The Schoolhouse building is located at 494 Commercial Street in Provincetown’s Historic East End Gallery District. It is the only remaining one of three built in 1844 to replace the one room schools throughout the town. Known as the Eastern School and until the early 1900s it contained the first three elementary school grades. In 1931 its students moved to the Central and Western Schoolhouses. In 1936 Charles H. Hapgood began a movement to convert the abandoned schoolhouse to a Community Center, with advocacy from Labor activist and journalist Mary Heaton Vorse.
Thus, quote: “Thirty or forty years before the notion of “adaptive reuse” gained currency in the preservation movement, the Eastern School was adaptively reused. Again. And again. And again. It has a remarkable track record of community service, made even more astonishing by the fact that is one of the few extant buildings in Provincetown that were mentioned by Henry David Thoreau in Cape Cod: “Notwithstanding all this sand, we counted three meeting-houses and four school-houses nearly as large."
During the depression it served a community center, and later as an art school and then as art galleries. The ground floor was headquarters for the American Legion Morris Light Post Number 71. In 1997 Howard G. Davis III, a local patron and collector lovingly restored the building and opened a community arts center named The Schoolhouse Center. This innovative center housed galleries, studios, a performance space, musical rehearsal rooms and featured educational and community programming. One of the galleries, The Driskel Gallery, was named in memory of David’s friend Kevin Driskel, who died of complications from AIDS on April 4, 1997. On May 26, 2007 Mr. Davis also named the building’s restored bell tower after Kevin. In 2005 Mr. Davis sold the center to WOMR, a local radio station. Presently the building operates as an arts and media center comprised of three individual businesses.
JENNIFER AMADEO-HOLL presents a suite of four new oil paintings in our project room from July 1- 20, 2022. Amadeo-Holl’s work explores the relationships between mind and matter and the interplay of fact and value. She is a master colorist and an expert with the application of paint – the surfaces of her large and small works offer a surefootedness with lift, drag, gesture, and just how long to linger in a gesture or mark. Working at the intersection of figuration and abstraction her works seem to move on a matrix where subject, story, and the non-objective are both intuitive and muscular, alive in time and made apparent with our gaze.
I am drawn by the mystery of why the inanimate, including painting itself, should so often and so urgently feel sensate. I find the world simultaneously mundane and fantastical. JAH
Amadeo-Holl lives and works in the Fort Point Neighborhood of Boston. Her roots bridge an immersive arts household on Cape Cod and the island of Puerto Rico. She has received a NEFA award, a NEFA-Benton award, the Benjamin A. Trustman Fellowship, the Harvard University McCord Prize in the Creative Arts, and a Swedish Institute Fellowship. Her work is represented in public and private collections, including AFA Konstförening, Addison NY, Biogen, Cristal CCU, Fidelity, Excel, Harvard Management, The London School of Economics, Meditech, Oxfam International, Svenska Institute, and Swedish Television. She has exhibited with the gallery for over two decades.
May 27 – June 28 - Joel Janowitz/ Philip Malicoat
July 1 – 20 - Jennifer Amadeo-Holl/ Amy Arbus/ David Hilliard/ Paul Stopforth/
July 22 – August 10 - Richard Klein/ Lauren Ewing/ Jason Rohlf/ Tess Michalik/
David X Levine
August 12 – 31 - Elise Ansel/ Han Feng/ Adrian Fernandez/ Jeannie Motherwell /
Sept 2 – Oct 2 - Mark Adams/ Breon Dunigan/ Diana Horowitz/ Sarah Lutz/
Francis Olschafskie/ Anna Poor/ Rebecca Doughty/ Vicky Tomayko
Photographer AMY ARBUS has had thirty-six solo exhibitions worldwide, and her photographs are a part of the collection of The National Theater in Norway, The New York Public Library and The Museum of Modern Art in New York. She has published five books, including the award winning On the Street 1980-1990 and The Inconvenience of Being Born. The New Yorker called The Fourth Wall her masterpiece. After Images, her most recent, is an homage to modernism’s most iconic avant-garde paintings.
