experiences of my everyday surroundings. My work, rather, is an active response to moments of visual surprise encountered naturally in daily living. I respond to a surprising interaction of color or an intriguing interplay of geometric shapes by which I can foresee a painting. Most often I am interested in small, unassuming scenes that present instances of visual tension and release.

My work aims to express my first impression and reveal my search for the aesthetic essentials of a chosen moment. I invite my perception of light and color to guide my image-making process and let intuition lead the way. I invent, omit, and simplify whenever necessary to arrive at a pleasing balance between observation and memory. My aim is to bring my viewer to profound presence by making known the poetics of color."

FOLLOW ARTISTS IN THIS SHOW

KRISTEN PEYTON

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May
19
2:00 PM14:00

Gilded Splinters Panel: Censorship and Contemporary Female Artists

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Gilded Splinters Panel: Censorship and Contemporary Female Artists

 

Censorship is all around us, from social media to television to academia to government institutions. What is hidden and blocked from view reveals the cultural norms that override expression and - subsequently - artists' efforts to contest such norms. Alison Stinely's art was censored before finding a place at the Linda Matney Art Gallery. Women artists, like Stinely, have had their ideas blocked by institutions for centuries. How does her experience with censorship fit within the era of the #MeToo movement? What does the silencing of female expression in today's culture mean for women? Join Alison Stinely, Diana Blanchard Gross, Vittorio Colaizzi, Lita Tirak and John Lee Matney for a rigorous panel discussion at the Linda Matney Art Gallery on Saturday, May 19th at 2pm

"...[Stinely] and her proxies refuse to be labeled, restricted, or contained and possess an otherworldly strength beyond the surface of shiny broken fragments." -Dr. Margaret Richardson

Join Alison Stinely, Diana Blanchard Gross, Vittorio Colaizzi, Lita Tirak and John Lee Matney for the discussion at the gallery. View the exhibit and enjoy refreshments.

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Apr
21
4:00 PM16:00

Opening Reception for Alison Stinely's Gilded Splinters

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Gilded Splinters      Opening April 21st, 2018

 

Alison Stinely

ARTIST STATEMENT:

My works are investigations into personal guiding mythologies that illustrate ways that I have adopted unreasonable belief systems - for example, religious orthodoxies, superstition and cultural ideals of femininity. The female subjects depicted serve as proxies for my own contemporary experience of navigating society; an experience as personal as it is universal to all women. Formal decisions such as the distortion of anatomical structures and a saccharine palette draw on historical painting, while the incorporation of particular subjects suggest narratives pulled from religious stories that span many cultures and epochs. These qualities serve as historical references, but more importantly chronicle mythologies that continues to inform my experiences and actions.

Although the works are rather traditionally structured figurative paintings, it is both conventional material handling and digital automation that animate their somewhat lurid and violent nature. My studio practice combines many processes including 3D modeling and printing, diorama construction, and observational painting techniques. The palette is highly saturated and the rectangle overloaded; these painterly qualities coupled with the incorporation of sculptural elements reinforce the intrusive content of the paintings. The three-dimensional forms push beyond the rectangle and allow the painted narrative to spill into the space of the viewer.

Overview

DEPOSITION OF THE TURTLE QUEEN:

 

As most of my works link to one another to create a larger narrative, Deposition of the Turtle Queen serves as a portion of a larger story focused on the myth of Lilith. Many religious texts have cited Lilith as having been Adam’s first wife. Lilith, unlike Eve, was not created from Adam’s rib but instead from the same earth as Adam - they stood on equal footing. Lilith continually rebelled against Adam’s desires and was therefore banished from the Garden of Eden and cursed to be a demonic presence for all of eternity. The introduction to Lilith within my works can be viewed in Nocturnal Emissions, another piece from the series. As texts have described Lilith to be a night creature and akin to unclean animals such as owls, mice, and tortoises (in this case, turtles), Deposition of the Turtle Queen captures Lilith having recently claimed the Turtle Kingdom as her own. Comfortable in her new surroundings: a far cry from the beauty and splendor of the Garden of Eden, she is making do with what life has dealt her. A male figure is shown hovering in the background space. The painting marks the beginning of my foray into incorporating sculptural processes into my practice. The choice to break the rectangular picture plane was made in order to elevate visual drama by pushing the painting upward and outward.

