2025 saw us return to The Palm Beach Modern + Contemporary fair that took place in March in Palm Beach, FL followed by the 5th edition of Future Fair in New York in May.
We began our programming in Provincetown on April 18 with 'Alla Prima', a group exhibition for spring.
2025 EXHIBITIONS
March 20-23 Palm Beach Modern + Contemporary
May 7-10 Future Fair
April 18- June 1 Alla Prima
June 6 – July 8 Ramon Alcolea/ Rebecca Doughty/ William Hamlin/ Nona Hershey/
Cindy Kleine/ New Abstraction
July 11 – July 29 Richard Saja/ Ruth Marten/ Michael Mazur/ Tess Michalik/ Conrad Malicoat
August 1 - August 19 Fred Liang/ Francis Olschafskie/ Hannah Barrett/ Forrest Williams/
Stephanie Frank Sassoon
August 22 – Sept 14 Mark Adams/ Sean Flood/ Damien Hoar de Galvan/ Jeannie Motherwell/
Anna Poor
Sept 20 – Oct 26 TBA
HIGHLIGHTS AND FEATURES
HANNAH BARRETT
We're thrilled to announce HANNAH BARRETT in exhibition from August 1 - 19, 2025.
This exhibition of new paintings will finish a suite of exciting projects for 2025 beginning with two residencies at Boston's Isabella Stewart Gardner Museum from March 12-24 and again from May 19 - June 6.
Barrett has also curated an exhibition at Boston's Child's Gallery from May 23- July 13. The exhibition, titled 'The Moon Visits' includes paintings, prints, photography, sculpture, and art objects, celebrating Pride Month through trans, queer female, and other gender identities. The show gathers the artist's friends and compatriots in a delightfully discordant grouping of enigmatic liaisons, tender moments, quiet scenes, and curious oddities.
Next Hannah has been asked to return to Boston's Gibson House in exhibition for the month of June. This exhibition is a return to the portrait series "Tales from the House of Gibson" (2009) and imagines six imaginary descendants of the Gibsons, combining features of the family as well as the house itself. Exhibiting these works in the Gibson's Victorian home deviates from the typical display of contemporary art, which is often contained in a white and otherwise blank gallery space--as an artist who draws upon historical references and includes these details in their works, Barrett saw this as an exciting challenge. The portraits will be on display once again amongst the architecture, photographs, and family heirlooms that Barrett referenced during their creative process.
All of this culminates with an exhibition of new paintings in Provincetown at the gallery. This is Barrett's second exhibition with the gallery.
MICHAEL MAZUR
The gallery is thrilled to begin working with the estate of the renowned artist MICHAEL MAZUR.
Michael Mazur (1935-2009) was an American painter and printmaker whose lifelong interests pursued a balance between the narrative power of observation and the nonrepresentational expression of gesture. Throughout his five-decade career, he reveled in the physicality of his chosen medium, relishing the process of making. He approached his work through the constructive vocabulary of observation—deftly capturing fleeting moments in nature, human tragedy, and rapture. Broad themes in his work encompassed social documentation, psychological portraiture, and passionate landscapes that moved back and forth aesthetically between figuration and abstraction.
Mazur was born in New York City in 1935. While attending Horace Mann School in the Bronx, he founded an art club whose only other members were cartoonist Ed Koren and the future curator Henry Geldzahler. He also worked Saturdays as a studio assistant to painter Alan Ullman in Greenwich Village.
Mazur studied at the Accademia di Belle Arti in Florence and at Amherst, while embarking on a rigorous curriculum with the master printmaker and sculptor Leonard Baskin, who was teaching at Smith College. Through Baskin, Mazur learned the traditional techniques of printmaking. He received his BFA (1960) and MFA (1961) from Yale School of Art and Architecture in 1961 where he studied with Josef Albers, Naum Gabo, Rico Lebrun, Ab-Ex painter John Schuler, printmaker Gabor Peterdi, and Fairfield Porter among others.
In 1961 he opened his first solo exhibition at the Barone Gallery in New York. In 1964, his work was included in “Contemporary Painters and Sculptors as Printmakers,” at The Museum of Modern Art and in 1965, was featured along with Mary Bauermeister, Jim Dine, Robert Morris, Larry Poons, and Tom Wesselmann in “Young Americans: Thirty Artists Under Thirty-Five” at the Whitney Museum.
