Lunch Break is a series of open, insightful, participatory, and short discussions about art. Each Lunch Break is led by Guild Hall’s Patti Kenner Director of Learning + New Works, Anthony Madonna and focuses on various ways to absorb and interpret the work of the artists on exhibit.
Participants are welcome to join staff for lunch in the Guild Hall Pantzer Gallery or Minikes Garden after the program. Attendees may bring their own lunch or purchase small bites from Louise & Howie’s Coffee Bar in the lobby. *
FRIDAY, OCTOBER 13, 12 PM:Leo Villareal: Celestial Garden
FRIDAY, NOVEMBER 10, 12 PM:Mary Boochever: Chart of the Inner Warp
FRIDAY, DECEMBER 15, 12 PM:84th Artist Members Exhibition
*Small croissant sandwiches from Tutto Caffè, will be available, first come, first served.
Mary Boochever was chosen by MoMA PS1 Associate Curator Jocelyn Miller as the winner of the 2019 81st Artist Members Exhibition. Deeply rooted in research and investigations of color systems, Boochever creates color experiences for the viewer through her paintings, sculptures, and installations.
Lunch Break is a series of open, insightful, participatory, and short discussions about art. Each Lunch Break is led by Guild Hall’s Patti Kenner Director of Learning + New Works, Anthony Madonna and focuses on various ways to absorb and interpret the work of the artists on exhibit.
Participants are welcome to join staff for lunch in the Guild Hall Pantzer Gallery or Minikes Garden after the program. Attendees may bring their own lunch or purchase small bites from Louise & Howie’s Coffee Bar in the lobby. *
FRIDAY, OCTOBER 13, 12 PM:Leo Villareal: Celestial Garden
FRIDAY, NOVEMBER 10, 12 PM:Mary Boochever: Chart of the Inner Warp
FRIDAY, DECEMBER 15, 12 PM:84th Artist Members Exhibition
*Small croissant sandwiches from Tutto Caffè, will be available, first come, first served.
Leo Villareal’s Celestial Garden (2023) is a monumental light sculpture composed of an array of LEDs diffused through a vinyl membrane and accompanied by a soundscape and artist-designed furniture. Villareal utilizes custom software to orchestrate compositions of perpetually evolving abstract forms inspired by the intricate patterns found in nature.
The artist grew up along the US-Mexico border, and his early interest in Mexican muralism is reflected in the historical references to mark-making in his large-scale works. Although his immersive light installations employ sophisticated technology to generate random sequences that recombine in infinite variations, his focus is on reducing systems to their essence—simple elements such as pixels or the zeros and ones of binary code—to better understand the underlying structures and rules that govern their workings.
Leo Villareal has created light works for museums and public spaces around the globe, including Westminster Bridge in London, the Bay Bridge in San Francisco, the Bleecker Street subway station in New York, and the facade of the Brooklyn Academy of Music.
Mary Boochever was chosen by former MoMA PS1 Associate Curator Jocelyn Miller as the winner of the 2019 81st Artist Members Exhibition. Deeply rooted in research and investigations of color systems, Boochever creates color experiences for the viewer through her paintings, sculptures, and installations.
Mary Boochever’s work will be on view in the Marks Family Gallery North – Tito Spiga Exhibition Space in conjunction with the 2023 Artist Members Exhibition.
Guild Hall’s members exhibition started in 1938, and serves as an opportunity for any current museum member at any level of artistic practice. The popular, democratic exhibition typically yields over 300 entries. A long tradition that is deeply rooted in the history of the East End’s artist colony, early participants included Jackson Pollock, Lee Krasner, Alfonso Ossorio, James Brooks, Charlotte Park, and many more.
GALLERY HOURS Friday to Monday, 12-5 PM
Admission is FREE
Louise & Howie’s Coffee Bar featuring Tutto Caffè is open in the lobby during gallery hours. Refreshments are not allowed in the galleries but may be enjoyed in the lobby and in our gardens.
Click HERE to browse works for sale. Details below.