CONGLOMERATE III:

The Conglomerate series are titled as such because they are an amalgamation of materiality and technique, generated using oil painting, 3D modeling & printing, gilding, and hydro-graphics. Upon completing my first works which incorporated manual sculptural processes, I decided to increase the fluidity of my sculptural work by exploring 3D modeling and printing methods. Furthermore, the incorporation of gold leaf reinforces the religious and artistic history that my work speaks to. I also wished to scale back the complexity of the painting to allow the sculptural elements to elevate the drama. Conglomerate III is a relatively simple portrait but still adheres to portions of themes and formal qualities found in my earlier work. The text found atop of the frame reads “Not beauty, but truth is to be admired.” This quote was taken from a cartouche found on a carved 16th century Florentine frame that originally housed a mirror. I incorporated this text into the Conglomerate series due to – what I felt at the time – was an excessive use of gold leaf within the work and my conflicted feelings about it. I also relate the quote to issues of contemporary painting as the term “honest painting” is regularly used to describe the work of a “Painter’s Painter,” something I am not, but once believed I wanted to be.

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Feb
3
2:00 PM14:00

Opening Reception for Transposition: Asian Cultures

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Transposition: Asian Cultures

Opening Reception:  Saturday, Feburary 3, 2-5pm

February 3, 2017- April 7, 2017

Curated by John Lee Matney  

 

Additional events on February 2, 8 and 15 at the Peninsula Fine Art Center: LEARN MORE

Sponsors:  Fe Hui of Berkshire Hathaway Home Services,  Beth Moore CPA,  Port Warwick Dental Arts,  Irving B. Goldstein, Real Property Management VA Peninsula, One Stop CleaningSaisaki Asian Bistro and Sushi Bar Antonija P. Simpson of Edward Jones,  Miracle Fencing Club, The Maximum Building, Ryan Mutter of Fulton Mortgage Company,  Clean Air Concept

 

The Linda Matney Gallery, Landmark Art and Cultural Exchange Company and the Peninsula Fine Arts Center are collaborating on a series of events coming to the Hampton Roads area in February featuring six prominent Chinese artists.  The exhibit brings artists from China whose work is not usually shown in the United States, to present a meaningful cultural expression and explanation of contemporary Chinese art, and to promote cross-cultural understanding and awareness through art and travel.  These events will present a window into the contemporary art world in China and how art is interpreted through civilization.

Marketing is central to this community event.  A collector’s catalogue will be published of the visiting artists and their art.  An opening, and two “Art After Dark” parties at the PFAC, will feature bands, wine, food, and other entertainment.  The Art After Dark event on February 15 will celebrate the Chinese New Year, with special activities planned to bring in the Year of the Dog.  The show and related events will be announced on the radio, a massive internet campaign, and other media.  At least one advance article will be published in a local paper.  Over 2000 direct mailers will be sent to the membership lists of PFAC and of the Gallery, to assure strong attendance and excitement in the community.  Private events and lectures will also be presented at Hampton Road Academy, and other locations to be announced. 

Please consider supporting this exciting project bringing a dynamic collaboration and cultural exchange to Hampton Roads. These efforts support our love for Art and education, and they also provide opportunities for philanthropic growth and fundraising for the non-profit community.

For sponsorship opportunities see www.ExhibitLocal.com

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Dec
2
2:00 PM14:00

Opening Reception for Ancient Traditions/Modern Lives

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ANCIENT TRADITIONS, MODERN LIVES: Amazonian Indigenous Peoples in the 21st Century

Opening Saturday December 2, 2017   2-5pm

 

Glenn Shepard Jr.

Glenn Shepard Jr.

Glenn Shepard Jr. is an ethnobotanist, medical anthropologist and film maker from the Tidewater area who has worked for over thirty years with different indigenous peoples of the Amazon and other tropical regions. He graduated in 1983 from Hampton Roads Academy, attended Princeton University and did his doctorate at the University of California at Berkeley. He has made several documentary films including the Emmy-Award-winning Discovery Channel production “Spirits of the Rainforest.” 