Settling in Cambridge, MA, in 1964, Mazur held several teaching appointments, most notably at the Rhode Island School of Design (‘62-‘65) and Brandeis University (‘66-‘75). His proximity to student unrest of the era and his own political activism made space for the somber tone of works such as the “Closed Ward Series,” “Stoneham Zoo Series” (1976-1979), and his masterful illustrations of Dante’s “Inferno” (1993). In 1970, he was invited along with Jim Dine, Sam Francis, Roy Lichtenstein, Robert Rauschenberg, Frank Stella to represent the United States at the Venice Biennale, but declined to participate in protest of the governments involved in “war, racism, sexism and repression.”
Major awards include Louis Comfort Tiffany Foundation Grant (’62); Guggenheim Foundation Award (’64); American Academy of Arts and Letters Fellowship (’64).
The exhibition will take place from July 11 - 29.
FORREST WILLIAMS
We are pleased to offer the first exhibition at Schoolhouse of FORREST WILLIAMS from August 1 - 19, 2025.
Williams is a figurative painter building upon a rich history of artists who work from life. His paintings develop and grow out of daily work with the model in the studio. While his work is representational, he has long thought of it as fundamentally an exploration of an interior territory.
The Provincetown Independent has said that his "male figures, nude and clothed, are like psychological journeymen, anonymous ciphers about no one and everyone."
Williams has previously shown his work in San Francisco (Marx & Zavattero), Portland (Elizabeth Leach), and Provincetown (AMP), as well as in numerous group shows in New York and Montreal. A native North Carolinian, he was an English major at Davidson College before receiving his MFA in painting at the New York Academy of Art. He has also lived and studied in both Edinburgh and London. He now lives and works in New York and Provincetown, where he has taught for six summers at the Fine Arts Work Center.
CONRAD MALICOAT
CONRAD H. MALICOAT (1936–2014) was a sculptor who created both large and small-scale works of wood, metal, brick, or stone. He also worked on paper, primarily with ink. On occasion, he produced “public” work seen in local restaurants, inns, external brickwork, and graveyards.
A Fellow at the Fine Arts Work Center from 1968-1970, Conrad received the Massachusetts Cultural Council Award for his sculptural works and has four pieces in the permanent collection of the Hirshhorn Museum in Washington, D.C. For more than 20 years, he was a volunteer with the Provincetown fire department, Pumper No. Five, and he served on the Provincetown Conservation Commission as well as on the boards of the Provincetown Art Association and Museum, the Pilgrim Monument and Museum, and the Fine Arts Work Center. He was a devoted member of the Beachcombers Club, where he served as “Skipper.”
Malicoat was born in Provincetown to Philip and Barbara Malicoat, both highly regarded artists and prominent figures in the local community. They raised Conrad and their daughter, Martha, in a household saturated with art and music, and instilled in them a love of nature and proud, do-it-yourself spirit.
He attended Oberlin College and after a year in Paris, he attended the Skowhegan School of Painting and Sculpture, where he met fellow artist Anne Lord. They married in 1960 and settled in Provincetown and forged a life dedicated to family, community, and the arts.
Conrad possessed a keen ability to think abstractly, which made him a formidable problem solver often called upon by friends and family. During the earlier years, Conrad worked primarily in stone, a medium he regarded with respect and affection throughout his life. His responsibilities to his young family necessitated more income than was generated by his stonework, so he devised a new means to earn a living: Creative brickwork rendered as imaginative walls, fireplaces, and sculpture became his signature oeuvre on the Outer Cape and beyond from the mid-1970s through the mid-1990s. “Have trowel, will travel,” he stated on his ‘Brick Breakthroughs’ business card. Initiated in necessity, the brickwork evolved as modular expression, an exploration of weight, planes, gravity, and multiple dimensions. In the midst of two decades of brickwork, Conrad explored mathematical themes such as the Mobius in wooden and metal sculptures, and in the two-dimensional realm he delved deeply into the works in ink on paper that you see at the Schoolhouse Gallery today.
DAMIEN HOAR de GALVAN
We're thrilled to announce that gallery artist DAMIEN HOAR De GALVAN has been awarded The prestigious Foster Prize for 2025.
The James and Audrey Foster Prize is key to the Boston ICA’s effort to recognize, present, and acquire works by exceptional Boston-area artists. First established in 1999, the Foster Prize (formerly the ICA Artist Prize) expanded its format when the museum opened its Seaport building in 2006. James and Audrey Foster, passionate collectors and lifelong supporters of contemporary art, endowed the prize, ensuring the ICA’s ability to sustain and grow the program for years to come.
The program has proven to be a springboard for many artists to have major museum exhibitions. The selection of artists for the James and Audrey Foster Prize exhibition spans generations and results from sustained conversations with Boston’s community of working artists. In line with its goal to acquire works from the exhibition program, the ICA has acquired works by many Foster Prize recipients.