The Artist Members Exhibition began in 1938, and Guild Hall continues this long-standing democratic tradition by hosting the oldest non-juried museum exhibition on Long Island. This lively presentation features more than three hundred works and showcases a variety of mediums. As in the traditional salon exhibition, works by established artists are shown alongside those of emerging talents and first-time exhibitors, offering a sampling of artistic practices within our community. Early participants included James Brooks, Willem de Kooning, Lee Krasner, Alfonso Ossorio, Charlotte Park, Jackson Pollock, and many more.
This initiative provides an opportunity for audiences to support and celebrate the artists who live and work in our immediate region and for artists to sell their works. In turn, artists show their commitment to and support of Guild Hall. Click HERE to shop the show.
Guild Hall invites nationally and internationally recognized art professionals to select the Top Honors Award and Honorable Mentions. The recipient of the Top Honors Award is given a future solo exhibition at Guild Hall. Virginia Lebermann, Ballroom Marfa cofounder and board president and East End resident, served as this year’s juror.
2023 TOP HONORS
Claire Watson, Bye Gone
2023 HONORABLE MENTIONS
Michael Butler, The Pepperidge Tree Philippe Cheng, Untitled
Isla Hansen, Hand Tools (or Tools for No Masters) Mary Margaret Lambert, Revenant Chris Siefert, Rib
2023 JUROR’S SPECIAL AWARD Robert Longo, Untitled (After Cave Painting in Lascaux)
Mary Boochever: Chart of the Inner Warp is on view in the Marks Family Gallery North–Tito Spiga Exhibition Space. Mary Boochever is the 81st Artist Members Exhibition Top Honors Award recipient.
The exhibitions are organized by director of visual arts Melanie Crader with registrar and exhibition coordinator.
GALLERY HOURS: Friday to Monday, 12-5 PM
Museum Admission is Free
A series of Lunch Break discussions and Creative Labs will be presented throughout the run of the exhibitions, featuring topics inspired by the works on view and the participating artists.
Louise & Howie’s Coffee Bar featuring Tutto Caffè is open in the lobby during gallery hours. Refreshments are not allowed in the galleries but may be enjoyed in the lobby and in our gardens.
Regarding the purchase of artwork from the 84th Artist Members Exhibition:
All sales are final. No returns/refunds. The purchase of artwork in not tax-deductible.
Guild Hall will soft-pack works for pick-up.
All sold work will be available for pick up after the exhibition closes on January 8, 2023.
Purchasers of artwork must pick up work from Guild Hall (158 Main Street, East Hampton). Purchased works cannot be mailed or delivered.
Dates available for pick up of work sold will be as follows:
ON VIEW AUGUST 5-OCTOBER 16, 2023
Marks Family Gallery South
Leo Villareal’s Celestial Garden (2023) is a monumental light sculpture composed of an array of LEDs diffused through a vinyl membrane and accompanied by a soundscape and artist-designed furniture. Villareal utilizes custom software to orchestrate compositions of perpetually evolving abstract forms inspired by the intricate patterns found in nature.
The artist grew up along the US-Mexico border, and his early interest in Mexican muralism is reflected in the historical references to mark-making in his large-scale works. Although his immersive light installations employ sophisticated technology to generate random sequences that recombine in infinite variations, his focus is on reducing systems to their essence—simple elements such as pixels or the zeros and ones of binary code—to better understand the underlying structures and rules that govern their workings.
Leo Villareal has created light works for museums and public spaces around the globe, including Westminster Bridge in London, the Bay Bridge in San Francisco, the Bleecker Street subway station in New York, and the facade of the Brooklyn Academy of Music.
Gallery Hours:
Friday to Monday, 12-5 PM FREE
Louise & Howie’s Coffee Bar featuring Tutto Caffè is open in the lobby during gallery hours. Refreshments are not allowed in the galleries but may be enjoyed in the lobby and in our gardens.
EXTENDED THROUGH SEPTEMBER 18! Marks Family Gallery North
Marks Family Gallery North – Tito Spiga Exhibition Space
Renée Cox: A Proof of Being presents a selection of the best-known and most celebrated photographs produced by the artist since 1992. The exhibition traces the evolution of Cox’s practice through a series of performative self-portraits, demonstrating the ways in which she has reclaimed art historical themes in order to explore notions of womanhood, beauty, and agency.
