Main Entry
Lynne Taetzsch
Performance
- Medium
- Acrylic on canvas
- Dimensions
- 48 × 48 in
- Framed
- In a thick black moulding
- Year
- Room
- Main Entry
Taetzsch paints standing at the easel with music on, answering whatever is already on the canvas. Layers accumulate over days without quite covering what came before, which is why the white here reads as depth rather than as blank ground.
About the artist
American
Moved from oil to acrylic in the early 1980s because acrylic dries at the speed she works. She paints standing at an easel with music playing, responding to whatever is in front of her, and returns over many days so that layers accumulate without erasing what is underneath — which is where the sense of intense energy in the finished canvases comes from. TOSCA named her New York State artist of the year in 2011. She has painted full time in her Ithaca studio since 2000.
Marc Tickle
Laura
- Medium
- Slumped and fused glass, reverse-painted in mica, with front-surface mirrors
- Dimensions
- 11 × 15 in
- Year
- Room
- Main Entry
The only thing in the house you are meant to pick up. Tickle builds kaleidoscopes with a duality to them — an object that reads as sculpture from across a room and opens into a second, three-dimensional image the moment you put your eye to it. The gold here is mica, ground into paint by the artist and painted onto the back of the glass, so the light has to pass through the image twice to reach you.
Shown in a case here for want of a photograph in situ. The maker's own image is a studio shot.
About the artist
English, working in Asheville, North Carolina
Founded On Reflection Kaleidoscopes in England in 1992 and moved to the United States in 2000. He makes his own paint from mica powders and reverse-paints it onto clear glass, then slumps and fuses the glass over clay moulds he throws and fires himself, and lamp-works the rest in the Italian manner. The scopes are built around front-surface mirrors so the image has no ghosting — sculpture on the outside, a three-dimensional illusion within. An exhibiting member of Piedmont Craftsmen since 2014, and much awarded for the complexity of his images.
Galleria Hallway
Joe Parrott
Kendrick Place
- Medium
- Oil on canvas
- Dimensions
- 24 × 30 in
- Year
- Room
- Galleria Hallway
Kendrick Place is a short street in Knoxville, where Parrott has lived his whole life. He paints it the way he paints everything — for the light. “For me, it’s all about the light and shadows.”
About the artist
American, born 1944
Born in Knoxville, Tennessee, and still there. He took a business degree at the University of Tennessee in 1967 and spent forty-three years in the graphic arts trade, painting alongside it, before taking it up full time. Self-taught, and open about his debts — Hopper, Van Gogh, and the printmaker Martin Lewis. He paints sunlight on brick and the deep shadow beside it.
Josine Vignon
Alpine Pass
- Medium
- Oil on canvas, very thick impasto
- Dimensions
- 26 × 41 in
- Framed
- ≈ 36 × 50 in, in a carved wood frame with a cream liner
- Year
- 1960s
- Signed
- Lower right, J. Vignon
- Room
- Galleria Hallway
Painted from a vantage that must have meant a long climb. The paint stands off the canvas far enough to throw its own shadow — the rock face is built rather than described.
About the artist
French, 1922–2022
Lived and worked on the rue Beautreillis, in the Marais in Paris, for most of a century-long life. Her painting descends from the Impressionists and Post-Impressionists but is entirely her own in handling: very thick impasto, a high and joyful palette, and enormous energy. She painted Paris, Provence, and the country in between, and remains largely undiscovered.
Anette Holmberg
New Year (Nytår)
- Medium
- Acrylic on masonite, in a solid iron frame
- Dimensions
- 70⅛ × 47¼ in (178 × 120 cm)
- Framed
- 75.6 × 52.8 in (192 × 134 cm), in its solid iron frame
- Year
- 1997–98
- Signed
- Monogram AH lower right; signed in full on the reverse
- Room
- Galleria Hallway
The largest thing in the house, and the only one that arrived with its own iron frame. Holmberg’s subject is usually the tactile difference between materials; here the paint is worked to feel like weather coming in off the Sound.
About the artist
Danish, born 1969
Holds a master’s in art education with an emphasis on art and aesthetic theory. She works in textured acrylic and in collages of metal, and describes her subject as the way different materials feel against one another. The paintings are usually read through Nordic light — spare, cool, and more concerned with surface than with image. She lives and works in Denmark.
