Mar
5
to Apr 5

JONAS MEKAS: STILL BEAUTIFUL IN MY MEMORY

The exhibition is open March 6 – April 5.

If you would like to learn more about the exhibition or arrange a time to view the works, please contact Lee Matney at curator@LindaMatneyGallery.com.


JONAS MEKAS: STILL BEAUTIFUL IN MY MEMORY

 

The Andrews Gallery at the College of William & Mary presents Still Beautiful in My Memory, an exhibition of works by pioneering avant-garde filmmaker Jonas Mekas (1922–2019). Organized in collaboration with The Jonas Mekas Estate, Deborah Colton Gallery, OUTPOST NYC DCG, and Lee Matney Gallery, the exhibition brings together Mekas’s rarely exhibited framed still images – known as the “Frozen Frames” – with a continuous screening of his five-hour epic,  As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000). Together, these works explore fragmentation, memory, displacement, and the poetic construction of a life through cinema.

Born in Lithuania in 1922, Mekas was forced to flee his homeland during World War II amid the successive occupations of Eastern Europe. After being detained by Nazi authorities and later living in displaced persons camps in Germany, he emigrated to the United States in 1949 as a refugee. His arrival in America marked not only the beginning of a prolific artistic life, but also the continuation of a journey shaped by exile and survival. His story underscores how refuge can foster extraordinary artistic innovation and enrich the cultural fabric of a nation.

The “Frozen Frames” are individual images physically cut from 16mm film strips during Mekas’s editing process. These interstitial fragments – moments once removed in the shaping of a sequence – are scanned and presented as archival prints. What was excised becomes the work itself.  Suspended between motion and stillness, these images preserve fleeting gestures, flashes of light, partial figures, and transitional instants that would otherwise remain unseen. As conceptual anchors for the exhibition, the Frozen Frames reflect Mekas’s lifelong commitment to cinema as a diary form – an art built from fragments, impressions, and lived experience.

At the heart of the exhibition is As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000), presented on an infinite loop. Intended to be entered at any moment, the film invites viewers to experience it non-linearly. Visitors may encounter it mid-scene or mid-thought, returning again to find a different rhythm, image, or memory. This open structure mirrors Mekas’s own editing process for the film: drawing intuitively from decades of personal 16mm footage – his archive of daily life – he assembled reels without strict chronology, allowing association and recollection to guide the composition.

The resulting five-hour work is an expansive meditation on family, friendship, artistic community, exile, and the fragile radiance of ordinary moments. Described by The New York Times as “a first—the home movie as epic,” the film transforms personal documentation into a universal reflection on time and presence.

Together, the Frozen Frames and As I Was Moving Ahead create a dynamic dialogue between stillness and movement, absence and continuity, fragment and accumulation. The cut frame and the continuous reel operate as parallel forms of memory – one isolated and fixed, the other unfolding and immersive. Through this interplay, the exhibition considers how lives are edited, how histories are assembled, and how beauty persists in fragments, relationships, and recollection.

The presentation of these works at William & Mary reflects ongoing research and curatorial stewardship by Lee Matney, situating Mekas’s images and films within broader conversations about archival practice, exile, and the relationship between moving image and photographic form. Presented within an academic setting, the exhibition extends that dialogue and underscores the continued relevance of Mekas’s diaristic cinema for contemporary museum and university audiences.

Jonas Mekas: Still Beautiful in My Memory offers a focused exploration of Mekas’s enduring influence and invites audiences to inhabit his cinematic language: intimate, diaristic, and profoundly human.

View Event →
Mar
6
to Apr 5

Ampersand Festival Screening and Andrews Gallery Exhibition Programming with Jonas Mekas in conjunction with OUTPOST NYC DCG

This project is presented in conjunction with Outpost NYC DCG

Jonas Mekas Film Screening & Conversation


Ampersand Festival Screening
Sunday, March 22, 4:30 pm
Kimball Theatre
Williamsburg, Virginia

As part of the Ampersand Festival, three films by Jonas Mekas will be screened on Sunday, March 22 at 4:30 pm at the Kimball Theatre in Williamsburg. A Q and A panel discussion will follow the screening.

Presented in conjunction with ongoing regional engagement around Mekas’s work, this program revisits three films from what he referred to as his “Sixties Quartet.” Together, they document intimate moments within the New York avant-garde while revealing Mekas’s distinctive approach to memory, friendship, and lived cinema. These works move fluidly between personal archive and cultural history, offering a portrait of a generation through the lens of lived experience.

Learn more at the Ampersand Festival or at MatneyGallery.com.

Program (94 minutes total running time):

Scenes from the Life of Andy Warhol — 35’
Happy Birthday to John — 24’
This Side of Paradise — 35’

Scenes from the Life of Andy Warhol — 35’

As usual, Mekas cuts in title cards, poetic evocations, or reflections on the film we are watching. The film becomes—so often for Mekas—both a document of the events he has experienced and a nostalgic quest for a past forever lost, though this past is not necessarily the one we are seeing. The film allows us to reconnect with memories, thus with emotions, and perhaps also with a fresh look at people and the world. This look can only be nostalgic.