On view in the exhibition are photographs from some of the artist’s most recognizable bodies of work, including her groundbreaking Yo Mama series (1992–94) and her monumental photograph The Signing(2017). Renée Cox: A Proof of Being also marks the New York premiere of a recent work, the immersive video installation Soul Culture (2022).
Organized by Monique Long, independent curator.
Gallery Hours:
Friday to Monday, 12-5 PM
FREE
Louise & Howie’s Coffee Bar featuring Tutto Caffè is open in the lobby during gallery hours. Refreshments are not allowed in the galleries but may be enjoyed in the lobby and in our gardens.
Join us for this exclusive opportunity to meet the Now Here artists and get an understanding of the artists collective and the site-specific installation, ask questions, and engage with the art.
The No W here Collective, made up of Alice Hope, Toni Ross, and Bastienne Schmidt, will present the off-site exhibition entitled Now Here, Curated by Christina Mossaides Strassfield. The project will primarily respond to the Life Saving Station’s faking box (a box in which a long rope is faked; used in the life-saving service for a line attached to a shot), seen as the emblematic artifact in the Station’s collection that emanates their mission — to save lives. The faking box, in itself, embodies a formal aesthetic that relates to the Collective’s original artifact and inspiration, the Metropolitan Museum’s Marshallese Navigation Chart.
The collective will show works in the south facing crew quarter’s room on the second floor, the Station’s western facing backyard, and the southeast corner of the wrap around porch, as well as other areas on the site. In the crew’s quarters, the artists will do responsive installations to the room itself and the faking box. The outdoor installations will also be responsive to the site, the faking box, and will include implicit references to the Navigation Chart, from the artists’ non-literal creative perspectives.
About the Amagansett U.S. Life-Saving Station The Amagansett Station was constructed on Atlantic Avenue in 1902, one of a network of thirty life-saving stations on the South Shore of Long Island. Through each night and in bad weather the crew at these stations kept watch from the lookout tower and by patrolling the beach. Discovering a ship in distress, the life-savers would perform a rescue by launching their surfboat or by firing a line to the ship and taking people off with a breeches buoy. From 1902 to 1937 the crew of the Amagansett Life-Saving Station, most of whom were experienced local fishermen and shore whalers, kept watch over this beach and rescued sailors and passengers from a number of shipwrecks.
The Life-Saving Service and the Lighthouse Service were the two federal programs intended to increase the safety of coastal navigation. These two services were later joined in the U.S. Coast Guard. The Amagansett Life-Saving Station complements the Montauk Point Lighthouse in recalling that era of our maritime history when ships sailing the ocean provided the principal means of transporting goods and people in coastal America.
Join us for this exclusive opportunity to meet the Now Here artists and get an understanding of the artists collective and the site-specific installation, ask questions, and engage with the art.
The No W here Collective, made up of Alice Hope, Toni Ross, and Bastienne Schmidt, will present the off-site exhibition entitled Now Here, Curated by Christina Mossaides Strassfield. The project will primarily respond to the Life Saving Station’s faking box (a box in which a long rope is faked; used in the life-saving service for a line attached to a shot), seen as the emblematic artifact in the Station’s collection that emanates their mission — to save lives. The faking box, in itself, embodies a formal aesthetic that relates to the Collective’s original artifact and inspiration, the Metropolitan Museum’s Marshallese Navigation Chart.
The collective will show works in the south facing crew quarter’s room on the second floor, the Station’s western facing backyard, and the southeast corner of the wrap around porch, as well as other areas on the site. In the crew’s quarters, the artists will do responsive installations to the room itself and the faking box. The outdoor installations will also be responsive to the site, the faking box, and will include implicit references to the Navigation Chart, from the artists’ non-literal creative perspectives.
About the Amagansett U.S. Life-Saving Station The Amagansett Station was constructed on Atlantic Avenue in 1902, one of a network of thirty life-saving stations on the South Shore of Long Island. Through each night and in bad weather the crew at these stations kept watch from the lookout tower and by patrolling the beach. Discovering a ship in distress, the life-savers would perform a rescue by launching their surfboat or by firing a line to the ship and taking people off with a breeches buoy. From 1902 to 1937 the crew of the Amagansett Life-Saving Station, most of whom were experienced local fishermen and shore whalers, kept watch over this beach and rescued sailors and passengers from a number of shipwrecks.