The photograph wall
25 June 2014
- Taken
- 25 June 2014, 8.43 pm
- Where
- 35.9621° N, 83.9161° W
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
The photograph wall
30 June 2022
- Taken
- 30 June 2022, 8.07 pm
- Where
- 35.9701° N, 83.9188° W
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
The photograph wall
10 October 2023
- Taken
- 10 October 2023, 7.35 pm
- Where
- 39.7381° N, 104.9901° W
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
The photograph wall
10 December 2021
- Taken
- 10 December 2021, 12.56 pm
- Where
- 35.5406° N, 82.5529° W
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
Giacomo de Pass
Untitled
- Medium
- Oil on canvas
- Dimensions
- 40 × 30 in
- Framed
- ≈ 43 × 33 in, in a gilt frame
- Year
- 1971
- Signed
- Lower right
- Room
- Galleria Hallway
1971 is the year de Pass’s figures begin to come apart into light. Five of them here, or four and an afterimage — the painting refuses to settle on a number.
About the artist
French, of Venetian descent, born Morocco 1938
Entered the Fine-Arts Academy of Casablanca in 1954 and was advised by his own master to leave it: “Flee this academic environment, avoid the workshops, preserve your nature and your personality.” He did, and showed for the first time at the Casablanca Independents Salon in 1956, aged seventeen. He has been impossible to place ever since — impressionist, expressionist, fauve, symbolist, fantastic surrealist, and at times very nearly abstract. Since 1978 he has worked at the Moulin de Peymeinade in the south of France.
The photograph wall
26 May 2010
- Taken
- 26 May 2010, 8.57 pm
- Where
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
The photograph wall
28 June 2013
- Taken
- 28 June 2013, 11.47 am
- Where
- 32.0786° N, 81.0947° W
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
The photograph wall
29 April 2013
- Taken
- 29 April 2013, 2.29 pm
- Where
- 29.7331° N, 95.4347° W
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 19 × 25 in frame, matted to 13 × 19
- Room
- Galleria Hallway
Lynne Taetzsch
Exploring Joy
- Medium
- Acrylic on canvas
- Dimensions
- 48 × 48 × 1½ in
- Year
- Room
- Galleria Hallway
The odd one of the three: where the others are all gesture, this is cut into flat, deliberate shapes that lock together like a pavement. The same palette, held still.
About the artist
American
Moved from oil to acrylic in the early 1980s because acrylic dries at the speed she works. She paints standing at an easel with music playing, responding to whatever is in front of her, and returns over many days so that layers accumulate without erasing what is underneath — which is where the sense of intense energy in the finished canvases comes from. TOSCA named her New York State artist of the year in 2011. She has painted full time in her Ithaca studio since 2000.
Living Room
Amos Oaks & Brian Scott-Pittman
Like Spirits Entertaining Me
- Medium
- Mixed media on wood
- Dimensions
- 48 × 28 × 2½ in
- Year
- Room
- Main level
Enoch 13:14, where Enoch returns to the watchers and reads them their judgement. A city burns out of the light at the left and a single tower keeps its distance at the right, the two of them held apart by arcs of gold that ring outward across the whole panel.
About the artists
American, working in Knoxville
Amos Oaks and Brian Scott-Pittman make these together, and the Enoch pieces are signed by both. The ground is wood rather than canvas, worked with mixed media until it holds light the way a scraped and revarnished surface does — cities half-dissolved in it, spires and grids surfacing out of gold and smoke. Oaks has shown at Striped Light in Knoxville; the series is posted from Scott-Pittman's studio.
Mary Anne Reilly
Dumbarton Gardens with Sculpture
- Medium
- Oil on canvas
- Dimensions
- 65 × 54 in
- Framed
- ≈ 71 × 59 in, in a carved gilt frame
- Year
- Room
- Living Room
Reilly has painted the gardens at Dumbarton Oaks for years, and describes them as somewhere to disappear to — “the sense of asylum and quiet adventure that I discovered there.” The whole surface is built from separate touches of colour, so the light through the trees is mixed in the eye rather than on the palette.
