The Matney at Midtown Row – A New Hub for Art in Williamsburg

The Matney at Midtown Row – A New Hub for Art in Williamsburg

Background: The Matney at Midtown Row

The Matney at Midtown Row is a series of exhibitions curated by the Linda Matney Gallery and presented in Current Midtown’s exhibition space at 211 Monticello Avenue in Williamsburg, Virginia. Launched in 2024, the program extends the gallery’s mission of bringing museum‑caliber art experiences into the community. (Current Midtown owns and manages the venue; the Matney Gallery curates the program.) Founder‑curator John Lee Matney has spent over a decade building a platform for contemporary Southern and international art in the region. His vision bridges institutional art and local culture, fostering spaces where formal inquiry, material practice, and abstraction stand alongside narrative and cultural memory. The Midtown Row location continues this vision by situating art in a lively mixed‑use district, making it accessible to both Williamsburg residents and visitors in a non‑traditional gallery setting..

Mission and Partnerships

The Matney at Midtown Row is committed to programming that feels at home in a museum context, with rich layers of scholarship and storytelling. Exhibitions often involve collaboration with academic and cultural institutions. The program works with the College of William & Mary and its Muscarelle Museum of Art—home institution of artist Steve Prince—to bring scholarly and community‑oriented art projects to fruition. The gallery has facilitated loans of important works to museum exhibitions (such as William & Mary Collects III and Spark of Imagination: Spectrum of Creativity at the Muscarelle) and offers curatorial consulting for museum shows.

The program also supports public‑facing cultural initiatives that align with its mission. At Midtown Row, The Matney supported Steve Prince and the Peace Quilt mural by helping to magnify the project through outreach and programming. Through efforts like these, The Matney at Midtown Row serves as a cultural connector—drawing institutions, collectors, and communities into fresh conversation. Williamsburg’s arts community, historically centered on campus and colonial‑era art, is invigorated by Matney’s presence. As Elizabeth Mead (a William & Mary art professor and Matney‑represented artist) notes, John Matney “is adding a new dimension to the growing arts community in Williamsburg.”

Space and Programming

Housed within Current Midtown’s exhibition space at Midtown Row, the Matney‑curated program activates a modern multi‑use venue that doubles as a community clubhouse. Large windows and an open floor plan create an inviting atmosphere where fine art mingles with daily life. Visitors can easily drop in (with public parking conveniently available nearby) and find museum‑quality artworks on the walls of a residential/retail hub. The Matney at Midtown Row curates rotating exhibitions, artist talks, pop‑up collaborations, and student capstone shows in partnership with William & Mary. This fluid programming approach allows established artists, emerging talents, and university students to share the same spotlight. By doing so, the program fulfills its mission of education and engagement, turning a casual visit into “a fleeting enchantment” that can spark reflection and dialogue. In short, The Matney at Midtown Row is both an art program and a community gathering space, dedicated to bridging the gap between the campus, the museum, and the public in Williamsburg’s emerging “midtown” district.

Recent program highlight: During the holiday season, The Matney presented Steve Prince Breaks the Block at Current Midtown—a live woodblock printmaking demonstration by Steve Prince. At the same time, painter Teddy Johnson exhibited his Italian Landscapes and delivered an artist talk, creating a cross‑disciplinary evening that drew residents, students, faculty, and visitors together in the clubhouse..

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Current Exhibition Overview

The current exhibition at The Matney at Midtown Row is a five‑artist showcase featuring Steve Prince, Elizabeth Mead, Brian Kreydatus, Nicole Santiago, and Jill Carnes. This group exhibition—highlights a diverse range of artistic voices connected to the Williamsburg area. The participating artists include distinguished faculty and affiliates of William & Mary (Prince, Mead, Kreydatus, Santiago) as well as an acclaimed independent artist with roots in the South’s creative music scene (Carnes). Though varied in medium and style, their works intersect around themes of narrative, memory, and human experience, aligning with the program’s focus on art that “speaks to the times” while also reflecting personal and cultural histories.