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His scientific research has delved into traditional medicine, shamanism, indigenous hunting practices, community-based resource management, and the impacts of economic development on indigenous societies and their environment. His writing and photography have won several awards, appearing in diverse scientific, popular and literary venues ranging from Nature, Science and American Anthropologist to National Geographic and the New York Review of Books. Since 2011 he has maintained a blog at “Notes from the Ethnoground”: http://ethnoground.blogspot.com

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More recently, Shepard has built on his close work with several indigenous peoples to develop applied projects that directly benefit native communities. He has supported indigenous owned ecotourism projects, traditional craft sales for value-added markets, and training in film making and digital media for native peoples: 

http://ethnoground.blogspot.com.br/2012/04/miss-kayapo-filming-through-mebengokre.html

 

He has been closely involved with the non-profit “Rainforest Flow” that has installed sustainable, eco-friendly water and sanitation systems in remote indigenous communities in Manu Biosphere, Peru, including the communities where “Spirits of the Rainforest” was shot. Rainforest Flow’s work was featured in a recent National Geographic article: 

http://www.nationalgeographic.com/magazine/2016/06/manu-peru-biodiversity-national-parks/

http://ethnoground.blogspot.com/2016/05/water-in-yomibato-guest-post-by.html

http://www.rainforestflow.org/donations.html

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Nancy Santullo

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Krakrax Kayapo

Shepard will be returning to the Tidewater area at the end of November in the company of the indigenous film maker from Brazil, Krakrax Kayapo, and Nancy Santullo, former fashion photographer, and now director of the NGO Rainforest Flow. The three will be hosting an opening reception and fund raiser at Linda Gallery featuring work from indigenous photographers and filmmakers as well Shepard’s and Santullo’s own photography and indigenous art collections. A contemporary exhibit will run concurrently.

 The event intends to raise awareness about Amazonian indigenous peoples’ struggles to maintain their culture, ecosystems and autonomy in the modern world, and raise funds for community based projects with indigenous people in Brazil and Peru. 

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Oct
19
7:00 PM19:00

Quaternity Opening Reception/ Meet the Artists

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Quaternity explores the interplay between abstraction and representation in the practices of 4 contemporary artists working in painting and drawing. Matt Klos, Lindsay Mcculloch, Andrew Shenker, and Teddy Johnson are all based in the Washington/Baltimore Metropolitan area.

Matt Klos is a painter, curator, and instructor whose work captures very familiar and ordinary settings and heightens them through a serene style of painting. Klos’ work draws connections to the still-life paintings of the classic eras while presenting very contemporary compositions and scenes. Klos has had curatorial experience in Virginia and various cities in Maryland. Also, Klos’ work has been show both domestically and internationally in locations such as Maryland, Kentucky, New York, France, and South Korea.

Lindsay McCulloch’s work ranges from paintings, drawings, installations, artist books, and prints. McCulloch is an artist who depicts quite abstract and illustrative compositions. Her paintings and prints convey themes of memory, minimalism, technology, and maximalism. McCulloch’s work has been exhibited both nationally in places like Virginia, Maryland, and New York. On an international level, McCulloch’s piece has been shown at the Casa del Lector in Madrid, Spain; American University in Cairo, Egypt; and the John Rylands Library in Manchester, United Kingdom. 
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Teddy Johnson is an artist who is heavily influenced by Western art traditions, storytelling, and culture. His compositions draw on elements of both classical and modern painting styles and techniques. Johnson has had his work shown in institutions such as the Museum of the Shenandoah Valley and has also had solo exhibitions in Virginia, Georgia, New York, and Maryland. A selection of Johnson’s paintings were featured in publications like the Urbanite and Baltimore Style Magazine and the Korean Magazine: Art People. Along with being an artist, Johnson is also an experienced curator, having curated shows in Maryland and New York and co-founding the Rotating History Project with Heather Rounds.