About the artist
American
Studied printmaking and painting at the Corcoran School of Art, took a BFA at the University of Dayton, and continued at the Louvre and Schiller College in Paris, where she received the René Cassin Award. She is known internationally for pointillist paintings of the gardens at Dumbarton Oaks, and has shown in some 25 solo and 120 group exhibitions from Washington and New York to Paris, Tokyo and Kyiv.
Upstairs Bedroom
E. E. H———
Chadds Ford
- Medium
- Oil on canvas
- Dimensions
- 60 × 41 in
- Framed
- ≈ 67 × 47 in, in a white and black frame
- Year
- December 1969
- Signed
- Lower left, indistinctly; dated 12.69 beneath
- Room
- Upstairs Bedroom
Chadds Ford sits on the Brandywine in Pennsylvania — Wyeth country, and a landscape painted more or less continuously for a century. This one is handled fast and wet, the winter trees scratched back into the sky.
The signature reads as E. E. H followed by a run of connected strokes. Not yet resolved into a name.
Jim Twerell
Empire
- Medium
- Oil on canvas
- Dimensions
- 36 × 48 in
- Framed
- ≈ 46 × 55 in, in an ornate gilt frame
- Year
- 2018
- Room
- Upstairs Bedroom
Twerell paints New York from the one angle a resident actually gets: head tilted back on the pavement, the building foreshortened into something closer to a poster than a portrait.
About the artist
American
Born and raised in New York City and a graduate of the School of Visual Arts. He studied at the New York Film School and worked in independent film production before committing to oil paint. His canvases sit between pop art and expressionism, and return again and again to New York architecture — the Brooklyn Bridge, the Flatiron, water towers, and the towers of midtown seen from below.
Upstairs Room
Jeff Christ
Talquin
- Medium
- Mixed media on paper
- Dimensions
- 37 × 47 in (as catalogued; framed)
- Year
- 1982
- Room
- Upstairs Room
Lake Talquin sits west of Tallahassee, a drowned river valley full of standing cypress. The painting keeps the water’s two registers — the bright surface and the tea-coloured bottom — and lets the drawn marks stand in for the trees.
Basement
Jack Simonetta
Heat of Midday
- Medium
- Oil on canvas
- Dimensions
- 36 × 72 in (3 × 6 ft)
- Year
- Provenance
- pb&j Gallery, 35 Howard Street SE, Atlanta; acquired 13 July 2024
- Room
- Basement
Six feet of rooftop Manhattan at the hour when the brick starts giving its heat back. The blocks are stacked flat, one on the next, so the picture climbs rather than recedes — coral and hot pink at the bottom, a cool blue skyline at the top, and the whole thing reading as temperature before it reads as architecture.
About the artist
American
A painter working in Atlanta in oil, mixed media and sculpture. He shows at pb&j Gallery on Howard Street in Kirkwood, a small contemporary space he keeps with the photographer Bob Burkhardt and the printmaker Susan Provost-Dubois — open Saturdays, eleven to four, and otherwise by appointment. He photographs his canvases as they are built, so a Simonetta painting arrives with a record of its own making.
Training, exhibition history and dates still to be traced.
Richard Pryke
The Lonely Drinker
- Medium
- Oil on canvas
- Dimensions
- 29⅝ × 29⅝ in (75.2 × 75.2 cm)
- Framed
- ≈ 36 × 36 in, in a wood frame with a white liner
- Year
- 1999
- Signed
- Lower right
- Room
- Basement
Almost half the picture is empty carpet. The title tells you where to look, and the composition makes you cross the room to get there.
About the artist
British, born 1933
A British painter of interiors and figures, working in oil. His restaurant and bar scenes use a great deal of empty floor and a single occupied point, so that the architecture does the emotional work. The Lonely Drinker dates from 1999.
Training, exhibitions and representation still to be traced.