Curatorial Intent

Rather than imposing a single overt theme, curator John Matney has framed the exhibition as a conversation between different forms of storytelling in art. Each of the five artists carries a distinct narrative thread: Prince’s socially charged prints and sculptures draw on spiritual and historical narratives; Mead’s abstract sculptures and drawings explore landscape and perception; Kreydatus’s figurative paintings confront the physical human condition; Santiago’s realist canvases capture personal stories through everyday still lifes and figures; and Carnes’s intuitive mixed‑media pieces weave folklore and pop culture into visual myths. By presenting these works side by side, the exhibition invites viewers to consider the many ways artists make sense of history, identity, and community through imagery. There is a deliberate mix of mediums—printmaking, painting, sculpture, drawing, textiles—echoing the salon‑style approach Matney often embraces to create “moments of beauty pressed against unease, and mystery laced with uncertainty.” Visitors moving through the gallery encounter each artist’s “world” in turn, yet subtle resonances emerge: a shared tension between past and present, and a belief in art’s capacity to tell stories that matter.

Artworks and Experience

The exhibition spans the intimate and the monumental. Upon entering, one might first notice Steve Prince’s bold black‑and‑white works, which immediately engage the eye and mind with their rhythmic detail and powerful symbolism. In one print, a couple sits in Preservation Hall listening to jazz, surrounded by layered references to musical legends and Black history—an homage to the mentors and musicians who shaped him. Nearby, Nicole Santiago’s oil paintings draw the viewer in with quieter domestic scenes—a rumpled bed, scattered personal effects—rendered with rich, impressionist brushwork that elevates everyday moments into thoughtful narrative vignettes. Brian Kreydatus contributes psychologically charged figural paintings and prints; for example, a young child on a rocking horse faces a lifelike effigy of an old man, composing a strangely poignant scene that, in the artist’s words, “makes the familiar unfamiliar” through intense observational detail. In contrast, Elizabeth Mead offers photographs of minimalist sculptural forms and the gardens of Versailles invite contemplation: her arrangements of organic shapes and subtle lines function like visual poems about landscape and memory, informed by her international residencies from Japan to Iceland. Jill Carnes’s pieces add a dose of whimsy and folk‑inspired energy—whether a fantastical owl drawn in intricate pen patterns or a landscape—reflecting the rare synthesis of intuition, memory, and mythology that defines her style.

Interior view of The Matney at Midtown Row during the current exhibition. Steve Prince’s linocut Guard My Heart(2024) hangs at center, exemplifying the spiritually charged, layered imagery he brings to the show. The gallery’s setting in a modern clubhouse at Midtown Row creates an inviting, intimate viewing experience, blurring the line between everyday space and art space. (Courtesy of The Matney Fine Art Gallery)

Walking through the exhibition, visitors experience an environment that balances scholarly depth and approachable informality. The artworks are accompanied by informative labels and can be further illuminated by exhibition catalogue text or the gallery staff’s insights (John Matney and the artists are often on hand during openings or by appointment, encouraging dialogue). Comfortable seating areas in the space allow guests to linger—one might sit near Prince’s prints and reflect on the rich iconography he employs (jazz musicians, biblical references, and New Orleans motifs), or pause by Mead’s sculptures to absorb their quiet presence. The Midtown Row backdrop, visible through the gallery’s windows, reminds viewers that this is not a remote “white cube” but a living part of the city’s fabric—you see the plaza outside, hear distant sounds of community life, and realize art is inhabiting an everyday context. This synergy is intentional. As Matney puts it, the goal is to create “a moment of wonder or reflection for people who may not feel creatively driven themselves… a reminder that there’s still mystery and meaning in the everyday.” Visitors often remark on the personal connection they feel: the experience is like stepping into each artist’s narrative world, yet also seeing your own stories and culture reflected back.