“So long, Andy…”

— Yann Beauvais

Happy Birthday to John — 24’

On October 9, 1972, an exhibition of John Lennon and Yoko Ono’s art—designed by the master of the Fluxus movement, George Maciunas—opened at the Syracuse Museum of Art, curated by David Ross. That same day, an unusual group of John and Yoko’s friends, including Ringo, Allen Ginsberg, Paul Krassner, and many others, gathered to celebrate John’s birthday.

This film is a visual and audio record of that event. We hear improvised songs sung by Ringo, John, Yoko, and their friends—not as clean studio recordings, but as birthday-party singing: free and happy. There are other images included as well, and the film develops like a kind of “music video”: the John and Yoko party at Klein’s (their agent) on June 12, 1971; the August 1972 John and Yoko concert at Madison Square Garden; the Central Park vigil after John was shot; and other footage I took on different occasions of John and Yoko.

— Jonas Mekas

This Side of Paradise — 35’

Unpredictably, as most of my life’s key events have been, for a period of several years in the late sixties and early seventies I had the fortune to spend some time—mostly during the summers—with the families and children of Jackie Kennedy and her sister Lee Radziwill. Cinema was an integral, inseparable—indeed, a key—part of our friendship. The time was still very close to the untimely, tragic death of John F. Kennedy. Jackie wanted to give something to her children to help ease the transition, life without a father. One of her thoughts was that a movie camera would be fun for the children. Peter Beard, who at that time was tutoring John Jr. and Caroline in art history, suggested to Jackie that I was the man to introduce the children to cinema. Jackie said yes. And that’s how it all began.

The images in this film, with a few exceptions, all come from the summers Caroline and John Jr. spent in Montauk with their cousins Anthony and Tina Radziwill, in an old house Lee had rented from Andy Warhol for a few summers. Andy himself spent many of his weekends there, in one of the cottages, as did Peter Beard, whom the children had adopted almost as an older brother or a father they missed. These were summers of happiness, joy, and continuous celebrations of life and friendships. These were days of little fragments of paradise.

— Jonas Mekas


The exhibition is open March 6 – April 5.

If you would like to learn more about the exhibition or arrange a time to view the works, please contact Lee Matney at curator@LindaMatneyGallery.com.

JONAS MEKAS: STILL BEAUTIFUL IN MY MEMORY

 

The Andrews Gallery at the College of William & Mary presents Still Beautiful in My Memory, an exhibition of works by pioneering avant-garde filmmaker Jonas Mekas (1922–2019). Organized in collaboration with The Jonas Mekas Estate, Deborah Colton Gallery, OUTPOST NYC DCG, and Lee Matney Gallery, the exhibition brings together Mekas’s rarely exhibited framed still images – known as the “Frozen Frames” – with a continuous screening of his five-hour epic,  As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000). Together, these works explore fragmentation, memory, displacement, and the poetic construction of a life through cinema.

Born in Lithuania in 1922, Mekas was forced to flee his homeland during World War II amid the successive occupations of Eastern Europe. After being detained by Nazi authorities and later living in displaced persons camps in Germany, he emigrated to the United States in 1949 as a refugee. His arrival in America marked not only the beginning of a prolific artistic life, but also the continuation of a journey shaped by exile and survival. His story underscores how refuge can foster extraordinary artistic innovation and enrich the cultural fabric of a nation.

The “Frozen Frames” are individual images physically cut from 16mm film strips during Mekas’s editing process. These interstitial fragments – moments once removed in the shaping of a sequence – are scanned and presented as archival prints. What was excised becomes the work itself.  Suspended between motion and stillness, these images preserve fleeting gestures, flashes of light, partial figures, and transitional instants that would otherwise remain unseen. As conceptual anchors for the exhibition, the Frozen Frames reflect Mekas’s lifelong commitment to cinema as a diary form – an art built from fragments, impressions, and lived experience.

At the heart of the exhibition is As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty (2000), presented on an infinite loop. Intended to be entered at any moment, the film invites viewers to experience it non-linearly. Visitors may encounter it mid-scene or mid-thought, returning again to find a different rhythm, image, or memory. This open structure mirrors Mekas’s own editing process for the film: drawing intuitively from decades of personal 16mm footage – his archive of daily life – he assembled reels without strict chronology, allowing association and recollection to guide the composition.

The resulting five-hour work is an expansive meditation on family, friendship, artistic community, exile, and the fragile radiance of ordinary moments. Described by The New York Times as “a first—the home movie as epic,” the film transforms personal documentation into a universal reflection on time and presence.

Together, the Frozen Frames and As I Was Moving Ahead create a dynamic dialogue between stillness and movement, absence and continuity, fragment and accumulation. The cut frame and the continuous reel operate as parallel forms of memory – one isolated and fixed, the other unfolding and immersive. Through this interplay, the exhibition considers how lives are edited, how histories are assembled, and how beauty persists in fragments, relationships, and recollection.