Andrew Shenker work is greatly molded around the concepts of consciousness, dreams, movement, and condition. Through his writing, drawings, curatorial work, and videography, Shenker provides a unique perspective on what it means to be “whole” or “intact.” Through various arrangements, 2-D and 3-D, Shenker tends to lead the audience to question the validity or value of order, structure, and meaning. Shenker’s work has been exhibited in various institutions in Virginia, and in cities like Baltimore, Maryland; and Chicago, Illinois.

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Sep
16
2:00 PM14:00

Surface Exhibition Opening Reception

Zuzka Vaclavik

Zuzka Vaclavik

Surface: Rebecca Brantley, Leigh Anne Chambers, Dana Jo Cooley, Zuzka Vaclavik

 

The Surface exhibition features 4 female artists utilizing surface design and pattern in their practice. Colorful and dynamic mixed media, painting and sculptural works will be featured.

A small works exhibit of female artists will accompany the exhibition featuring works by Elizabeth Mead, Kristin Skees, Jennifer Meridian, Christi Harris, Martha Jones, Christine Harris, Melissa Shapell, Kristen Peyton, and others.

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Aug
26
1:00 PM13:00

Celebration FOR/REAL: A Late Summer Party

Late summer party celebrating the FOR/ REAL Exhibition: Martin Johnson and Valerie Hardy.

Enjoy Refreshments and Meet the Artists and Curator

 

VALERIE HARDY

 

BIOGRAPHY/STATEMENT

 

Valerie Hardy has lived and worked as an artist in Virginia since 1981. She and her husband, the artist Martin Johnson, moved to the Church Hill area of Richmond in 2008. Their studios are at 107 E. Cary Street. She will be in Paris this coming November and December for a residency at the Cite Internationale des Arts. Over her entire artistic career, Hardy has focussed on the interplay of the objects, the spaces, the light, the people, that catch her eye. Her challenge is to reveal the relationships among and between them, in a way that says something visually interesting while representing these things as identifiably themselves.

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MARTIN JOHNSON

 

ARTIST STATEMENT

 

FOR IS FORCE FOR US

Since the early 70's Martin Johnson (b.1951) has transformed words and materials into masses of unexpected visual, linguistic, and conceptual art forms using unconventional techniques and non traditional materials.  Johnson removes found objects and words from their original context, dislocating them in time and giving them new resonance as manipulated, juxtaposed, and often replicated subjects that convey his ideas and allows the viewer to develop his or her own.  Stylistically linked to 'Outsider Art', Johnson defies categorization.  A self described "untrained educated artist", he presents a unique hybrid of Conceptualism and Art Brut in the paintings, drawings, sculptures, collages, installations and low-relief constructions that define this massive oeurve. Donad Kuspit wrote "Johnson is a true American Original".
 

BIOGRAPHY

 

Martin Johnson was born in New Jersey, in 1951, and moved with his family to Richmond at age five. He earned a degree in Architecture from Virginia Polytechnic Institute and State University (1974), and an MFA in Studio Art from the University of North Carolina, Chapel Hill (1977). Upon graduating from UNC, Johnson moved to New York City where he was granted one of the first studios at PS1, the landmark institute of contemporary art that is now a permanent exhibition site for MoMA. Johnson’s early career garnered critical attention, including support from curator Marcia Tucker, gallery owner Phyllis Kind and Critic Donald Kuspit. He was represented by Phyllis Kind Gallery in Chicago and New York from 1979 to 1987, during which time his work entered numerous private collections, including those of famed contemporary collectors Donald and Mera Rubell and Herbert and Dorothy Vogel.

Recently, as part of Dorothy and Herbert Vogel’s “50 x 50” gift to museums and art institutions across America, Johnson’s work entered the collections of 36 museums throughout the United States, including the Virginia Museum of Fine Art and the National Gallery of Art. Martin Johnson is showcased in the new film - Herb and Dorothy 50X50 which premiered at the Whitney Museum March 2013.  