Artist Profiles

Steve Prince – Printmaker, Sculptor & “Art Evangelist”

Steve Prince, Ezra: Reparation Groove, Linocut, 24 x 36 inches, linocut on paper,

Steve Prince’s linocut Ezra: Reparations Groove (linoleum cut, 24 × 36 inches) exemplifies his layered, symbolic style, which draws on the musical and spiritual traditions of Black America. In this print, a couple listens to jazz in New Orleans’ Preservation Hall, surrounded by references to jazz legends and the historic Congo Square poster by Prince’s mentor John Scott. Prince’s imagery is richly detailed and “spiritually charged—speaking to collective struggle, resilience, and redemption.” (Image courtesy of Steve Prince/Linda Matney Gallery)

Bio & Affiliations: Steve A. Prince (b. 1968) is a multi‑disciplinary artist known for his powerful graphic style and community‑focused practice. A native of New Orleans, Prince now resides in Williamsburg and serves as the Director of Engagement and Distinguished Artist in Residence at the Muscarelle Museum of Art at William & Mary. He earned his BFA at Xavier University of Louisiana and an MFA in Printmaking and Sculpture from Michigan State University. Prince is not only a master printmaker but also a sculptor, educator, and what he calls an “art evangelist”—someone who uses art as a tool to spread messages and build community. He has taught art at all levels (from middle school to college) and conducted creative workshops internationally, embodying a passion for outreach and arts education.

Artistic Practice: Prince’s work operates at the intersection of social justice, spirituality, and community engagement. Growing up in New Orleans deeply influenced his aesthetic; he often cites the Jazz Funeral tradition—with its mix of mourning and celebration—as a philosophical root of his art. In visual terms, Prince’s prints and mixed‑media pieces are bold and graphic, reminiscent of woodcut and linocut traditions with a contemporary twist. He layers symbolic imagery drawn from African American history (e.g., figures of jazz musicians, church iconography, historical text) to address themes of collective struggle, healing, and hope. Rhythm, repetition, and improvisation flow through the composition much like a jazz performance. Prince often bridges fine art and public art—creating large‑scale communal woodcut projects and murals that invite public participation. One notable example is his 4′ × 32′ woodcut mural Links (2019), which commemorated the 400th anniversary of the first African arrivals in Virginia and was printed with help from community volunteers. His work Lemonade: A Picture of America (2016), an 8′ × 8′ mixed‑media piece at William & Mary, honors the university’s first African American residential students. Prince has also ventured into sculpture, such as Song for John, a 15‑foot kinetic steel sculpture in Hampton, VA. Across media, a hallmark of Prince’s style is transforming pain and injustice into scenes of transcendence—his figures often appear in poses of prayer, dance, or resilience.

Notable Achievements: Prince has exhibited in numerous solo and group shows across the U.S. and abroad, and participated in residencies at institutions like Notre Dame University’s Segura Arts Center and the University of Iowa’s print program. He was honored with the 2020 Virginia Museum of Fine Arts Professional Fellowship and was named Hampton City’s Teacher of the Year in 2010 for his educational work. As part of The Matney’s holiday programming, “Steve Prince Breaks the Block” brought a live woodblock demonstration to Current Midtown, presented alongside Teddy Johnson’s Italian Landscapes and an artist talk. In Williamsburg, Prince’s influence extends beyond the gallery: he recently completed the public mural Peace Quilt (2023) at Midtown Row. The Matney was not involved in planning or institutional partnerships for the mural and did not partner with the City’s Public Art Council; we supported Prince and helped magnify the project through gallery programming and outreach. Prince’s dynamic presence—as artist, teacher, and collaborator—has made him a linchpin of the Williamsburg art scene and a bridge between the university’s museum and the public gallery world.

Why it matters: Prince’s practice scales to residencies, community print activations, and public art—ideal for co‑presentations and civic engagement.

Elizabeth Mead, Untitled Versailles 06, 2018-2020, Gelatin silver print, framed, 27 1/2 × 23 1/2 in | 69.9 × 59.7 cm, Edition of 3

Elizabeth Mead – Sculpture, Photography & Perceptual Inquiry

Bio & Role: Elizabeth Mead is an internationally exhibited sculptor and drawing artist, as well as a respected academic. She is a Professor of Art at The College of William & Mary, where—crucially—she has mentored generations of students, shaping a lineage of sculptors, designers, and arts professionals who now contribute to studios, graduate programs, and cultural institutions across the country. Her career spans over 25 years, during which she has shown her work across the United States and in Iceland, Italy, Korea, Taiwan, Japan, Portugal, Australia, and England. In addition to fine‑art exhibitions, she has an impressive background in theatrical design—creating sets and environments for over 24 stage productions, including collaborations with the Tony Award‑winning Théâtre de la Jeune Lune. This blend of visual art and theater speaks to Mead’s fascination with space, experience, and the audience’s engagement with art.