The presentation of these works at William & Mary reflects ongoing research and curatorial stewardship by Lee Matney, situating Mekas’s images and films within broader conversations about archival practice, exile, and the relationship between moving image and photographic form. Presented within an academic setting, the exhibition extends that dialogue and underscores the continued relevance of Mekas’s diaristic cinema for contemporary museum and university audiences.

Jonas Mekas: Still Beautiful in My Memory offers a focused exploration of Mekas’s enduring influence and invites audiences to inhabit his cinematic language: intimate, diaristic, and profoundly human.

Andrews Gallery
William and Mary
421 Jamestown Road
Williamsburg, Virginia 23185

Exhibition Dates
March 6 through April 5

Gallery Hours
Monday through Friday 10 am to 4 pm

Admission
Free and open to the public

For updated program information, screenings, and related events, visit MatneyGallery.com to read more in real time.

Presented in conjunction with Outpost NYC DCG




View Event →
Mar
22
4:30 PM16:30

JONAS MEKAS FILM SCREENING & CONVERSATION

JONAS MEKAS FILM SCREENING & CONVERSATION


Ampersand Festival Screening
Sunday, March 22, 4:30 pm
Kimball Theatre
Williamsburg, Virginia

As part of the Ampersand Festival, three films by Jonas Mekas will be screened on Sunday, March 22 at 4:30 pm at the Kimball Theatre in Williamsburg. A Q and A panel discussion will follow the screening.

Presented in conjunction with ongoing regional engagement around Mekas’s work, this program revisits three films from what he referred to as his “Sixties Quartet.” Together, they document intimate moments within the New York avant-garde while revealing Mekas’s distinctive approach to memory, friendship, and lived cinema. These works move fluidly between personal archive and cultural history, offering a portrait of a generation through the lens of lived experience.

Learn more at the Ampersand Festival or at MatneyGallery.com.

Program (94 minutes total running time):

Scenes from the Life of Andy Warhol — 35’
Happy Birthday to John — 24’
This Side of Paradise — 35’

SCENES FROM THE LIFE OF ANDY WARHOL — 35’

As usual, Mekas cuts in title cards, poetic evocations, or reflections on the film we are watching. The film becomes—so often for Mekas—both a document of the events he has experienced and a nostalgic quest for a past forever lost, though this past is not necessarily the one we are seeing. The film allows us to reconnect with memories, thus with emotions, and perhaps also with a fresh look at people and the world. This look can only be nostalgic.

“So long, Andy…”

— Yann Beauvais

HAPPY BIRTHDAY TO JOHN — 24’

On October 9, 1972, an exhibition of John Lennon and Yoko Ono’s art—designed by the master of the Fluxus movement, George Maciunas—opened at the Syracuse Museum of Art, curated by David Ross. That same day, an unusual group of John and Yoko’s friends, including Ringo, Allen Ginsberg, Paul Krassner, and many others, gathered to celebrate John’s birthday.

This film is a visual and audio record of that event. We hear improvised songs sung by Ringo, John, Yoko, and their friends—not as clean studio recordings, but as birthday-party singing: free and happy. There are other images included as well, and the film develops like a kind of “music video”: the John and Yoko party at Klein’s (their agent) on June 12, 1971; the August 1972 John and Yoko concert at Madison Square Garden; the Central Park vigil after John was shot; and other footage I took on different occasions of John and Yoko.

— Jonas Mekas

THIS SIDE OF PARADISE — 35’

Unpredictably, as most of my life’s key events have been, for a period of several years in the late sixties and early seventies I had the fortune to spend some time—mostly during the summers—with the families and children of Jackie Kennedy and her sister Lee Radziwill. Cinema was an integral, inseparable—indeed, a key—part of our friendship. The time was still very close to the untimely, tragic death of John F. Kennedy. Jackie wanted to give something to her children to help ease the transition, life without a father. One of her thoughts was that a movie camera would be fun for the children. Peter Beard, who at that time was tutoring John Jr. and Caroline in art history, suggested to Jackie that I was the man to introduce the children to cinema. Jackie said yes. And that’s how it all began.

The images in this film, with a few exceptions, all come from the summers Caroline and John Jr. spent in Montauk with their cousins Anthony and Tina Radziwill, in an old house Lee had rented from Andy Warhol for a few summers. Andy himself spent many of his weekends there, in one of the cottages, as did Peter Beard, whom the children had adopted almost as an older brother or a father they missed. These were summers of happiness, joy, and continuous celebrations of life and friendships. These were days of little fragments of paradise.

— Jonas Mekas


View Event →
Nov
7
5:00 PM17:00

Fall Salon: An Evening of Art and Dialogue

Jill Carnes, Secrets In the Garden, Embroidery, 14 x14 (left) and Steve Prince, Guard My Heart, Linoleum Cut, 18” x 24”, 2024 (right)

The exhibition features works by Steve Prince, whose prints and drawings merge spirituality, narrative, and social history into visual meditations on community and hope. Prince’s work, rooted in the Black diasporic experience, transforms storytelling into acts of resilience and collective renewal. Garth Fry’s sculptural installations merge science, material experimentation, and elemental process, evoking transformation, fragility, and renewal.