The photograph wall
5 August 2014
- Taken
- 5 August 2014, 7.38 pm
- Where
- 35.9652° N, 83.9264° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
5 July 2008
- Taken
- 5 July 2008, 4.46 am
- Where
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
4 July 2014
- Taken
- 4 July 2014, 4.25 pm
- Where
- 35.7869° N, 84.2949° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
9 May 2014
- Taken
- 9 May 2014, 12.25 pm
- Where
- 35.9576° N, 83.9261° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
6 April 2013
- Taken
- 6 April 2013, 11.48 am
- Where
- 35.9660° N, 83.9105° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
10 July 2004
- Taken
- 10 July 2004, 5.02 pm
- Where
- 35.9386° N, 84.0884° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
21 July 2004
- Taken
- 21 July 2004, 7.23 pm
- Where
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
29 June 2008
- Taken
- 29 June 2008, 3.24 pm
- Where
- 31.9699° N, 35.8714° E
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
16 September 2015
- Taken
- 16 September 2015, 5.56 pm
- Where
- 31.9697° N, 35.8719° E
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
3 November 2008
- Taken
- 3 November 2008, 5.02 pm
- Where
- 35.9502° N, 83.8683° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
1 June 2021
- Taken
- 1 June 2021, 4.46 pm
- Where
- 35.9402° N, 83.9589° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
9 June 2006
- Taken
- 9 June 2006, 9.04 am
- Where
- 32.0186° N, 35.8074° E
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
14 August 2012
- Taken
- 14 August 2012, 7.51 pm
- Where
- 35.9612° N, 83.9223° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
1 December 2013
- Taken
- 1 December 2013, 4.33 pm
- Where
- 35.9612° N, 83.9223° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
26 March 2013
- Taken
- 26 March 2013, 8.32 pm
- Where
- 35.9559° N, 83.9382° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
23 June 2005
- Taken
- 23 June 2005, 9.35 am
- Where
- 35.4417° N, 84.6389° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
30 December 2018
- Taken
- 30 December 2018, 2.31 pm
- Where
- 35.4587° N, 84.6396° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
2 July 2008
- Taken
- 2 July 2008, 6.24 pm
- Where
- 31.6804° N, 35.7329° E
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
6 April 2013
- Taken
- 6 April 2013, 10.17 am
- Where
- 35.9660° N, 83.9105° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
15 June 2022
- Taken
- 15 June 2022, 4.41 pm
- Where
- 35.9553° N, 83.9382° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
1 December 2013
- Taken
- 1 December 2013, 1.07 pm
- Where
- 35.9612° N, 83.9223° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
1 June 2009
- Taken
- 1 June 2009, 10.41 pm
- Where
- 35.9586° N, 83.9333° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
18 May 2000
- Taken
- 18 May 2000, 11.38 am
- Where
- 35.4408° N, 84.6339° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
30 April 2021
- Taken
- 30 April 2021, 5.40 pm
- Where
- 35.9559° N, 83.9382° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
24 October 2004
- Taken
- 24 October 2004, 7.11 pm
- Where
- 35.9560° N, 83.9263° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
Date unrecorded
- Taken
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
5 July 2008
- Taken
- 5 July 2008, 3.59 pm
- Where
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
30 July 2004
- Taken
- 30 July 2004, 6.12 pm
- Where
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
30 June 2014
- Taken
- 30 June 2014, 8.39 pm
- Where
- 35.9570° N, 83.9207° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
14 August 2019
- Taken
- 14 August 2019, 5.41 pm
- Where
- 35.9561° N, 83.9380° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
17 July 2019
- Taken
- 17 July 2019, 4.36 pm
- Where
- 35.9559° N, 83.9391° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
24 April 2016
- Taken
- 24 April 2016, 7.53 pm
- Where
- 35.9573° N, 83.9259° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
9 March 2022
- Taken
- 9 March 2022, 10.32 pm
- Where
- 35.9701° N, 83.9188° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
1 November 2012
- Taken
- 1 November 2012, 12.25 pm
- Where
- 36.2121° N, 86.6945° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
26 November 2013
- Taken
- 26 November 2013, 6.09 pm
- Where
- 35.9592° N, 83.9331° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
26 January 2021
- Taken
- 26 January 2021, 5.13 pm
- Where
- 35.9324° N, 83.9667° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
4 September 2004
- Taken
- 4 September 2004, 9.46 pm