Artistic Practice: At the core of Mead’s work is an exploration of form, material, and perception. She works in sculpture (often creating abstract forms in wood, plaster, porcelain, or mixed media) and in drawing, with each medium informing the other. Her sculptural installations are frequently minimal yet evocative—arrangements of organic shapes or geometric fragments that suggest landscape or environment and invite viewers to slow down and truly look. “This work is about looking… I am inviting you to take a moment, stop what you are doing, just simply look and, perhaps, begin to see,” she writes. Her drawings, often monochromatic and abstract, serve a similar purpose—records of movement and thought, “forms [that] are simple, yet they take time to reveal themselves.” Projects such as Various objects: Things on the horizon and Inklings pair spare drawings with text to capture the experiential aspects of landscape, inspired by time in expansive terrains like Wyoming and the Pacific Northwest.

Material experimentation is another hallmark of Mead’s career. She often chooses materials for their inherent qualities and even limitations. For years she worked extensively with plaster, appreciating its “modest” nature and the way it accepts form without the weight of preciousness. Recently she has branched into woodturning and book‑making, always pushing herself to learn new techniques that spark fresh ideas. The influence of her theater work can also be felt—Mead’s awareness of space and staging means her exhibitions are carefully composed experiences, sometimes described as meditative or poetic. Her education includes the École Internationale de Jacques Lecoq in Paris (a legendary school for physical theater) and residencies like the Nes Artist Residency in Iceland, where she examined how environment shapes perception.

Notable Achievements: Mead has received numerous honors, including a Japan–US Friendship Commission/NEA Creative Artists Fellowship that allowed her to live and work in Japan for six months. She also earned awards for set design, such as recognition from the Dallas Theater League and two Theater Communications Group/NEA Designer Fellowships in the late 1990s. She has been a sought‑after visiting artist at institutions including UCL’s Slade School of Fine Art, Carleton College, Pacific Northwest College of Art, and Burren College of Art in Ireland. In 2024–25, Mead undertook an ambitious series of projects in London, including the sculpture exhibition Material Matters and a curated show, The Order of Things, drawn from University College London’s museum collections.

Within Williamsburg, Mead plays a key role as a faculty mentor and advocate for the arts. She has collaborated with John Matney on educational initiatives; indeed, The Matney at Midtown Row’s opening grew out of dialogues with William & Mary’s art department, strengthening town‑and‑gown ties. In the gallery, Mead’s contributions create a contemplative pause amidst more narrative works—a quietly profound corner where sculpted forms and ink lines invite meaning in silence and simplicity. She often recalls a line inspired by Fellini: “if we all were a little bit quieter… perhaps then we could understand.”

Why it matters: Mead’s decades‑long mentorship—anchored in rigorous critiques and the visiting‑artist network she actively cultivates—has propelled generations of students, opening doors to internships, advanced study, and professional roles.

Brian Kreydatus, Tell me a story, Oil on linen, 66" X 48",2019

Brian Kreydatus – Painter‑Printmaker of the Human Condition

Bio & Position: Brian Kreydatus is a figurative painter and printmaker whose work delves unflinchingly into the human condition. He is a Professor of Art at William & Mary, teaching courses in printmaking and life drawing since 2001. Kreydatus received his BFA from Syracuse University and an MFA from the University of Pennsylvania. As a faculty member and practicing artist, he has been a steady presence in the Williamsburg art community for over two decades. His artworks have been shown extensively across the U.S. and internationally: solo exhibitions in Philadelphia, Chicago, and Washington, D.C., and group exhibitions in England, France, China, Australia, Iceland, Ireland, Japan, Serbia, and Sweden.

Artistic Style and Themes: Kreydatus centers the human figure, portrayed with remarkable honesty and emotional depth. Working in oil painting, etching, lithography, and drawing, he often uses himself or people in his life as models to explore broader themes of corporeality and vulnerability. “My work is about grappling with the physicality and vulnerability of the human body and allusions to the varied life experiences and limitations that are inherent in the human condition,” he has noted. His pieces favor unidealized postures and frank observation; even an empty room can hold the “heavy absence” of a figure. Stylistically, his paintings balance meticulous observation with expressive brushwork to “make the familiar unfamiliar through the intense scrutiny of looking.” In Tell Me a Story, for example, a child’s rocking horse and a seated scarecrow‑like dummy form an eerie tableau, where a simple playroom becomes a dreamlike, unsettling scene.