 

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May
7
2:00 PM14:00

Opening Reception of For/Real: Martin Johnson and Valerie Hardy

The Linda Matney Gallery and the artists cordially invite you and a guest to attend :

The Opening Reception of For/Real: Martin Johnson and Valerie Hardy

Sunday, May 7, 2017, 2-5pm      Enjoy Refreshments and Meet the Artists and Curator

5435 Richmond Rd Williamsburg, VA      (757) 675-6627 Behind Carolina Furniture

 

 

VALERIE HARDY

 

BIOGRAPHY/STATEMENT

 

Valerie Hardy has lived and worked as an artist in Virginia since 1981. She and her husband, the artist Martin Johnson, moved to the Church Hill area of Richmond in 2008. Their studios are at 107 E. Cary Street. She will be in Paris this coming November and December for a residency at the Cite Internationale des Arts. Over her entire artistic career, Hardy has focussed on the interplay of the objects, the spaces, the light, the people, that catch her eye. Her challenge is to reveal the relationships among and between them, in a way that says something visually interesting while representing these things as identifiably themselves.

_________________________________________________________________________________

MARTIN JOHNSON

 

ARTIST STATEMENT

 

FOR IS FORCE FOR US

Since the early 70's Martin Johnson (b.1951) has transformed words and materials into masses of unexpected visual, linguistic, and conceptual art forms using unconventional techniques and non traditional materials.  Johnson removes found objects and words from their original context, dislocating them in time and giving them new resonance as manipulated, juxtaposed, and often replicated subjects that convey his ideas and allows the viewer to develop his or her own.  Stylistically linked to 'Outsider Art', Johnson defies categorization.  A self described "untrained educated artist", he presents a unique hybrid of Conceptualism and Art Brut in the paintings, drawings, sculptures, collages, installations and low-relief constructions that define this massive oeurve. Donad Kuspit wrote "Johnson is a true American Original".
 

BIOGRAPHY

 

Martin Johnson was born in New Jersey, in 1951, and moved with his family to Richmond at age five. He earned a degree in Architecture from Virginia Polytechnic Institute and State University (1974), and an MFA in Studio Art from the University of North Carolina, Chapel Hill (1977). Upon graduating from UNC, Johnson moved to New York City where he was granted one of the first studios at PS1, the landmark institute of contemporary art that is now a permanent exhibition site for MoMA. Johnson’s early career garnered critical attention, including support from curator Marcia Tucker, gallery owner Phyllis Kind and Critic Donald Kuspit. He was represented by Phyllis Kind Gallery in Chicago and New York from 1979 to 1987, during which time his work entered numerous private collections, including those of famed contemporary collectors Donald and Mera Rubell and Herbert and Dorothy Vogel.

Recently, as part of Dorothy and Herbert Vogel’s “50 x 50” gift to museums and art institutions across America, Johnson’s work entered the collections of 36 museums throughout the United States, including the Virginia Museum of Fine Art and the National Gallery of Art. Martin Johnson is showcased in the new film - Herb and Dorothy 50X50 which premiered at the Whitney Museum March 2013.  

 

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Apr
28
7:00 PM19:00

X-RA*DI*ANCE REVISITED AT THE LINDA MATNEY GALLERY

xra.jpg

X-RA*DI*ANCE REVISITED AT THE LINDA MATNEY GALLERY
X-RA*DI*ANCE, an exhibition of X-ray related art curated by Lita Tirak, was a milestone for the Linda Matney Gallery and the Williamsburg community. It featured the electric spark prints by the nineteenth-century Boston inventor Thomas Kinraide, contemporary spark prints by Jeff Behary, installations of glowing irradiated bodies marked with terrorism by Diane Covert, and the X-ray photographs of British artist Nick Veasey. In 2013, the Daily Press listed X-RA*DI*ANCE in top five exhibitions in Hampton Roads. Now, four years later, the Linda Matney Gallery is holding an event:X-RA*DI*ANCE REVISITED. On Friday, April 28th, the X-ray art will re-appear on the gallery walls for an exclusive one-evening engagement. Lita Tirak will deliver a meditative reflection on the aesthetics of X-ray images and the significance of the original exhibit. Jeff Behary, former Director of the Electrotherapy Museum, will demonstrate fascinating nineteenth-century electrical marvels used to make some of the art on the walls. Refreshments will be provided and conversation will be lively. Please join us on Friday, April 28th, 7-9pm at the Linda Matney Gallery for X-RA*DI*ANCE REVISITED.

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