Jill Carnes’s embroidery, punch-needle, prints, and drawings, created in her Athens, Georgia studio, blend myth, music, and intuition—translating inner landscapes into vivid, hand-wrought compositions that bridge sound, memory, and form. Lita Tirak’s infrared photographs of the Great Dismal Swamp extend this dialogue into the spectral, revealing hidden ecologies and submerged histories through her fusion of research and poetic image-making.

Ian Mcfarlane Jennifer Holding, 2016, 16"x 20"    ( frame 19"x 26" ) ,Archival pigment inkjet print, Edition 3/20 

Michael K.Paxton, Interpolate #11 96" x 72" 2021

Michael K. Paxton’s new large-scale painting continues his exploration of gesture and atmospheric color, while Ian McFarlane’s photographic portrait—from his You Don’t Know series, depicting a woman in a coat—offers a moment of introspection and stillness. Dana Jo Cooley’s spiritually infused works explore transformation and renewal through symbolic imagery and material presence, inviting reflection on cycles of faith, intuition, and inner change. Noreen Dean Dresser’s burned paper and mixed-media work, incorporating organic materials, postage stamps, and painterly passages, reflects on fragility and regeneration. William Ruller’s abstract landscapes, painted in Apt, France, probe the tension between surface and structure, merging memory and terrain. Luther Gerlach’s photographic prints, created with historic wet-plate processes, incorporate ash from California’s Thomas Fire directly into the developer, transforming elemental destruction into haunting permanence. Christi Harris’s painting, from her Unwritten Historyproject, depicts a woman from the 1930s with dignity and restraint—bridging time through the quiet power of recovered memory.

Olga Tobreluts’s works, rooted in the post-Soviet New Academy movement, examine myth and modernity through digital collage and classical form, connecting antiquity with contemporary identity. Ivan Plusch’s paintings, marked by layered translucence and psychological depth, translate the flux of memory and perception into luminous abstraction. Nicki Santiago’s figurative works, grounded in observation and empathy, reimagine domestic and personal spaces through a humanist lens. Rebecca Shkeyrov’s paintings and prints, drawn from an earlier series in her evolving practice, continue her exploration of structure, light, and gesture—linking the gallery’s past and present dialogues. George Papadakis’s paintings, infused with a sense of nostalgia and emotional recall, explore how memory shapes visual experience—capturing fleeting moments that hover between presence and disappearance.

Together, these artists embody Matney Gallery’s commitment to environment, craft, and observation. The Fall Salon invites viewers to reflect on transformation as both artistic and spiritual practice—an evolving meditation on continuity, empathy, and creative renewal.

View Event →
Nov
7
5:00 PM17:00

FALL SALON: THE WAGNER TAKEOVER AT MATNEY GALLERY

FALL SALON AT MATNEY GALLERY


CHRIS WAGNER: A SALON TAKEOVER


With Steve Prince, Garth Fry, Jill Carnes, Lita Tirak, Michael K. Paxton, Ian McFarlane, Dana Jo Cooley, Noreen Dean Dresser, William Ruller, Luther Gerlach, Christi Harris, Olga Tobreluts, Ivan Plusch, Nicki Santiago, Rebecca Shkeyrov, George Papadakis, and others
Opening Reception: November 7, 5–8 PM and beyond
Matney Gallery | Williamsburg, Virginia | Fall 2025

The Fall Salon at Matney Gallery centers on a Salon Takeover by sculptor Chris Wagner, whose carved and mixed-media works—often depicting animals—reflect a deep meditation on ecology, endurance, and renewal. Wagner’s figures, shaped from reclaimed wood, stand as guardians and witnesses of the natural world. Their tactile presence transforms craftsmanship into a quiet language of care and continuity.

AS WAGNER REFLECTS: “WHETHER IT’S CARVING A BISON, SCULPTING A VETERAN, OR DESIGNING A MOUNT FOR A 2,000-YEAR-OLD BOWL—IT’S ABOUT ATTENTION. YOU SHOW UP FOR THE FORM IN FRONT OF YOU. YOU TREAT IT WITH RESPECT. THAT’S WHAT KEEPS ME GOING IN THE STUDIO.”

View Event →
Apr
20
5:00 PM17:00

GRAYSON CHANDLER: PLANTING TRACES OPENS APRIL 20


GRAYSON CHANDLER: PLANTING TRACES OPENS APRIL 20

OPENING RECEPTION: SATURDAY APRIL 20, 5 PM- 7:30 PM, NOW ACCEPTING RSVPS VIA EVITE/ WALK-INS WELCOME

            Planting Traces, the title of Grayson Chandler’s 2024 Spring solo, alludes to the manner of abstraction that permeates his artwork. Embedded in his process is the idea of allowing subliminal matters the space and time to grow into something more observable, so that something more illuminating may take root. This preoccupation with observation stems from a belief that meaning emerges out of mindful cooperation with one’s surroundings, and that as one becomes more mindful of their environment, a sense of destination is nurtured.

 

            Planting Traces suggests a connotation of passage and growth, imbibing the artwork with an undercurrent of cause and effect. Yet, despite these cyclical overtones, Chandler’s work remains uninhabited by chronological order. Instead, his work echoes outside of history, arousing a place that seems suspended in its own time. What ultimately germinates between Chandler’s artwork and those it attracts, is a place where viewers are given room to grow mindful regarding the nature of their own perception.

