The Schoolhouse Gallery presents a lively schedule of exhibitions at our space in Provincetown however we are active behind the scenes in our artist’s studios, in the homes of our clients and collectors an at a variety of fairs and off-site projects. We represent our gallery artists in depth and always have an inventory of their latest works in our extensive storage facilities.


Off the Wall is a special view of these works that are seen less often on our walls. Vastly different in style and technique, these works are a testament to our mission to showcase the finest achievements in artistic thought and process. 


We hope you enjoy this revolving view of works selected for your information and enjoyment, and to show what is possible outside the gallery walls. The exhibition can be found on Artsy

JENNIFER AMADEO-HOLL lives and works in Boston and has exhibited nationally and internationally, including in Sweden, Finland and Chile and a touring exhibit of South America and Asia. She has received a NEFA award, a NEFA -Benton award, a Trustman Fellowship, the Harvard-McCord Arts Prize, and a two-year Swedish Institute Fellowship. Her work is represented in public and private collections, including AFA Konstförening, Biogen, Cristal CCU, Fidelity, Excel, Harvard Management, The London School of Economics, Meditech, Oxfam, Svenska Institut, Swedish Television and Wechsler Ross NY. Jennifer has exhibited at the gallery since 2000.
CONRAD H. MALICOAT (1936–2014) was a sculptor who created both large- and small-scale works of wood, metal, brick, or stone, generally using one material at a time. He also created works on paper, primarily with ink. On occasion, he consciously produced “public” work seen in local restaurants, inns, external brickwork, and graveyards; most of the time, his work was personal in nature, whether commissioned or originating purely within.
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 and the Provincetown Conservation Trust 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.”
Conrad was born in Provincetown. His parents, Philip and Barbara Malicoat, were 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. After graduating from Provincetown High School, Conrad attended Oberlin College in Oberlin, Ohio and graduated with a BA in Studio Art in 1957. After an eventful year in Paris, he attended the Skowhegan School of Painting and Sculpture, where he met fellow artist Anne Lord. They married in 1960, and after stints in New York City and travels across the country to Texas and back, they settled in Provincetown and forged a life dedicated to family, community, and the arts. Whether by nature or nurture, or both, Conrad possessed a keen ability to think abstractly, which made him a formidable problem solver often called upon by friends and family, and also produced unique work when applied on a strictly artistic level.
During the earlier years, Conrad worked primarily in stone, a medium he regarded with respect and affection throughout his life. As responsibilities to his young family necessitated more income than was generated by his stonework, 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. The abstract, brick-like, and figurative drawings include studies for some of his sculptures from the 1980s.
Known for his scenes of Provincetown, Massachusetts and surrounding area, especially atmospheric seascapes, PHILIP MALICOAT (1908 – 1981) settled in Provincetown, where he had first gone as a student of Charles Hawthorne with whom he had first studied at the John Herron Institute in Indianapolis.
According to Malicoat, Hawthorne had a big reputation and came to the Herron Institute on one of his many tours around the country to give demonstration classes. He was a very positive, encouraging and upbeat teacher and demanding but not overtly demanding. Malicoat then painted with him at Provincetown. Of this experience, he said: “You always came out of his class wanting to get right going again, because there was plenty of room to get better. Besides, on the weekend we usually scrapped down our old canvases that we used all week and repaint them, so we’d be ready for Monday.”
Students of Hawthorne were a big part of the population there. “You could go down the street in the evenings before the summer was over and know practically everybody. There weren’t many tourists in town.” There were older, established artists there, and Malicoat spent his first winter in Provincetown in 1931. He was a member of the Beachcombers, a social group where he hobnobbed with the other artists including Gerrit Beneker, Edwin Dickinson, William Paxton, Karl Knaths, Ross Moffett, and Coulton and Frederick Waugh.
Malicoat was born in Indianapolis and there attended the John Herron Art Institute from 1928 to 1929. Following that period, he studied at Provincetown with Charles Hawthorne and also Henry Hensche at their Cape Cod School of Art and, staying on, became a trustee of the Provincetown Art Association. He was also active at Woodstock, New York, and exhibited with the Woodstock Art Association. Other exhibition venues included the Corcoran Gallery, the National Academy of Design, and the Art Institute of Chicago.
Early in his career, he painted in both watercolor and oil, but from the 1950s, used only oil paint.

Born and raised in New York City, JEANNIE MOTHERWELL inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century abstraction. She studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT, until relocating to Cambridge, MA, where she worked at Boston University for the graduate program in Arts Administration until 2015. She served on the Cambridge Arts Council Public Art Commission from 2004 – 2007 and is currently on the Advisory Board for Joy Street Artists Open Studios in Somerville, MA. Her work has been featured in public and private collections throughout the US and abroad.

JASON ROHLF makes vibrant and textured acrylic and collage paintings. Layers are painted over and over again; the final result hints at a hidden history as traces of previous layers are revealed as texture. City streets, digital media, and maps have been important influences of Rohlf’s work. Projects include a collaboration with Oehme Graphics where he created the “Field Guides Print Project” that included a suite of unique monotypes and solar plate editions, and most recently a screenprinted edition for Folioleaf. His current project, ‘The Shop Rag Project’ will be featured in August 2018 at the gallery.
Originally from Milwaukee, Rohlf moved to Brooklyn in 1999. He was exhibited his work across the United States, created a public installation for the MTA, and has lectured for the Pratt Institute, Bowling Green University and Lawrence University among others. He is the recipient of the Sam and Adelle Golden Foundation for the Arts Artist in Residency.
DONALD TRAVER received his BFA from SUNY, New Paltz, NY, and lives and works in New York. He is a recipient of a National Endowment for the Arts grant. Recent solo exhibitions include, Gregory Lind Gallery, Pacific Northwest College of Art, Portland, OR; White Columns, New York, NY; Krygier / Landau Gallery, Los Angeles, CA and Massimo Audiello Gallery, New York, NY. He has participated in group shows at Edward Thorp Gallery, NY; Bard College, Annandale-on-Hudson, NY; Tyler School of Art, Philadelphia, PA; Jeffrey Coploff Fine Art, New York, NY; Karen McCready Fine Art, New York, NY; The Work Space, New York, NY; University of Texas, Dallas, TX; Paula Cooper Gallery, New York, NY; NJ Center for Visual Arts, Summit, NJ; The Art Museum at Florida International University, Miami, FL; Barbara Toll Gallery, New York, NY; Grey Art Gallery, New York, NY; Galeria Fucares, Madrid, Spain and Cleveland Center for Contemporary Art, Cleveland, OH. Public Collections include: Chase Bank, Fogg Art Museum, J. Paul Getty Museum, IBM, The Progressive Corporation, The Queens Museum, Whitney Museum of American Art and Yale University.