The Street Bar

Next in the Street Bar are a suite of small photographs by New York photographer Jefferson Hayman. Jefferson is a photographer living and working north of New York City who makes pictures rooted in photography’s rich history. This suite of intimate images with a dream-like look and feel also talk about the observed world with specific subjects of people, places and resonant objects that feel timeless and a bit mysterious. Jefferson also makes unique restored vintage frames for every photograph, adding individual tailoring to each artwork. The installation of these small works in the Street Bar is designed to feel intimate and familiar like a favorite place in one’s own home.

Next over the banquette on the bar is a work on paper by Conrad Malicoat. This simple, yet sophisticated sumi ink drawing is a depiction of scale, portion and a consideration of spatial relationships that seems perfectly suited to the view to the right of the window.

Conrad Malicoat was a builder who turned his talent to sculpture and visual art. He had a multi-faceted life, being born from two established artists, Philip and Barbara Malicoat and raised in a home saturated with art and music. He lived in Provincetown, spent a year in Paris, was invited to attend the Skowhegan School of Art where he met his wife and artist, Anne Lord, and they moved to New York City. After New York Malicoat lived and worked in Massachusetts until his death in 2014.

Three of his stone sculptures were collected by the Hirshhorn Museum and Sculpture Garden in Washington D.C. Conrad at one point took his young family to Texas to pick fruit and when he got there, the existing workers were very unfriendly and wouldn’t let him take up their task or share in the profit so he had to return to Massachusetts to start over again. Along the way he pulled up in front of Hirschhorn’s house in New York City, walked up, knocked on the door and told him he had a sculpture in the back he would like him to look at. Hirschhorn took it, bought it and it ended up in the collection at the museum.

Over the fireplace in the Bar is a photograph by Francis Olschafskie, it’s an exquisitely stylish expression of red and gold and an improbable circumstance captured on film. A reflection in a window, unexplainable, unattainable, dream-like and exotic, that creates an indistinguishable red jewel-like moment for guests to meet by the fireplace.

Further into the room is another painting by artist Lauren Ewing called ‘American Landscape’. Lauren researches sources of light and reflected light and employs them as imagery in her work. In this series, she is interested in how reflected light has changed the discussion about values, beauty, and luxury, through history. She actually uses materials that are sources for light to make her paintings. This particular painting which depicts a swan just as you might see in the Public Garden directly outside is made by pushing coal ash into an oil immersion over a painted background. We love having this tiny little painting between two large windows as the theater of this scale shifts between the view outside the windows and the depiction of this small painting is really exhilarating for people sitting in the room.

Next over the banquette in the Street Bar, is a triptych by Francis Olschafskie from his ‘History of Photography’ series. This triptych shows three panels next to each other and considers, as Francis often does in his work, early sources of photographic images, early types of photography and an exploration of first subjects and first methods of photography. The left panel depicts an early ritual of lit candles in a dark background at the Notre Dame Cathedral in Paris. The center panel depicts coins, currency, language of exchange, and a new way to consider that photographically. And the right-hand panel is a nuclear test, one of the first ways that photographs were used to help people to treat heart disease and to look at a human heart.” This artwork is about innovations and invigorations throughout history.

The next piece in the Street Bar is a photograph by Ted Kincaid. Ted is based in Texas where he considers himself to be an explorer or avatar on behalf of people who look at art. He makes half of every work by hand and half by machine. This photograph called ‘Calm Sea’ is made as a pastiche, using many samples of photographs Ted has taken and collected over the years. His library includes samples of fabrics, of stained concrete floors, seas, and sky, of all kinds of textures and interesting notions and reflections of light. He’ll then take a photograph of the subject, in this case the sea, but add these other tones that give it this look and an aged patina.