Matt Lively will be artist in residence during the summer. Learn more about his installation
Welcome to the Spring Newsletter for the Linda Matney Fine Art Gallery. The theme for much of this year's season is installation with three separate installations on exhibit between April 10 and August 27, 2019. Before the installation season begins, we will be holding events focusing on art collecting and fundraising to help us make the transition to these non-retail projects. Upcoming events and exhibitions are below:
Closing Reception For Abound: New Paintings by Teddy Johnson was March 23
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.
View work on Artsy
John Lee Matney, LTD Launches with an Event at the Linda Matney Gallery Focusing on Art Collecting
John Lee Matney LTD Art Show and Fundraiser opens to the public Saturday March 30, 12-5:30pm with two previews by invite only on the 28 and 29. The exhibit runs through April 7.
Sponsorship opportunities as well as specially selected art will be featured with a focus on sculpture and paintings. New and popular works by Tom Wessells, Thomas Lowell Edwards, Merrilee Cleveland, Ryan Lytle, Bill Casto, Kent Knowles, J.M. Henry, Lindsay McCulloch, Robert Oppecker, Nick Veasey and others will be on display. John Lee Matney, LTD is a new project providing support for artists along with private and corporate collectors in Williamsburg and elsewhere.
View full exhibit on Artsy after the public opening or call us for a private appointment.
Coming in April:
Zhengyang Huang's Surface Installation, April 10-20. Viewing by appointment
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.
Accumulate: Works by Ani Hoover opens Saturday April 27, 3-6pm
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.
Learn more as information becomes available
After Dark Film and Artist Talk at the Peninsula Fine Arts Center
Thursday, April 25, 2019 at 6:30pm- 8:30pm
Transposition at the Highpoint Through April 19
Transposition continues through April 19 at the Highpoint at 3300 West Broad Street. We will be traveling back and forth between Richmond and Williamsburg to meet collectors at the gallery over the next few weeks. Works can be reserved at the gallery or via www.artsy.net/linda-matney
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.
Thank you to our sponsors: McKim Williams, Casa Architecture, Tusk Creative Agency and Lou Ann Zell