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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, mounted t shirts
Djordje Ozbolt, 'Familiar portraits 6,' 2015,  Acrylic on canvas
Sarah Braman "Afternoon Delight"
Georg Herold, 'Untitled,' 1987, Wood and tape
Michael Bauer, 'Kohr-Ex-Gohr,' 2012  Oil on canvas
Alicia McCarthy, untitled work
B. Wurtz, untitled wooden work
Thomas Locher, 'Small Gift. To Give. Giving. Given. Gift, If there Is Any...( J.D.) #6,'
Jim Lambie, belt buckle
Mathew Higgs, framed book pages
Sue Williams, 'WTC Wispiness'
Erwin Wurm
Adam McEwen, 'Untitled Text Msg. (David),' 2009  Acrylic and silkscreen ink on canvas  9.5 x 9.5 inches
Jonathan Monk marble work
Alain Biltereyst, three untitled acrylic works
Dugan Nash, 'Untitled,' 2016  Acrylic on bowling ball
Nayland Blake "spirits of the streets"
Maureen Gallace seascape, acrylic on paper
Joe Bradley, untitled graphite work
Anne Collier, 'Photograph (Woman With A Camera #1),' 2016
Margaret Lee, 'Pumpkin (two ways) and a little extra,' 2017
Meredith James, 'Argument (Cuckoo 11 and 12),' 2017
Ajay Kurian, gold plated ostrich egg
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
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
Hayley Tompkins, 'Metabuilt XXXI,' 2016
Maureen Gallace "Grey Shack"
Zoe Leonard

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.