The Hamiltonian Fellowship Program serves as a professional steppingstone for emerging visual artists by helping them reach new levels in their artistic practice and career.
The two-year program offers a comprehensive suite of exhibition opportunities, professional development trainings, mentorship, career guidance and an annual artistic stipend to five new artists annually. Emerging visual artists working in all media are encouraged to apply.
In Material/Ethereal, Baltimore-based painter Dan Perkins and Mexico City-based artist Alejandro Pintado dissect and re-contextualize the visual and social histories that surround depictions of constructed and natural spaces from the 19th-century to the present day. Pintado and Perkins interrupt Romantic landscapes and interior spaces with luminous geometric forms, graphic patterns and trompe l’oeil effects, creating destabilized, artificial spaces where materials and forms morph and shift. By reversing hierarchies of foreground and background and making incongruous compositional choices, both artists upend pictorial conventions and invite viewers to consider painting’s inherent falsity while acknowledging its potential as a catalyst for communication and ideation.
Allison Spence on her current exhibition 'Spread'. Spence is joined by author and science writer Sam Kean to discuss her sculptural paintings, video work, and overall practice.
Allison Spence presents an installation of paintings, archival matter, and video in her latest exhibition 'Spread'. Drawing parallels between Tomie--a Japanese horror manga with an infinitely regenerative femme fatale as its protagonist--and Pando--a prodigious and clonal forest colony in Utah that revitalizes itself in the wake of wildfires--Spence considers the potential for destructive acts to give rise to additive, creative, and infinite forms. Operating in a fluid space that confounds medium, language, and planarity, Spence's work overlays reality with a gloss of its abject and sinister undercurrents.
Allison Spence presents an installation of paintings, archival matter, and video in her latest exhibition Spread. Drawing parallels between Tomie—a Japanese horror manga with an infinitely regenerative femme fatale as its protagonist—and Pando—a prodigious and clonal forest colony in Utah that revitalizes itself in the wake of wildfires—Spence considers the potential for destructive acts to give rise to additive, creative, and infinite forms. Operating in a fluid space that confounds medium, language, and planarity, Spence’s work overlays reality with a gloss of its abject and sinister undercurrents.
In Nara Park‘s latest site-specific installation Between Millions of Years, the artist stacks and arranges clear plastic boxes to create a dizzying analog of monumental stone gorges. Inspired by her travels in West Australia’s Karijiny National Park where towering layers of rock stand testament to millions of years of shifting geologies, Park translates these natural forms into a modular ravine straddling mass-production and aesthetic re-interpretation. Coupled with a selection of new sculptural wall pieces, Park questions and undermines the assumed permanence of natural resources to nuance our understandings of temporality, mortality, and authenticity.
Hamiltonian is pleased to present two new bodies of work by artists Rob Hackett and Kyle Tata. The exhibitions will run concurrently from January 9 – February 13, 2016 with an opening reception on Saturday, January 9 from 7-9 pm.
Sculptor Rob Hackett explores the subtle complexities of space, architecture, and the body in Mode(s). Through three sculptural installations, Hackett deploys formally restrained and geometrically discrete motifs to consider the visual and corporeal reception of our physical surroundings. In turn, the works spur a re-consideration of our constructed environment through relatively simple yet familiar shapes, materials, and means.
Please join us Saturday, November 14 from 7-9pm for the opening of the group exhibition Fellows Converge, an annual exercise in which Hamiltonian Fellows create new work around the premise of an invited guest curator. Fellows Converge | re: gift was orchestrated by Jennie Carlisle, Program Director at Elsewhere, a living museum inside a three story thrift store in Greensboro, North Carolina.
Hamiltonian is pleased to present two new bodies of work by artists Adam Ryder and Dan Perkins. The exhibitions will run from August 8 until September 12, with an opening reception on Saturday, August 8 from 7-9 pm.
Through photography, found imagery and other media, Adam Ryder presents a new body of work that operates as evidence of a secretive fraternal organization known to its members as “Renovatio Imperii”. Latin for “restoration of the Empire”, Renovatio Imperii is purported to be clandestinely involved in geo-political affairs and claims ties to the Roman imperium of classical antiquity. Inspired by the neoclassical architecture of Washington, DC, conspiracy theories and the Masonic brotherhood, Ryder cleverly employs found objects, imagery and manipulated photographs of familiar landmarks in order to build a case for Renovatio Imperii’s existence and their ominous hand in global affairs.
As we conclude our seventh year of artist-centric programming, Hamiltonian is proud to announce the five new, distinguished 2015 Hamiltonian Fellows to join our five existing fellows. We are thrilled to introduce:
Kyle Tata (BFA, Maryland Institute College of Art)
Nara Park (MFA, Maryland Institute College of Art)
In I’m looking for you…Lisa Dillin explores the architectural legacy of the modern built environment and its disconnect with nature as it affects our ability to form relationships and communities. Utilizing visuals commonly associated with malls, lobbies, and hospitals, Dillin aims to expose homogenous design as a means to isolate individuals even as they continue to live in close proximity. By referencing the contemporary urban landscape with its corporate design tropes, I’m looking for you… reveals how lighting, fountains, polished stone, and foliage lull denizens with an artificially serene environment while stripping them of their innate diversity, heritage, connection to the land and to one another. Although these environments were once thought to create the “third space” of social interaction and community, in Dillin’s perspective, these spaces dominate and control the individual resulting in feelings of solitude and disengagement in our everyday experience of the world. Through the objects on view, Dillin tells a story of a collective longing for connection: the consequence of modern convenience.