 

Artist Statement

 

            Fascinated by the intrinsic order and beauty of nature, My work attempts to capture and abstract its character in a manner that is uncanny, yet familiar. Deeply curious about the forces that govern human reason and faith, my work probes the amphibious network linking logic, intuition, consciousness, and emotion. Through this perspective, we are encouraged to draw upon our own experience as a means of shaping the border between real and imaginary. Moreover, we are encouraged to explore how the shape of our experience shapes how we see, and how what we see is largely colored by what we can recognize. Within this aesthetic, the spectator is invited to enter a space that meditates on the means through which we conceive and distill meaning and sensation from space and form.

 

 

Biography

            Born in Houston, Texas 1994, Grayson Chandler’s exposure to the visual arts began from a young age. Since graduating with a BFA from the University of North Texas in 2018, Chandler has been selling and exhibiting his paintings in Texas, and abroad. His early success can be demonstrated through numerous solo and group shows, garnering his artwork a rapidly growing admiration from significant collectors and Houston institutions alike. His 2022 solo IN VIA, at Deborah Colton Gallery, saw his work acquired into the MFAH’s permanent collection. Other notable shows include a 2021 Solo at Pearl Fincher Museum in Spring, Texas, as well as his upcoming solo at the Jung Center in 2024. In addition to his own professional practice, Chandler also serves on the board of the Visual Arts Alliance (VAA) — an all-volunteer, nonprofit organization seeking to provide educational and career opportunities for serious practitioners of the visual arts within the Houston community. 

View Event →
Apr
11
5:30 PM17:30

REBECCA SHKEYROV’S KEPT UNDER HER WING AT CURRENT MIDTOWN

REBECCA SHKEYROV’S KEPT UNDER HER WING AT CURRENT MIDTOWN

Opening Reception: Thursday, April 11, 5:30 - 7:30 PM.

MEET THE ARTIST BEFORE SHE EMBARKS ON A YEAR IN PARIS

Walk-ins Welcome/ Open to the Public

LOCATION:

CURRENT MIDTOWN APARTMENTS

221 Monticello Ave, Williamsburg Va 23185

DO NOT PARK IN RESIDENT PARKING. PARKING IS AVAILABLE AT EARTH FARE OR BEHIND SAL’S BY VICTOR

Exhibit runs April 10 – May 9, 2024

View Event →
Dec
8
6:00 PM18:00

The Opening Reception for Leigh Anne Chambers: Shape Shifters and Spirit Guides with Christi Harris: Lachrymose

The Opening Reception for Leigh Anne Chambers: Shape Shifters and Spirit Guides with Christi Harris: Lachrymose

You are cordially invited to attend: The Opening Reception for Leigh Anne Chambers: Shape Shifters and Spirit Guides with Christi Harris: Lachrymose

Leigh Anne Chambers Statement: My studio practice is largely driven by materials. I am drawn to the immediacy of supplies from the hardware store like liquid rubber and spray paint. These work in tandem with imagery created from composite drawings of comics and coloring books. While these pieces do not have an explicit narrative, they develop a language informed by contemporary culture.

Christi Harris Statement for Lachrymose : This work explores the intersection of grieving and “emotional labor” made tangible in embroidered phrases from condolence letters from a late 19th-century Virginia family. Harris discovered the letters at a flea market, and during the pandemic she spent time painstakingly embroidering words or phrases from the letters onto handkerchiefs in the style of the writer’s handwriting. Hundreds of these embroidered receptacles for grief and tears will be suspended around the viewer in the Microgallery

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Oct
22
4:00 PM16:00

OPENING RECEPTION FOR REBECCA SHKEYROV: KEPT UNDER HER WING

OPENING RECEPTION FOR REbecca SHKEYROV: Kept Under Her Wing

Presented by Matney Gallery

Press Release

Under Her Wing features work by Rebecca Shkeyrov spanning several years and mediums. Guided by an intangible force, the artist builds her own world through determined exploration of color and form, symbol and metaphor. Engaging multiple layers of consciousness across space and time through the enigmatic process of artmaking, Shkeyrov slowly uncovers what it means to be and where home truly lies.

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Sep
9
5:00 PM17:00

Closing Reception for Nudes: A Contemporary View

Nudes: A Contemporary View

June 17- September 9, 2023

Hours: Thursday- Saturday, 11am -5pm or by appointment

Matney Gallery 5435 Richmond Rd
Williamsburg , VA

Sandra-Lee Phipps, Jennifer Hartley, Agnes, Grochulska, Brian Kreydatus, Chris Corson, Laura Frazure, Mark Miltz, Devon Lawrence, Julia Rogers, Carl Jones, M. Dierking, Brian Freer, Janice Hathaway,

COLLECT WORKS VIA ARTSY RSVP FOR THE CLOSING RECEPTION

View Event →
Feb
24
5:00 PM17:00

THE OPENING RECEPTION FOR: THE WILLIAM & MARY SENIOR STUDIO ART MAJORS’ CAPSTONE EXHIBITION

You are cordially invited to attend:

THE OPENING RECEPTION FOR:

THE WILLIAM & MARY SENIOR STUDIO ART MAJORS’ CAPSTONE EXHIBITION

Friday, Feb 24

5:00 PM - 7:30 PM, R.S.V.P. VIA EVITE

WALK-INS ARE WELCOME

Location

Matney Gallery, 5435 Richmond Road, Suite A Williamsburg, Virginia

Access & Features

  • Open to the public

Pictured: Azaria'h Alexander '23, "#4 (Andrews Hall)", Cyanotype, 2021

The Department of Art & Art History invites you to come and view the featured work of the 2023 W&M Studio Art seniors. This exhibition is part of the Studio Capstone course, required by all Studio Art majors in their Senior year.

Thanks to the support of the Matney Gallery, the following Studio Art seniors will be featured in this spring's Capstone exhibition:

Azaria’h Alexander, Gabrielle Buffaloe, Talia Carstoiu, Sophie Cassidy, Chris Eliades, Rebecca Golden, Alina Kacar, Grace Moser, Miles Piontek,  Yuxin (Kathy) Qin, William Tatum, Angel Valdez-Machicado, Sarah Wicker, Yaxi Xiao

View Event →
Dec
31
to Jan 1

STUDIO 54 PARTY

STUDIO 54 PARTY

DECEMBER 31, 2022, 8PM - MIDNIGHT

AND

A GLIMPSE INTO THE FUTURE OF THE MATNEY GALLERY

A Glimpse Into the Future”,curated by John Lee Matney, emphasizes forward movement. As seen in this preview, movement takes many forms. With the passage of time, art evolves, but evolution is also possible through past reflection. This show brings new and old pieces of art into dialogue with one another in order to highlight the gallery’s growth, as well as its newest phase. Lenticulars, traditional and transformative painting, photography, and sculpture are all on display.

View Event →
Dec
9
5:00 PM17:00

A Glimpse into the Future of the Matney Gallery


A Glimpse into the Future of the Matney Gallery

 OPENING RECEPTION: FRIDAY, DECEMBER 9, 5- 7:30 PM

A Glimpse Into the Future” is an upcoming show, hosted by Matney Gallery, that emphasizes forward movement. As seen in this preview, movement takes many forms. With the passage of time, art evolves, but evolution is also possible through past reflection. This show brings new and old pieces of art into dialogue with one another in order to highlight the gallery’s growth, as well as its newest phase. Lenticulars, traditional and transformative painting, photography, and sculpture are all on display.

View Event →
Oct
29
4:00 PM16:00

THE CLOSING RECEPTION OF LAURA FRAZURE’S BODILY RHETORIC AND CATALOG RELEASE PARTY


YOUR CORDIALLY INVITED TO ATTEND:

THE CLOSING RECEPTION OF
LAURA FRAZURE’S BODILY RHETORIC AND CATALOG RELEASE PARTY/ MEET THE ARTIST, ENJOY FOOD AND REFRESHMENTS

SATURDAY, OCTOBER 29. 4-6PM

SPONSORED BY CHRIS HARRIS OF REFUSE ORDINARY AND LANEY MOREWITZ OF TEAM TITAN

ATTEND THE EVENT

VIEW EXHIBITION ON ARTSY/CHECK FOR UPDATES

EXHIBITION INVENTORY

View Event →
Oct
8
3:30 PM15:30

OPENING RECEPTION FOR BODILY RHETORIC

BODILY RHETORIC

 

After many years of studying and teaching anatomy, Laura Frazure has developed a distinctive approach to figurative sculpture, specifically concentrating on the female body. Rejecting direct observation and the use of live models, Frazure employs a more structural approach to form-making and invented proportional relations. This process emphasizes “direct modeling”, highlighting form and form development with no subsequent mediatory processes. Using translucent waxes coated with a thin glaze of oil paint and varnish, air dry clay and a modeling compound, the figures are constructed on a steel reinforced aluminum wire armature.

 

The inspiration or generative material for Frazure’s work comes from a number of sources, including literature, popular culture, politics, the media and art history; all directed toward the uses, commodification and modes of presentation of women. These source contents combine with the study of anatomy, “bodily rhetoric,” and the expressive qualities of materials to inform the work. Narrative fiction has proven to be especially influential from early on in Frazure’s practice, having a profound effect on her development as a figurative artist.

 

The title of the exhibition reflects Frazure’s interest in the conventions of “bodily rhetoric”, described as denaturalized figural attitudes or poses, invented to express ideas intrinsic to a particular medium. The Greek Kouros figures serve as notable examples of a derived pose specific to the medium of sculpture. A number of Frazure’s sculptures reference the idiosyncratic, media generated poses of contemporary fashion photography, with the presentation of the body, as in the Kouros figures, lying outside the realm of normal posture and colloquial gesture.