Exhibition Highlights and Recognition: Kreydatus’s commitment to figurative art has earned him a dedicated following. He has been profiled on WHRO’s Curate series, highlighting his contributions to Virginia’s art scene, and was a finalist in competitions such as The Print Center’s annual in Philadelphia. As a professor, he has influenced many young artists and often exhibits alongside colleagues and former students, reinforcing the mentorship lineage. In the context of the group show, Kreydatus provides the unflinching realist counterpoint: amidst Prince’s hopeful spirituality and Carnes’s whimsical folk‑art flair, Kreydatus grounds viewers in the immediate reality of flesh and feeling—making the exhibition’s exploration of humanity all the more comprehensive.

Why it matters: At William & Mary, Kreydatus’s two‑decade leadership in life drawing and printmaking—anchored in rigorous, observation‑driven critique—has shaped studio culture and propelled students toward competitive graduate programs, residencies, and exhibition opportunities.

Nicole Santiago, Mother,  25 x 25, oil on linen, 2021

Nicole Santiago – Narrative Painter of Everyday Life

Bio & Career: Nicole Santiago (b. 1983) is an American representational painter specializing in richly narrative scenes of everyday life. She is based in Williamsburg and serves as an Adjunct Professor of Art at William & Mary, where she teaches drawing and painting. Santiago earned a BFA from Indiana University and an MFA from the University of New Hampshire, studying under contemporary realist painters. Over the past decade, her work has been featured in 150+ exhibitions nationwide, including juried shows and prominent invitationals focusing on figurative art. She is represented by First Street Gallery in New York City, anchoring her within the New York contemporary realist scene. A significant accolade is her recognition as a Finalist for the 2019 Bennett Prize, one of the most prestigious U.S. awards for women painters working in realism.

Artistic Focus: Santiago’s paintings are slice‑of‑life narratives with a touch of allegory. Working primarily in oil on canvas or panel, she often depicts interior scenes, still‑life arrangements, or figures—frequently women—in domestic environments. At first glance, one might see a cluttered bedroom, a woman engaged in a mundane task, or a scattering of personal belongings; but upon closer inspection, these details coalesce into narratives about family, identity, and the passage of time. Objects become actors on the stage of her compositions: a pile of laundry, toys on the floor, a mirror’s reflection. Her style is marked by a lush, painterly realism—loose yet confident brushstrokes, nuanced light and shadow, and a warm palette. While grounded in real life, her works often carry mythic or art‑historical echoes; a modern bathroom scene might nod to classical depictions of Bathsheba or Diana. The subtitle of her recent Matney Gallery presentation—“The Portrait: Myths, Histories and Allegories”—captures this approach.

Accomplishments and Media Recognition: Santiago’s talent has been spotlighted in Fine Art Connoisseur, American Art Collector, Art New England, and The Artist’s Magazine. Fellowships from the Vermont Studio Center and the Ballinglen Arts Foundation in Ireland supported key periods of development. She contributes talks and demos at events such as the Figurative Art Convention & Expo (FACE), underscoring her role as both practitioner and educator. In the Midtown Row exhibition, Santiago’s contemporary realism complements the others: viewers are drawn in by beauty and credible detail, and then find themselves lingering over the stories each painting implies.

Why it matters: Santiago’s hands‑on teaching in drawing and painting—coupled with her active national exhibition record—gives William & Mary students a clear professional model, opening pathways to juried shows, fellowships, and contemporary realist networks.

