Hall Art Foundation

Hall Art Foundation The Hall Art Foundation collaborates with public institutions around the world to facilitate loans from its own collection and that of the Halls.

The Hall Art Foundation was founded in 2007 and makes available postwar and contemporary art works from its own collection and that of Andrew and Christine Hall for the enjoyment and education of the public. Together the two collections comprise some 5,000 works by several hundred artists, including Richard Artschwager, Georg Baselitz, Joseph Beuys, Eric Fischl, Leon Golub, Jorg Immendorff, Anselm

Kiefer, Baryy Le Va, Malcolm Morley, A.R. Penck, Ed Ruscha, Andy Warhol and Franz West. In addition to a dedicated gallery space at MASS MoCA, the Hall Art Foundation operates a contemporary art space in Reading, Vermont.

Baselitz’s formal inversion of his subjects allowed him to develop traditional subjects including the figure, still life...
08/08/2026

Baselitz’s formal inversion of his subjects allowed him to develop traditional subjects including the figure, still life and landscape in new ways, often sourcing subjects from photographs to concentrate on formal experimentation.

“Fingermalerei - Birken (Finger Painting - Birch Trees)” (1972) is included in our group exhibition, Konferenz: Baselitz, Immendorff, Lüpertz, Penck. Comprised of over 50 significant works by Georg Baselitz, Jörg Immendorff, Markus Lüpertz and A.R. Penck, the exhibition joins four celebrated post-war German artists with unique and groundbreaking methods of exploring national identity during a time of political fracture. Critically intertwined after a period of simultaneous representation by gallerist Michael Werner, each artist rejected any fidelity to a specific style, and together offer a broad understanding of generational concerns in the decades prior to the fall of the Berlin Wall.

Visit our website or click the link in our bio for more info and tickets.

Photo: Franziska Lenferink

Born in 1936, David Annesley is an English artist best known for the welded sheet metal sculptures he began making in th...
06/08/2026

Born in 1936, David Annesley is an English artist best known for the welded sheet metal sculptures he began making in the 1960s. 

In 1968, Annesley spent a summer with the painter, Kenneth Nolan in Bennington, Vermont where the two discussed the implementation of color extensively. Color was first introduced in Annesley’s works with neutral shades, and eventually transitioned to soft pastels. Annesley’s sculptures create a dialogue between color and form. Defying their heavy steel constructions, the pale hues intensify a sense of movement, dynamism and weightlessness.  

“Untitled” (1969) is one of approximately two dozen outdoor sculptures installed throughout our grounds.

Visit our website or click the link in our bio for more info and tickets.

Photo: Tara Wray

Made while working on his first wooden sculpture for the 1980 Venice Biennale, Georg Baselitz’s painting Schwarzer Kopf ...
05/08/2026

Made while working on his first wooden sculpture for the 1980 Venice Biennale, Georg Baselitz’s painting Schwarzer Kopf (1978/79) depicts a head rendered in high contrast tones of cadmium red and ultramarine blue with thick brushstrokes that resemble carved recesses. 

This painting is included in our group exhibition, Konferenz: Baselitz, Immendorff, Lüpertz, Penck. Comprised of over 50 significant works by Georg Baselitz, Jörg Immendorff, Markus Lüpertz and A.R. Penck, the exhibition joins four celebrated post-war German artists with unique and groundbreaking methods of exploring national identity during a time of political fracture. Critically intertwined after a period of simultaneous representation by gallerist Michael Werner, each artist rejected any fidelity to a specific style, and together offer a broad understanding of generational concerns in the decades prior to the fall of the Berlin Wall.

Visit our website or click the link in our bio for more info and tickets.

Photo: Franziska Lenferink

Markus Lüpertz belongs to a generation of painters who were the first to confront the authoritarian atrocities after the...
04/08/2026

Markus Lüpertz belongs to a generation of painters who were the first to confront the authoritarian atrocities after the Second World War. In his drawings and paintings of the 1960s, Lüpertz isolated forms and elements in poetic arrangements that recalled the propagandistic use of images by the Nazis, as well as the opening credits of motion pictures. In Idylle IV (1969), the side detail of wooden slats along train tracks is arranged above and adjacent to the entryway of a train tunnel below. Ignoring traditional rules governing representational composition and scale, Lüpertz transforms the industrial details into a powerful assemblage evoking military rigor and compliance.

This is one of approximately 70 works included in our group show, “A Farewell to the Western World”, currently on view at the Hall Art Foundation in Reading, Vermont.

Visit our website or click the link in our bio for more info and tickets.