- Where
- 35.9598° N, 83.9251° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
12 September 2010
- Taken
- 12 September 2010, 3.14 pm
- Where
- 35.9205° N, 83.9895° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
20 June 2020
- Taken
- 20 June 2020, 6.28 pm
- Where
- 35.9292° N, 83.9744° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
10 September 2015
- Taken
- 10 September 2015, 1.37 pm
- Where
- 32.0025° N, 35.7986° E
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
5 October 2015
- Taken
- 5 October 2015, 5.42 pm
- Where
- 31.7192° N, 35.5831° E
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
17 July 2009
- Taken
- 17 July 2009, 2.24 pm
- Where
- 29.7331° N, 95.4347° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
6 September 2014
- Taken
- 6 September 2014, 7.10 pm
- Where
- 34.6821° N, 82.8374° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
12 June 2019
- Taken
- 12 June 2019, 11.59 am
- Where
- 32.0028° N, 35.7886° E
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
23 October 2015
- Taken
- 23 October 2015, 8.06 pm
- Where
- 35.9522° N, 83.9506° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
28 September 2013
- Taken
- 28 September 2013, 11.15 am
- Where
- 35.9536° N, 83.9285° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
2 July 2008
- Taken
- 2 July 2008, 6.02 pm
- Where
- 31.6804° N, 35.7329° E
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
17 July 2015
- Taken
- 17 July 2015, 10.29 am
- Where
- 36.0091° N, 83.8904° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
9 September 2004
- Taken
- 9 September 2004, 12.41 pm
- Where
- 35.9542° N, 83.9292° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
15 October 2015
- Taken
- 15 October 2015, 2.46 pm
- Where
- 35.9559° N, 83.9382° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
2 August 2011
- Taken
- 2 August 2011, 7.18 pm
- Where
- 35.9612° N, 83.9223° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
3 August 2000
- Taken
- 3 August 2000, 9.42 am
- Where
- 30.3252° N, 35.4426° E
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
6 August 2015
- Taken
- 6 August 2015, 2.17 pm
- Where
- 35.9818° N, 83.9042° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
15 April 2021
- Taken
- 15 April 2021, 1.39 pm
- Where
- 35.9400° N, 83.9584° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
16 July 2015
- Taken
- 16 July 2015, 1.35 pm
- Where
- 35.9561° N, 83.9378° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
30 March 2019
- Taken
- 30 March 2019, 6.53 pm
- Where
- 35.8397° N, 84.2667° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
10 May 2013
- Taken
- 10 May 2013, 11.37 am
- Where
- 35.9512° N, 83.9250° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
30 April 2022
- Taken
- 30 April 2022, 11.48 am
- Where
- 35.9652° N, 83.9265° W
- Frame
- 8 × 10 in frame, matted to 5 × 7
- Room
- Basement
The photograph wall
30 May 2014
- Taken
- 30 May 2014, 3.23 pm
- Where
- 35.9612° N, 83.9223° W
- Frame
- 11 × 14 in frame, matted to 8 × 10
- Room
- Basement
The photograph wall
Family, in two courses
- Frames
- 11 × 14 matted to 8 × 10, and 8 × 10 matted to 5 × 7
- Length
- 403 in, in two courses two inches apart
- Room
- Basement
Thirty-odd feet of black frames in two long courses. The lower course is set three inches along from the upper one, which is the whole trick of it — line the two rows up exactly and the gaps between frames stack into crosses that the eye follows instead of the photographs.
It was laid out before it was hung, frame by frame, to a total width and a running cost.
Plan a wall of your own — set a length, drag the frames into an order you like, and it repeats the pattern to fit and totals up what the frames and prints will cost.
Amos Oaks & Brian Scott-Pittman
Mercy, Like Dew Upon the Earth
- Medium
- Mixed media on wood
- Dimensions
- 48 × 48 × 2½ in
- Year
- Room
- Basement
Enoch 39:4 — the dwelling places of the righteous, and mercy falling as dew. A cathedral is set down twice on the one panel: its spires in elevation at the upper left, its plan and rose window laid out below, both drawn in a gold line so fine it reads as engraving over the scumbled ground.
About the artists
American, working in Knoxville
Amos Oaks and Brian Scott-Pittman make these together, and the Enoch pieces are signed by both. The ground is wood rather than canvas, worked with mixed media until it holds light the way a scraped and revarnished surface does — cities half-dissolved in it, spires and grids surfacing out of gold and smoke. Oaks has shown at Striped Light in Knoxville; the series is posted from Scott-Pittman's studio.