DAMIEN HOAR de GALVAN lives and works in Boston. He was born in Northampton, MA in 1979. After studying behavioral science as an undergraduate he decided to take a different path as an artist. He completed the post-baccalaureate program at the School of the Museum of Fine Arts, Boston in 2008. His work is almost exclusively made from recycled materials and is presented in a variety of mediums including painting, drawing, and sculpture. The work speaks of Damien’s conflicting feelings on contemporary life and art. It is humorous, pathetic and hopeful, often questioning values and emotions and certainly wondering alongside the viewer. His work has been exhibited throughout Boston and Cape Cod and is in many private collections.
Damien will exhibit new work from August 22 - September 14, 2025.
INTRODUCING:
RUTH MARTEN
A lifelong New Yorker, Ruth Marten exhibits in Germany and in Paris, with galleries and museums that cater to work on paper. A lover of 20c. posters, 18c. engravings, books and Weimar art, she has been collaborating, via collage, with this genre of work for 50 years beginning with her own career as a book illustrator, the “Year in Provence” series being her best-known work from that period. She was given a retrospective exhibit in 2018 at the Max Ernst Museum and the new pictures she is showing with Schoolhouse is a continuation of the series “All about Eve” that was just shown at the Museum Villa Zanders in Bergisch Gladbach, Germany. These original 1923 heliogravures photographed in Paris and painted onto with gouache to both fool the eye and transform the story, are an ongoing fixation 3 years in and, hopefully, for years to come.
Marten has 6 books published of her work from 2008 to 2025. A list of these illustrated catalogues follows:
“Histoire Naturelle”, published by Isis Editions in 2008, London
“Ruth Marten, The Unvarnished Truth”, published in 2013 by Stefan Scheulke Fine Books, Cologne
“Ruth Marten, Fountains & Alligators”, published 2016 by Verlag Ketler, Dortmund
“Ruth Marten-Dream Lover”, published in 2017 to accompany the show of that name at the Max Ernst Museum, Brühl, Germany
“Ruth Marten, Afterlife, My 20th Century” published in 2019 by Van der Grinten Galerie
“Ruth Marten, All About Eve”, Kunstmuseum Villa Zanders, 2024.
Her early years were consumed with tattooing, in the 1970’s, illustration during New York’s last golden age of publishing, a short stint of fashion drawing for Ferragamo, Bergdorf Goodman, Vogue and Harper’s Bazaar and, throughout, exhibiting her personal art in New York galleries. A love of drawing has been the navigator through these differing terrains.
Ruth will exhibit new work from July 11-29, 2025.
KARIN SCHAEFER
Karin Schaefer (b. 1968, Washington, D.C.) has an interdisciplinary practice that includes installation, painting, drawing and printmaking. Schaefer’s work challenges the binaries of long-established categories, abstraction/representation, conceptual/concrete, spiritual/material. She blurs the lines between hard-edged abstraction and an illusion of space, works to make the unseen visible, and integrates queer aesthetics and spirituality. Drawing inspiration from her meditation practice, decades of daily drawings are the source material for her paintings and works on paper. Schaefer received her BFA from Tufts | School of Museum of Fine Arts, Boston, MA. She has exhibited her work at Barbican Art Galleries, London, UK; Museum of Contemporary Art Tucson, AZ; Sears Peyton Gallery, New York, NY; Christopher Henry Gallery, New York, NY; University Art Museum, SUNY, Albany, NY; Bernay Fine Art, Great Barrington, MA. Grants and Residencies include Josef and Anni Albers Foundation, artist-in-residence; LEF Foundation; Isamu Noguchi, artist-in-residence.
IRENE LIPTON
Irene Lipton received her MFA in painting from Hunter College in NYC. Early in her career, Lipton was chosen by Charlotta Kotik to be in two museum shows, Working in Brooklyn/Painting at the Brooklyn Museum in 1987, and On the Cutting Edge at the Fine Arts Museum of Long Island, NY in 1989. She received two consecutive Fellowships at the Fine Arts Work Center, from 1988–1990, and later served on the Visual Committee for several years. In 1997, Lipton moved full-time to Provincetown and then to North Truro, where she built a studio and works today. In 2005, she was one of the founding members of artSTRAND gallery, having seven years of solo shows and numerous group exhibitions there, as well as on the Cape and in Boston. Lipton had a mid-career show in 2007 at the Provincetown Art Association and Museum. Her work has been written about in the Boston Globe, Art New England, and Provincetown Arts magazine.