Antony Gormley’s cast iron sculpture, Kastellet Girl (2004) is included in our long term presentation of Gormley’s work ...
03/08/2026

Antony Gormley’s cast iron sculpture, Kastellet Girl (2004) is included in our long term presentation of Gormley’s work at Kunstmuseum Schloss Derneburg. Gormley is internationally lauded for his sculptures, installations and public artworks that investigate the relationship of the human body to space.

Visit our website or click the link in our bio for more info and tickets.

Photo: Franziska Lenferink

In Vermont, the perennial bed around Atelier Van Lieshout’s “Bacchus and His Two Assistants” (2001) is buzzing with life...
31/07/2026

In Vermont, the perennial bed around Atelier Van Lieshout’s “Bacchus and His Two Assistants” (2001) is buzzing with life. 🦋

The Hall Art Foundation in Reading, Vermont is open weekends through November. Visit our website or click the link in our bio for more info and tickets.

Photos: Tara Wray

In the monumental painting Circling Overland (2002), German artist Torben Giehler transforms a gridded landscape with an...
30/07/2026

In the monumental painting Circling Overland (2002), German artist Torben Giehler transforms a gridded landscape with an overhead view of diagonal bands and aligned color blocks, which recede towards a far horizon. The painting is titled after a song by the Belgian electronic music group Front 242, and is part of a series in which hand-drawn sketches were edited digitally and later scaled to massive paintings with vibrant colors. On close inspection, Giehler’s use of a transparent acrylic paint creates a layered effect that upends traditional hard edge painting in which all compositional layers unite across a flattened pictorial plane.

“Circling Overland” (2002) is included in our group show, HARD EDGE(D), now on view at Kunstmuseum Schloss Derneburg.

Visit our website or click the link in our bio for more info and tickets.

Photo: Roman März

The apples are getting bigger… Handpicked each fall from our orchard, our apples are pressed, fermented and finally bott...
29/07/2026

The apples are getting bigger…

Handpicked each fall from our orchard, our apples are pressed, fermented and finally bottled into sparkling Puckerbrush Cider, available for visitors to enjoy on site at our museum cafe.

We are open weekends from 11am - 4pm for self-guided visits of our exhibitions and grounds, and also offer a tour of highlights at 10am. Visit our website or click the link in our profile for more info and tickets.

Photos: Tara Wray

In his work, Jörg Immendorff often incorporated recognizable portraits of friends and colleagues, as well as historical ...
28/07/2026

In his work, Jörg Immendorff often incorporated recognizable portraits of friends and colleagues, as well as historical figures, as a means of confronting authority both geopolitical and within the art world.

During the 1980s, Immendorff drastically developed his style while maintaining core elements of his motifs like the Prussian symbol of the eagle, visible in this painting, “Wir können zufrieden sein II (We can be satisfied II)” (1981)

This painting is included in our group exhibition, Konferenz: Baselitz, Immendorff, Lüpertz, Penck. Comprised of over 50 significant works by Georg Baselitz, Jörg Immendorff, Markus Lüpertz and A.R. Penck, the exhibition joins four celebrated post-war German artists with unique and groundbreaking methods of exploring national identity during a time of political fracture. Critically intertwined after a period of simultaneous representation by gallerist Michael Werner, each artist rejected any fidelity to a specific style, and together offer a broad understanding of generational concerns in the decades prior to the fall of the Berlin Wall.

Visit our website or click the link in our bio for more info and tickets.

Photo: Franziska Lenferink

In Louis Eisner’s painting “Home on the Range” (2021), a sleeping figure gripping his pillow slumbers nearby a table on ...
27/07/2026

In Louis Eisner’s painting “Home on the Range” (2021), a sleeping figure gripping his pillow slumbers nearby a table on which sits a pair of dentures agape in a drinking glass. Though the subject appears to be smiling, Eisner’s rendition is dark and gruesome, inspired by a Topps gum card produced in 1959 from a series titled “You’ll Die Laughing.” Home on the Range belongs to a body of work that explores the imagery and symbolism of the American West, but is subverted by color palette, scale and perspective to suggest a sinister and critical tone. Eisner’s work suggests a naivety or obliviousness around colonial pride of manifest destiny, entangled with a history of stolen land, uprooted communities and failed attempts at the American dream.

This is one of approximately 70 works included in our group show, “A Farewell to the Western World”, currently on view at the Hall Art Foundation in Reading, Vermont.

Visit our website or click the link in our bio for more info and tickets.

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Schlossstr. 1
Derneburg
31188

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