30th Anniversary Exhibition

Attics of My Life

D.L. Alvarez, Alain Biltereyst, Nayland Blake, Sarah Braman, Anne Collier, Keith Coventry, Fergus Feehily, Harrell Fletcher, Georg Herold, Matthew Higgs, Elizabeth Jaeger, Meredith James, Xylor Jane, Ajay Kurian, Jim Lambie, Charles LeDray, Margaret Lee, Zoe Leonard, Thomas Locher, Alicia McCarthy, Keegan McHargue, Mathieu Mercier, Jonathan Monk, Dugan Nash, Bill Owens, Djordje Ozbolt, Raymond Pettibon, Jack Pierson, Scott Reeder, Tyson Reeder, Michael Sailstorfer, Hayley Tompkins, Tilman Wendland, Erwin Wurm, B. Wurtz

January 8 – February 5, 2017

Installation view of 30th Anniversary Exhibition: Attics of My Life

Installation view of 30th Anniversary Exhibition: Attics of My Life

Installation view of 30th Anniversary Exhibition: Attics of My Life

Installation view of 30th Anniversary Exhibition: Attics of My Life

Installation view of 30th Anniversary Exhibition: Attics of My Life

Installation view of 30th Anniversary Exhibition: Attics of My Life

Installation view of 30th Anniversary Exhibition: Attics of My Life

Charles LeDray
Power Play, 2010-2017

Mixed media
53.25 x 43.88 x 6.75 inches 

Djordje Ozbolt

Familiar portraits 6, 2015

Acrylic on canvas

60 x 47.88 x .75 inches

Sarah Braman "Afternoon Delight"

Sarah Braman

Afternoon Delight, 2017

Oak log, pine boards, glass, plexiglass, fabric dye and wood stain

38 x 31 x 21 inches

Georg Herold

Untitled, 1987

Wood and tape 

Michael Bauer 

Kohr-Ex-Gohr, 2012

Oil on canvas

18 x 14 inches

Alicia McCarthy

Untitled, 2017

Latex paint and colored pencil on panel

48 x 48 inches

B. Wurtz

Untitled, 2015-2016

Wood, clothespins, wire, string and cloth

63.5 x 18.5 x 15 inches

Thomas Locher

Small Gift. To Give. Giving. Given. Gift, If there Is Any...( J.D.) #6, 2006/ 2013

Print and Dibond

60 x 46.5 centimeters each

Jim Lambie

Belt Buckle (Voodoo Ray), 2011

Steel and spray paint

13 x 7.5 x 5.38 inches

Mathew Higgs

George Rickey, 2016

David Hockney, 2016

Framed book page

21.5 x 21.5 inches each

Sue Williams

WTC Wispiness, 2013

Signed and dated on verso
Oil and acrylic on canvas
50.5 x 68 inches


Erwin Wurm

Erwin Wurm

Grüner Veltliner, 2016

36.25 x 17 x 12 inches

Adam McEwen

Untitled Text Msg. (David), 2009

Acrylic and silkscreen ink on canvas

9.5 x 9.5 inches

Jonathan Monk

Jonathan Monk

Mistakes have been made, 2014


9.8 x 9 x 11 inches


Alain Biltereyst

Alain Biltereyst 

Untitled, 2016 

Acrylic on panel 

9 x 6.5 inches

Dugan Nash

Untitled, 2016

Acrylic on bowling ball

12 x 12 x 12 inches

Nayland Blake "spirits of the streets"

Nayland Blake

Spirits of the Streets, 2013, edition of 3

63 x 39 inches

Maureen Gallace

Beach/Waves, 2016

Acrylic on paper

10 x 10 inches

Joe Bradley

Untitled, 2017

Graphite on paper

8 x 11 inches

Anne Collier

Photograph (Woman With A Camera #1), 2016
C Print
17 x 21 inches

Margaret Lee

Pumpkin (two ways) and a little extra, 2017

Plaster, acrylic paint, walnut veneer and polished stainless steel

Pedestal I: 9 x 9 x 38 inches

Pedestal II: 9 x 9 x 28 inches

Pumpkin: 10.5 x 7.5 inches

Rod: 10.5 inches

Lemons: 3 x 2 inches each

Meredith James

Argument (Cuckoo 11 and 12), 2017

Wood, cuckoo, metronome and thread

10.5 x 7.5 x 2.75 inches


Ajay Kurian
Liebig Chalice 2, 2016
Gold-plated ostrich egg, resin, steel, plasti-dip, assorted objects
18 x 18 x 52 inches

Raymond Pettibon
No title (Kilroy is here...), 2008

Signed and dated verso
Pen, ink, gouache and acrylic on paper
30 x 22.25 inches (76.2 x 56.5 centimeters)

Hayley Tompkins

Vacation X1, 2015

Acrylic paint on cotton

8.5 x 23.25 inches

Karen Kilimnik

The mirror of the Indian Ocean, 2015

Signed, titled and dated verso
Water soluble oil color on canvas

18 x 14 inches (45.7 x 35.6 centimeters)


Jack Pierson

The West, 2016

Pigment Print

63 x 42 inches

Hayley Tompkins

Metabuilt XXXI, 2016

Found object, acrylic paint and photograph

4.38 x 24.38 x 3.13 inches

Maureen Gallace "Grey Shack"

Maureen Gallace

Grey Shack, 2012

Acrylic on paper

10 x 10 inches

Zoe Leonard

Zoe Leonard

Untitled Aerial, 2008 

Gelatin silver print

23.88 x 17.38 inches 

For 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.


D.L. AlvarezMeredith JamesBill Owens
Michael BauerXylor JaneDjordje Ozbolt
Alain BiltereystKaren KilimnikRaymond Pettibon
Nayland BlakeAjay KurianJack Pierson
Joe BradleyJim LambieScott Reeder
Sarah BramanCharles LeDrayTyson Reeder
Anne CollierMargaret LeeMichael Sailstorfer
Fergus FeehilyZoe LeonardSally Saul
Heid HahnThomas LocherRirkrit Tiravanija
Robert GoberNikki MaloofHayley Tompkins
Maureen GallaceAlicia McCarthyTilman Wendland
Georg HeroldKeegan McHargueSue Williams
Matthew HiggsJonathan MonkErwin Wurm
Elizabeth JaegerDugan NashB. Wurtz
Special thanks to our Gallery Receptionist: 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 helped pay for 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.