 

A more recent group of works directly reference the poses, gestures and facial expressions of social justice protestors.  Individual figures are extracted from groups of protestors, mostly in Philadelphia, using documentary photography from print and digital media sources. These along with a companion series of poses of physical labor are composed “verbatim” in a more direct, naturalistic manner and together offer visual metaphors for the contemporary human condition in late capitalist America.

 

BIO

 

Laura Frazure is a sculptor and an Assistant Professor and Coordinator of Sculpture within the Fine Arts Department at the University of the Arts in Philadelphia. She has also been a Professor of Anatomy at the New York Academy of Art and most recently was a visiting Professor at the Central Academy of Fine Art in Beijing, where she led an “International Anatomy Intensive” for Professors from the eight, top art schools in China. She received her BFA from the Philadelphia College of Art and her MFA from the University of Pennsylvania.

 

Laura’s professional creative activity has included theater and film production and set design, most notably the independent feature film, Dogma, directed by Kevin Smith. Her sculptural works have been exhibited in New York, Shanghai and Beijing, as well as throughout the Mid-Atlantic region. She has twice been a Discipline Award winner for the PEW Fellowship in the Arts and the Robert Engman Award for sculpture from the University of Pennsylvania. Laura’s work has twice been featured in Sculpture Review Magazine and most recently has been included in the book, Women in Art, Volume 1, Author: Reinhard Fuchs, 520 Masterpieces of Visual Art, The Great Female Artists: From The Middle Ages to The Modern Era.

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Sep
16
6:00 PM18:00

CLOSING RECEPTION FOR KRISTIN SKEES AND RYAN LYTLE: BY A THREAD/ COSTUME PARTY

CLOSING RECEPTION FOR KRISTIN SKEES AND RYAN LYTLE: BY A THREAD/ COSTUME PARTY

Reception: Friday, Sept 16, 6-8:30 pm

Dress as your favorite artist or fashionista

$200 Cash prize for best costume

$100 for Second Place

$50 Honorable Mention

FINAL TWO WEEKS TO PURCHASE WORKS AT INTRODUCTORY PRICES. MAKE AND OFFER OR CONTACT THE GALLERY

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Jul
29
6:00 PM18:00

THE OPENING RECEPTION FOR KRISTIN SKEES AND RYAN LYTLE: BY A THREAD

Kristin Skees and Ryan Lytle: By a Thread

July 29 – September 15, 2022

Opening Reception:

  • Friday, July 29, 2022

  • 6:00 PM 8:00 PM

  • Linda Matney Fine Art Gallery 5435 Richmond Rd Williamsburg VA USA (map)

By A Thread is a selection of recent and collaborative work by Kristin Skees and Ryan Lytle.

Through photography and sculpture, this show takes a playful look at how the fabric of our self identity is woven from experiences, environments, and relationships, shaped into an expression of who we are and how we impact the world around us.

Skees’ photographs investigate identity through the spaces we create (both personal and collective), and the uneasy relationship between the subject and artist, and artist and viewer.

Lytle’s sculptures explore memory, storytelling, and folklore as the underlying force shaping our search for self identity.

Working as colleagues for years, Skees and Lytle have taken this exhibition opportunity to develop a new body of collaborative work. Their shared love of fiber, bold color and exploration of identity forms a foundation for new playful and experimental self-portraits.

SPECIAL THANKS TO PETE CHILDS OF CARPETPRO RESTORATION AND CLEANING PROFESSIONALS, 757 272 7741

Reception Sponsored By:

Laney Morewitz

REALTOR®

Team Titan Real Estate | eXp Realty LLC 

827 Diligence Drive Suite 109 | Newport News, VA 23606

cell 757-817-3656 fax 888-600-1185

email laney@teamtitansells.com

Food by Barry Wildman

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Jul
21
5:00 PM17:00

THE CLOSING RECEPTION FOR BRIAN FREER’S NATURAL CAUSES

THE CLOSING RECEPTION FOR BRIAN FREER’S NATURAL CAUSES

THURSDAY, JULY 21, 5-8pm

Meet the artist and enjoy wine and light hors d'oeuvres

Learn More/ Join the Guest List

READ THE ARTICLE IN THE DAILY PRESS

Natural Causes is a collection of images taken over the past 2 years. Shot mostly during the pandemic, the collection consists of swampy landscapes, mountain vistas and the small details within them, captured to evoke our primal psyche. The selected pieces represent a period of intense spiritual change for the artist, and a pivotal internalization of the impermanence and precious quality of life.

Sponsored by: Pete Childs, Restoration and Cleaning Professional, Williamsburg, Virginia


Pictured: Beech Bark with Shadows, College Woods, Williamsburg, 2020, Archival pigment print, VIEW ON ARTSY

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Jun
10
6:00 PM18:00

OPENING RECEPTION FOR BRIAN FREER’S NATURAL CAUSES

BRIAN FREER’S NATURAL CAUSES

OPENING RECEPTION: FRIDAY, JUNE 10, 6-9pm

Join the Guest List

Natural Causes is a collection of images taken over the past 2 years. Shot mostly during the pandemic, the collection consists of swampy landscapes, mountain vistas and the small details within them, captured to evoke our primal psyche. The selected pieces represent a period of intense spiritual change for the artist, and a pivotal internalization of the impermanence and precious quality of life.