Jill Carnes, Midnight Owl,framed drawing , 18×24

Jill Carnes – Intuitive Artist Bridging Folk and Fine Art

Jill Carnes, Midnight Owl (2024, ink on paper) exemplifies the artist’s whimsical yet deeply symbolic style. In this black‑and‑white drawing, Carnes creates a fantastical owl adorned with intricate patterns, a crown, and organic motifs—blending folk‑art playfulness with surreal imagination. Even in monochrome, the intuition and mythology she brings to her imagery shine through. (Image courtesy of Jill Carnes/Linda Matney Gallery)

Background: Jill Carnes is a multidisciplinary artist and musician whose work defies easy classification. With roots in Athens, Georgia’s rich creative scene, Carnes emerged from the same cultural soil that produced renowned outsider and folk artists, as well as the 1990s indie music collective Elephant Six. Over the years, she has lived and created art in Athens, Asheville, Atlanta, Austin, and beyond, building a cult following for her distinctive visual language. Largely self‑taught, Carnes aligns with the outsider/folk tradition yet moves fluidly in fine‑art circles. Her works have been exhibited alongside luminaries of folk and visionary art—Lonnie Holley, Thornton Dial, Clementine Hunter, Bill Traylor, Howard Finster, Mose Tolliver, and Jimmy Lee Sudduth—placing her in the lineage of great Southern vernacular artists. A highlight was her inclusion in a 2011 Georgia Museum of Art show celebrating the Elephant Six collective, underscoring the cross‑pollination between music and visual art in her oeuvre.

Artistic Style: Carnes’s artwork is intuitive, colorful, and richly patterned across painting, drawing, collage, and fiber arts (including punch‑needle embroidery). She creates imagery that feels at once ancient and immediate: fantastical creatures, faces composed of swirling designs, and dreamlike scenes that draw from personal memories and universal symbols. Titles such as Two Birds Talking About the Old Days invite viewers to imagine stories behind the forms. Detailed patterning—mandalas, doodles, and ornamental marks—rewards close inspection, revealing deeper commentary on nature, memory, and community.

A distinctive aspect of Carnes’s career is her dual identity as a visual artist and musician. Under the moniker Thimble Circus, she performs on toy pianos, kazoo‑trombones, and other offbeat instruments—a performative spirit that animates her visuals; one can almost sense the rhythm in her repeated motifs. Her drawings and paintings have appeared on album covers and inserts for an array of musicians, from indie legends like Neutral Milk Hotel (she created the iconic cover art for one of their releases) to mainstream acts like R.E.M., Madonna, Indigo Girls, Pearl Jam, and Hootie & the Blowfish. It’s no wonder Rolling Stone and Creem have featured her contributions, and Michael Stipe of R.E.M. has paid tribute to Carnes in his own art.

Presence in the Show: In the current Midtown Row exhibition, Carnes’s works provide a joyful and thought‑provoking counterbalance to more academic or formal pieces. Whether a punch‑needle embroidery—animals conversing under a starry sky—or vibrant paintings on panel (this show also highlights her monochromatic drawings), her art’s folkloric charm attracts children and adults alike; playful at first glance, increasingly profound on reflection. As an independent, self‑directed artist, she embodies a vital voice entering dialogue with academically trained peers—perfectly aligned with Matney Gallery’s philosophy of connecting diverse art worlds.

Why it matters: Carnes’s outsider‑to‑fine‑art trajectory and cross‑disciplinary practice broaden the program’s reach beyond academia, drawing new audiences and bridging Southern folk traditions with contemporary art—an inclusive entry point for families, students, and collectors alike.

IN SUMMARY

The current exhibition at The Matney at Midtown Row is both a celebration of local artistic excellence and a microcosm of broader themes. It underscores Williamsburg’s unique convergence of academic art, community values, and contemporary issues. By uniting a Muscarelle Museum artist‑in‑residence, three William & Mary professors, and a maverick artist‑musician, the show exemplifies Matney’s ambitious scope, grounded in Southern creative roots. Themes of social justice, spirituality, memory, and domestic life intermingle across the artworks, offering an enriching experience akin to reading a multi‑author anthology. For Williamsburg, this exhibition is a milestone: it signals the arrival of a dynamic art space where campus and city, past and present, experimental and traditional all meet. The Matney at Midtown Row thus positions itself as a cultural bridge—one that transforms a burgeoning commercial district into an unexpected gallery walk, inviting everyone to partake in the “fleeting enchantment” of art and to discover new perspectives on the world around them.

The Matney at Midtown Row
Presented in Current Midtown’s exhibition space
211 Monticello Avenue, Williamsburg, VA
Open to the public; check the gallery’s website or social channels for current hours, programs, and opening receptions. Public parking is available nearby.