30th Anniversary Exhibition, Part Deux

February 10 – March 12, 2017

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Installation view of 30th Anniversary Exhibition, Part Deux

Xylor Jane

Untitled, 2016

Oil and marker on panel

30 x 24 inches

 

Marie Lorenz

Untitled, 2017

Porcelain

12 x 13 x 4 inches

Jess Johnson

WWW Demigod, 2016

Pens, fibre tipped markers and gouache on canvas

15.1 x 11.2 inches

Jeff Williams

Thickly Settled, 2007-2017

Flocking fiber and dust

24 x 24 inches

Andre Roiter

I AM, 2011

Recycled wood and paint

23.5 x 11.8 x 13.8 inches

Adam McEwen

Untitled Text Msg. (Mat), 2009 

Acrylic and silkscreen ink on canvas

9.5 x 9.5 inches

Adam McEwen

Untitled Text Message (David), 2009

Acrylic and silkscreen ink on canvas

9.5 x 9.5 inches

Tyson Reeder
Times Square, 2017
Acrylic and flashe on linen
30 x 30 inches

Mathieu Mercier
Untitled, 2016
Acrylic on canvas
Diameter: 59 inches 

Rirkrit Tiravanija

Untitled (Box of Fifteen Stencils), 2014

MDF box, cardboard stencils and orange bungee

12 x 12 x 6 inches 

Scott Reeder
Untitled, 2016
Ceramic and acrylic on canvas
36 x 30 inches

Keegan McHargue

Untitled, 2016

Oil on polyester support

44 x 52 inches

 

Sally Saul

Untitled, 2016

Clay and glaze

4 x 15.5 x 11.5

Daniel Heidkamp

Landscape/seascape, 2017

Oil on linen

32 x 26 inches


 

Sally Saul

The Last Hemlock, 2016

Oil and glaze

11 x 9 x 8.5 inches

For thirty years, Jack Hanley Gallery’s artistic agenda has remained focused on discovering and fostering talented emerging contemporary artists. Jack Hanley Gallery was established in 1987 as Trans-Avant Garde Gallery in Austin, Texas. In 1990, Hanley moved the gallery to San Francisco and changed the name officially to Jack Hanley Gallery. During his ten-year residency at 395 Valencia, Jack Hanley Gallery became synonymous with the Mission District, fostering local artists that came to be known as “The Mission School.” In 2008, Jack Hanley Gallery relocated to New York City, closing both San Francisco and Los Angeles galleries. The gallery moved to its present pre-war building at 327 Broome Street in 2012. Beyond its immediate artistic program, the gallery has also organized regular projects, published artist books and printed limited edition posters.

 

The Art of Salmagundi

Raymond Pettibon

Ryan Foerster

Scott Reeder

Heidi Hahn

Tyson Reeder

Daniel Heidkamp

Will Rogan

Xylor Jane

Andrei Roiter

Jess Johnson

Sally Saul

Marie Lorenz

Rirkrit Tiravanija

Nikki Maloof

Gustav Troger

Adam McEwen

Tilman Wendland

Keegan McHargue

Jeff Williams

Mathieu Mercier

Erwin Wurm

Bill Owens

Special thanks to Maurizio Cattelan

 

 

EH: When did you initially start collecting?

JH:I probably started as a young child collecting baseball cards and stamps but quickly I got into music, bands and then posters for rock shows.

 

EH: Why does collecting interest you?

JH: Not quite sure, but I think in some way it is like the tattoos people get that reminds them they exist and where they were while existing and with whom? Plus I like the idea of completing a collection even though I never do. There is something about the pieces in the larger story that interests me, searching for the whole picture.
 

EH: How did this turn into your collecting art?

JH: Well as a child I never knew artists, never knew there were galleries, other than my mother who painted landscapes a bit and the inside of our house always had birds, animals, Indians, etc., directly on walls. I think while she was home with young siblings she painted on walls. Not sure since she mostly worked teaching grade school. We would go to MOMA a bit and I loved it. So I drew a lot and this lead to much later in College taking painting class, mostly to hang out with a woman (Stella) whom I liked, but also out of curiosity. I was pretty unskilled and was left alone which was perfect. Eventually, I painted 10 hours a day and I went to Grad school in it, after a BA in Native American Studies. Collecting really developed with art later when traveling for one reason or another- to amuse myself, in my free time I'd go to museums and sometimes, especially in Europe, they would have books and cheap editions (Jahresgaben) for the members, that were connected to the Artists doing shows and paid for the catalogue, etc.

I'd buy these when I could for $50-150 each and then I would try to figure out what the artist was up to. I realized they were all pretty interesting artists, so I would check out the rest of them that I had initially ignored. Pretty much that got me my Art Education.

 

Also reading. My grandfather had a bookstore in the Bronx called The Davis Shop, and I would "work" there on weekends and holidays as a kid and follow him around. He always let me take a book home. All kinds of books. So I loved these books and it made me think of other things outside my neighborhood. I think I still love books and editions and ephemera as much as any artwork.

 

EH: Do you miss being an artist yourself?

JH: I do. When I stopped painting when moving back to SF from Austin I was nervous about the gallery, rent, etc., and so I was not quite comfortable painting. I didn't have a studio either. Also wasn't sure what I thought about my work in the context of my thoughts about interesting artists to show. I always planned to get back to it. I think it affected the way I approached the gallery posters and the project-ness of it all.

 

EH: Do you think you are harder on painting than other mediums as you are a painter?

JH: Yes a little. Not the craft of painting but certain aspects. I have an easier time with outsider work than supposed schooled painting that either isn't aware of the wheel they are re-inventing or the rush to produce things to show. Outsider artists often produce a lot but the freedom in it is very seductive. I have a problem with hesitancy and fear in painting. Not being brave perhaps.

 

EH: Why do you think the style of artists has shifted as you have moved the gallery? For instance it was a more conceptual group in Austin than perhaps it is now?

JH: Well in Austin I showed in a $400 a month space and had a salary at University of Texas, Austin, so I showed friends in NY or Europe or Faculty from UT. Everyone I asked was happy to come hear music and show something. Since I had been to Europe a lot and Cologne, Germany in particular, it was a large part of my pool of people to ask to show. I liked the humor of their approach to painting and conceptual work. When I got back to SF most of my artist friends had galleries so I showed artists I knew in NY or Europe or LA. More Slacker type art, I think the critics called it. Once again it was pathetic but funny and direct. Later I started meeting more SF local artists in the Mission where I hung out and it lead to showing Street and Found material type locals.

 

EH: What's your favorite part about having a gallery?

JH: The Project of shows, poster, opening. I like the cycle. Different problems each month, different flashes of insight hanging out with free thinkers at times.

 

EH: Did you ever think you would have a gallery for 30 years when you started it?

JH: I never thought of or knew anyone growing up that was ever in a gallery or later even liked galleries when I first showed in them. So no. I think I was happy just buying drawings and prints myself when at Princeton and Austin and a few friends asked me to get them one of the same, so I had to get a flat file and then a baby was born and I needed a room to put it in. Presto gallery.