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Jun
1
5:00 PM17:00

Scout Guide Mingle and the Closing Reception for HABITATION

THE SCOUT GUIDE MINGLE AND THE CLOSING RECEPTION FOR:

HABITATION WITH SPECIAL GUEST ARTIST SHAUNA PECK

  • Wednesday, June 1, 2022

  • 5:00 PM 7:00 PM

We're excited to be partnering with Curator John Lee Matney of Linda Matney Gallery to offer an exclusive opportunity for art collectors & enthusiasts. The gallery's exhibition, HABITATION is closing out with this event on Wednesday, June 1st from 5-7pm, where we invite you to explore & shop the collection from prominent artists. These are investment pieces for art collectors and those looking to support great artists. Click here to visit the gallery’s website.

5435 Richmond Rd, Williamsburg, Virginia, 23188, (757) 675-6627

ENJOY SPECIAL REFRESHMENTS AND MEET PARTICIPATING ARTISTS AND PATRONS

FEATURED ARTISTS INCLUDE SHAUNA PECK, ASA JACKSON, ELIOT DUDIK, ELIZABETH MEAD, NICOLE SANTIAGO, LUTHER GERLACH, JOHN R. G. ROTH, RYAN LYTLE, KRISTIN SKEES, NOREEN DEAN DRESSER, GLENN H. SHEPARD, SIDNEY ROUSE, IRIS WU, MARK EDWARD ATKINSON, DIANE COVERT, TEDDY JOHNSON AND OTHERS.

Pictured: Shauna Peck, Glimpse II, 2021, Mixed media, 5 1/2 × 24 in, 14 × 61 cm

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Apr
29
4:00 PM16:00

Habitation Opening Reception with special guests Shauna Peck and Laney Morewitz

Habitation Opening Reception with special guests Shauna Peck and Laney Morewitz

Join us for the opening reception. Meet artist Shauna Peck and our sponsor Laney Morewitz.

Habitation explores the challenges and joys humans face in inhabiting and thriving in our world, from celebrating the sublime, the beauty of nature, and experiences of living to facing issues like pollution, natural disasters, war, politics, mental health, and economic factors. Featured artists include Shauna Peck, Noreen Dean Dresser, Ryan Lytle, Kristin Skees, Luther Gerlach, Asa Jackson, and others.

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Nov
12
5:30 PM17:30

Closing Reception for The Task That Is The Toil and Introducing Victoria Erisman

  • Linda Matney Fine Art Gallery (map)
  • Google Calendar ICS
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Closing Reception for The Task That Is The Toil and Introducing Victoria Erisman

5:30-8pm on November 12, 2021 at Linda Matney Gallery 5435 Richmond Rd, Williamsburg, VA 23188

I'm very excited to be a part of the Linda Matney Gallery and to celebrate the closing of The Task That Is The Toil. This exhibition was really my first introduction to the work that the gallery does and I think it was such a great entry-point for me to work here because of how eclectic the works are while still very much so speaking to the theme that Lee has chosen. I really admire how this exhibition uses the pandemic as a framework without becoming trapped in the monotony and limitations of a literal approach. Talking with Lee about the art has made me a better art historian and working here for even just three months has already given me more opportunities than I could have ever imagined. Victoria Erisman

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Mar
14
2:00 PM14:00

Janice Hathaway's Transmorgraphy: Closing Event and Artist Presentation

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POSTPONED UNTIL FURTHER NOTICE. A RESCHEDULED DATE WILL BE ANNOUNCED SOON

CLOSING EVENT AND ARTIST PRESENTATION SATURDAY, MARCH 14, 2:00 - 5:00 PM

EXHIBITION CATALOGS WILL BE AVAILABLE

Janice Hathaway’s transmorgraphs are living moments as imagery situations. Her exhibition, transmorgraphy, at the Linda Matney Gallery from February 7 through March 14, 2020, features her new process of artistic composition, which she invented and has developed over the past several decades. Her transmorgraphs suggest a strong interplay between plausible and implausible, teasing the viewer to suspend disbelief in the presence of her “surreality” merging dreams and fantasy, the conscious and unconscious. Janice lives in Williamsburg, Virginia, and teaches Graphic and Media Design at Thomas Nelson Community College.


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Feb
7
5:30 PM17:30

Opening Reception for Janice Hathaway's Transmorgraphy

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JANICE HATHAWAY: TRANSMORGRAPHY

February 7 - March 14, 2020

Janice Hathaway’s transmorgraphs are living moments as imagery situations. Her exhibition, transmorgraphy, at the Linda Matney Gallery from February 7 through March 14, 2020, features her new process of artistic composition, which she invented and has developed over the past several decades. Her transmorgraphs suggest a strong interplay between plausible and implausible, teasing the viewer to suspend disbelief in the presence of her “surreality” merging dreams and fantasy, the conscious and unconscious. Janice lives in Williamsburg Virginia and teaches Graphic and Media Design at Thomas Nelson Community College.

OPENING RECEPTION: FRIDAY, FEBRUARY 7, 5:30 - 8:30 PM

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