Yet to be placed
Lynne Taetzsch
The Knife Cuts, The Petal Falls
- Medium
- Acrylic on canvas, painted edges, unframed
- Dimensions
- 48 × 48 × 1½ in
- Year
- 2009
- Signed
- Lower left, front
- Room
- Yet to be placed
The artist on the title: “Delicate are the petals in a flower, but not this flower. These petals have fought their way to be here. They are solid and impenetrable. Until the knife cuts, and the petal falls.”
About the artist
American
Moved from oil to acrylic in the early 1980s because acrylic dries at the speed she works. She paints standing at an easel with music playing, responding to whatever is in front of her, and returns over many days so that layers accumulate without erasing what is underneath — which is where the sense of intense energy in the finished canvases comes from. TOSCA named her New York State artist of the year in 2011. She has painted full time in her Ithaca studio since 2000.
Novi Lim
Cestrum Nocturnum
- Medium
- Acrylic and metallic pigment on canvas
- Dimensions
- 60 × 31 in
- Year
- Room
- Yet to be placed
Cestrum nocturnum is night-blooming jasmine — a plant that gives nothing away in daylight and floods a whole garden after dark. The painting keeps that bargain: greys and whites that read as almost nothing until the gold catches.
About the artist
Indonesian-American
Born in Indonesia, trained in visual communication design at Pelita Harapan University, and now based in North Carolina. She works in acrylic and oil with fine metallic detail, building compositions whose forms suggest wings, petals and moving water. The first movement goes down instinctively; everything after it is slow layering for depth and contrast. She is represented by galleries across North America.
Areti Ampi
I find the light in the gray days
- Medium
- Acrylic on canvas
- Dimensions
- 55 × 28 in
- Year
- Room
- Yet to be placed
The title does the work of an instruction. Almost the whole canvas is weather — pewter, slate, a white that has gone over to grey — and the gold is rationed to the seams, so you have to look for it exactly as long as the sentence says you should.
About the artist
Greek
A contemporary abstract painter working in Greece, in acrylic on canvas. She builds paintings out of layered texture and open, expressive brushwork, letting a composition find its own balance rather than imposing one, and takes her subject to be movement and feeling rather than anything in particular. Her work is collected internationally; each canvas is signed and issued with a certificate of authenticity.
Catherine Picard-Gibbs
City of Light
- Medium
- Oil on canvas
- Dimensions
- 48 × 30 in
- Year
- Room
- Yet to be placed
The light source is inside the town rather than in the sky, which is what makes it read as a vision instead of a sunset. Picard-Gibbs calls her way of working textural expressionism; the paint here is pushed around with everything but a brush.
About the artist
American, born 1959
Painter, curator, art educator and graphic designer, working from a former factory building in Easthampton, Massachusetts. She calls her method textural expressionism: bold strokes and saturated colour, the surface built up and scratched back with whatever tool suits. Recent work has moved onto copper, a Renaissance support she has taken up for its light. She shows throughout Massachusetts, in New York and in the Midwest.
Bill Tavis
Mandelmap
- Medium
- Offset lithograph, open edition
- Dimensions
- 36 × 24 in
- Year
- 2016
- Room
- Yet to be placed
The Mandelbrot set drawn as a seventeenth-century sea chart: compass rose, cartouche, named bays you can actually sail to. Every view on it was rendered with software Tavis wrote himself, and the ornament is built from shapes lifted out of the set.
The only printed work in the house — an open edition, not an original. Worth saying plainly on the label.
About the artist
American
A full-time artist in Austin, Texas, who has been making art on computers for well over a decade and has been taken with fractals since childhood. The Mandelmap took him more than a year, on the condition that it be both mathematically exact and genuinely beautiful. Since 2016 it has gone to fractal enthusiasts in at least fifty-five countries.
Fiona, Fritz & company
Untitled (three impressions)
- Medium
- Non-toxic pigment on canvas, applied directly
- Dimensions
- 26 × 15 in
- Year
- Provenance
- Cincinnati Zoo & Botanical Garden, animal art auction; with certificates of authenticity
- Room
- Yet to be placed
Three hippopotamuses pressed their snouts to this canvas, one after another, and the pigment recorded every whisker and pore. The prints are bilaterally symmetrical because the animals are — you are looking at a contact print of three faces.
Which hippo made which impression is recorded on the certificates — to be transcribed here.