The Life-Saving Service and the Lighthouse Service were the two federal programs intended to increase the safety of coastal navigation. These two services were later joined in the U.S. Coast Guard. The Amagansett Life-Saving Station complements the Montauk Point Lighthouse in recalling that era of our maritime history when ships sailing the ocean provided the principal means of transporting goods and people in coastal America.
Guild Hall presents NOW HERE at the Amagansett U.S. Life-Saving Station
July 16 thru October 2, 2022
Opening Reception: Sunday, July 17, 5-7PM
Hours: Interior: Friday – Sunday, 11AM-3PM, or by appointment Exterior: Any time Note: Face masks are required indoors for visitors over the age of 2.
Note Regarding Parking: Beach parking requires an East Hampton TOWN permit from 8AM-6PM. A permit is not required after 6PM. Parking is available at the Amagansett Marine Museum during permitted hours, or you can pay for parking at the beach. 6PM programs will have a delayed start to accommodate any parking challenges.
Amagansett U.S. Life-Saving Station, 160 Atlantic Avenue, Amagansett
The No W here Collective, made up of Alice Hope, Toni Ross, and Bastienne Schmidt, presents the off-site exhibition entitled Now Here, Curated by Christina Mossaides Strassfield. The project primarily responds to the Life Saving Station’s faking box (a box in which a long rope is faked; used in the life-saving service for a line attached to a shot), seen as the emblematic artifact in the Station’s collection that emanates their mission — to save lives. The faking box, in itself, embodies a formal aesthetic that relates to the Collective’s original artifact and inspiration, the Metropolitan Museum’s Marshallese Navigation Chart.
Faxing box, part of the collection at the Amagansett U.S. Lifesaving Station, 2022. Photo: Joe Brondo for Guild Hall
The collective will show works in the south facing crew quarter’s room on the second floor, the Station’s western facing backyard, and the southeast corner of the wrap around porch, as well as other areas on the site. In the crew’s quarters, the artists will do responsive installations to the room itself and the faking box. The outdoor installations will also be responsive to the site, the faking box, and will include implicit references to the Navigation Chart, from the artists’ non-literal creative perspectives.
Click HERE for a description of Alice Hope’s work.
Click HERE for a description of Bastienne Schmidt’s work.
Collective member Alice Hope states “The Life Saving Station’s faking box is formally beautiful, and poetically and conceptually inspiring. I think of it as emblematic to the life saving station itself; it’s the organizing principle to a lifeline. For the last few years I’ve been stringing can tabs to make a continuous line that resembles rope. Sometimes the line accumulates in tangled piles and often I organize it into spiral forms. The faking box will inspire a new organization — a new form of my continuous can tab line.”
The exhibition will be accompanied by educational talks and panels with the artists and as well as family workshops to supplement the site-specific installation experience.
Click HERE to read an essay on NOW HERE by George Negroponte.
About the Amagansett U.S. Life-Saving Station The Amagansett Station was constructed on Atlantic Avenue in 1902, one of a network of thirty life-saving stations on the South Shore of Long Island. Through each night and in bad weather the crew at these stations kept watch from the lookout tower and by patrolling the beach. Discovering a ship in distress, the life-savers would perform a rescue by launching their surfboat or by firing a line to the ship and taking people off with a breeches buoy. From 1902 to 1937 the crew of the Amagansett Life-Saving Station, most of whom were experienced local fishermen and shore whalers, kept watch over this beach and rescued sailors and passengers from a number of shipwrecks.
The Life-Saving Service and the Lighthouse Service were the two federal programs intended to increase the safety of coastal navigation. These two services were later joined in the U.S. Coast Guard. The Amagansett Life-Saving Station complements the Montauk Point Lighthouse in recalling that era of our maritime history when ships sailing the ocean provided the principal means of transporting goods and people in coastal America.