Arbus has taught portraiture at Maine Media Workshops, the International Center of Photography, NORDphotography, Anderson Ranch Arts Center and The Fine Arts Work Center. Her photographs have appeared in over one hundred periodicals around the world, including New York Magazine, People, Aperture and The New York Times Magazine.
For this exhibition beginning on July 1 we are pleased to present a suite of eight new photographs titled, ‘The Enchanted Forest’, black and white photographs of trees. In this new work we feel the strength of Arbus’s decision to turn and focus on any subject, and we recognize and are assured by the technical and formal expertise we have come to know from her. In this work nature feels dependable and familiar. As if each of these photos is a place from which we have walked out to see the world we’ve made, and then to turn and see the place from which we’ve come.
Formally, Arbus’s subjects are lyrical and articulate. The black and white photographs were shot and printed with rich, complex mid-tones, a slivery world of elegant textures and light that does not require the deep blacks and high whites that she employs in her portraits. Arbus has allowed the trees to softly suggest personal memories without resting on specific references. These are allegorical images that seem to arrive from literature and art history and are subtle enough to ask us to complete the viewing experience. She approaches them with this frank vulnerability and a kind of awe as though they were going to teach her the lessons of life, and they do. Just like in her portraits of people, she seeks out the physical evidence of each trees life experiences to find what makes them unique.
Beginning in early 2020 with the start of the pandemic, Richard Klein began a series of works that used the traditional brass lantern as a central motif. TWO IF BY SEA is the first exhibition of this series, which includes both sculpture and hand-worked prints. Klein had previously used the lantern form in his sculpture, but in this series of works the lantern is clearly offered as a symbol of both warning and hope. The title of the exhibition is taken from Henry Wadsworth Longfellow’s famous poem
PAUL REVERE'S RIDE, published in 1861, that describes the way lanterns lit in the steeple of Boston’s Old North Church alerted Revere to the route the British were taking in their offensive. Written and published at the start of the Civil War, Longfellow’s poem was seen as a call to action in preserving the Union. Klein’s lanterns are presented emerging from darkness, but not yet illuminated, speaking of a moment filled with possibilities. Made of vintage discarded lanterns, eyeglasses and sunglasses, the sculptures are blackened with flashes of spectral blue on their surfaces. The prints are based on photographs the artist took at the source of the lanterns, a scrap metal yard in Stamford, Connecticut.
Richard Klein is a Connecticut-based artist, curator and writer. As an artist, he has exhibited widely, including the Neuberger Museum of Art at SUNY Purchase; Caren Golden Fine Art, New York; the John Michael Kohler Arts Center, Sheboygan, WI; Hales Gallery, London; Gavlak Gallery, Palm Beach, FL; deCordova Sculpture Park and Museum, Lincoln, MA, Artspace, New Haven, CT, The Portland Institute of Contemporary Art (PICA), Portland, OR; Schoolhouse Gallery, Provincetown, MA, Stephan Stoyanov Gallery, NY; Katonah Museum of Art, Katonah, NY; Brattleboro Museum and Art Center, Brattleboro, VT; Ortega y Gasset Projects, Brooklyn, NY; Exhibit by Alberson Tulsa, OK; and Incident Report/Flow Chart Foundation, Hudson, NY. In 2021 he mounted two solo exhibitions: The Understory at ICEHOUSE Project Space in Sharon, CT, and Richard Klein - New Works at Kenise Barnes Fine Art in Kent, CT. Reviews of his work have appeared in Two Coats of Paint, Whitehot Magazine, The New York Times, Sculpture Magazine, Art in America, and The New Yorker.
Since 1999 he has been Exhibitions Director of The Aldrich Contemporary Art Museum in Ridgefield, Connecticut. In his two-decade long career as a curator of contemporary art he has organized over 80 exhibitions, including solo shows of the work of Janine Antoni, Sol LeWitt, Mark Dion, Roy Lichtenstein, Hank Willis Thomas, Brad Kahlhamer, Kim Jones, Jack Whitten, Jessica Stockholder, Tom Sachs, and Elana Herzog. Major curatorial projects at The Aldrich have included Fred Wilson: Black Like Me (2006), No Reservations: Native American History and Culture in Contemporary Art (2006), Elizabeth Peyton: Portrait of an Artist (2008), Shimon Attie: MetroPAL.IS. (2011), Michael Joo: Drift (2014), Kay Rosen: H Is for House (2017), Weather Report (2019), Hugo McCloud: from where I stand (2021), and Duane Slick: The Coyote Makes the Sunset Better (2022).
His essays on art and culture have appeared in Cabinet Magazine and have been included in books published by Gregory R. Miller & Co., Damiani, Picturebox, Ridinghouse, Hatje Cantz, and the University of Chicago Press, among others.
Adrian Fernandez, the Cuban-born artist renowned for cultural portraiture, lush, haunting photographs of everyday objects that reflect the identities and values of those who own and experience them, will exhibit new work at the gallery from August 12-31, 2022.
Fernandez, a Professor of Documentary Photography at New York University’s Tisch School for the Arts, and a recent resident at Residency Unlimited (April + May, 2022) and at Twenty Summers (June, 2022) has expanded his focus to include sculpture, creating dimensional works that both challenge and celebrate architectural convention. He sources his own black and white images of those structures and melds with digitally generated content to evoke an “imaginary reality”. Fernandez has collected a series of these images in a new book, “Pending Memories.”
“This is not so much a new chapter as it is an evolution,” said Fernandez. “I have worked as a photographer and now as a sculptor to express and, at times, question the relationship we have with objects in our lives — those we own, those we see from afar, those we may ignore until forced to see them differently — recognizing that those ‘objects’ can define our reality and shape our memories. I hope my work will move people to reflect on the presence and power of the small and large ‘things’ on the landscape of their lives and consciousness”.
“Significantly, in Fernandez’s Memorias Pendientes views, the structures are never shown as we imagine they were meant to be seen by the public. Instead, we view them from behind, like inhabitants of a Potemkin village, and see only the elaborate skeletal structure, now rusting and rotting, that once held up the bold image that we are left to guess at”
Gus and Lyndall Wortham Curator of Photography
The Houston Museum of Fine Arts.
“Together with Adrian Fernandez we move through statues that are actually models of future sculptures. Props for ephemeral scenographies. Puzzles. Tools. Ruins. Laboratory tests with the impossible mission of finding a formula that will stop time”
Iván De La Nuez
Essayist, critic and art curator.
Fernandez lives and works in Havana Cuba where he studied visual arts at the San Alejandro Fine Arts Academy (2004) and at the Superior Institute of Arts (2010).
He has exhibited in group and solo shows in Cuba, United States, Mexico, Panama, France, Germany, Belgium and Switzerland. His work can be found in the collections of The Houston Museum of Fine Arts, 21C Museum Hotels, Perez Art Museum Miami, Jordan Schnitzer Museum of Art, Museo Nacional de Bellas Artes, La Habana.
Pending Memories is available at Adrian Fernandez. Pending Memoirs - Turner Books (turnerlibros.com)
A celebrated fashion and costume designer, HAN FENG began working in photography several years ago when colleagues and friends complimented her on her eye for the medium and challenged her to pick up a camera. A close friend, American photographer Lois Conner, helped her learn the fundamentals of the camera, and before long she was making landscapes in her hometown of Hangzhou, China. When the pandemic hit, she turned to combining meaningful and ephemeral objects from her kitchen and studio in New York. Conner as well as other artists and curator friends quickly noted that she had found her photographic voice. The Gift II will be on view from August 12 - 31, 2022. The title of the exhibition comes from her love of ceramics, cuisine, and photography. All the fruits and vegetables in the images were sourced from local specialty and farmers markets in New York City. The ceramic objects and sculptures used in her photographs are gifts from artists around the world as well as pieces from her private collection. “The earth gives us these beautiful even ordinary things,” she says referring to the food objects in her pictures. “I love to share them with friends, I really feel like they are a gift.” Intimate dinner parties she hosts at her studios in New York and Shanghai build on classic Chinese dishes often with an international fusion, much like her still life assemblages.