Hall Art Foundation

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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.

16/12/2024

Schloss Derneburg was the home and studio of Georg Baselitz for approximately 30 years before its sale to the Halls in 2006. During his tenure, Baselitz and his wife Elke welcomed numerous artist friends and colleagues whose work Baselitz occasionally also collected for himself. One of these artists was A.R. Penck, seen here with Baselitz in 1988 at the top of the grand staircase in the castle’s Haupteingang.

Photos: (c) Edward Quinn / Hall Art Foundation

15/12/2024

Frosty morning in Vermont with Gary Hume’s painted bronze sculpture, “Back of Snowman” (2001).

In Vermont, we are on a short break until we reopen with our special winter hours on January 4th.

You can find additional details on our website. See you again soon! ❄️

Photos: Tara Wray

12/12/2024

“Leaving the Smoke Behind: Enjoying an Awayday” is now on view at Poster House in New York City through April 13th.

The majority of the posters in this show date from the Golden Age of London Passenger Transport Board posters, when many artists were commissioned to produce designs, primarily for London Underground and its various connecting networks of tram and bus lines. In this post-World War I era, the overarching concept behind the poster campaigns was to encourage off-peak travel across the wider network through eye-catching, attractive designs, thus driving up revenues for under-utilized lines.

Most of these posters were not advertising the train lines themselves, but featured images focused on pastoral or unspoiled destinations for weekend day trips, such as historic houses, beaches, or sporting events like rowing races, all on the outer reaches of the Tube lines. These vividly colored posters frequently juxtaposed the inherent grayness of inner city London with an exaggerated vibrant atmosphere available just a short Tube ride away.

The show includes 20 posters, on loan from us! Check it out if you can.

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

Installation views: Stephanie Powell. Courtesy of Poster House

11/12/2024

In 1990, Thomas Struth was commissioned to make photographs for patient rooms in the new wing of the Spital am Lindberg, a private hospital in Winterthur, Switzerland. Between 1991 and 1993, he took photographs in the immediate vicinity of Winterthur and the hospital itself. He captured vistas out over the Thur Valley and the Weinland region around Zurich – soft and painterly views of the edges of forests, country lanes, as well as intensely-colored buds, twigs, leaves and withered blooms from an abandoned garden. Struth photographed one large-scale landscape and two individual plants and flowers for each of the thirty-seven patient rooms. The project was called The Dandelion Room. Two close-up photographs of flowers and plants were hung on the wall behind each patient bed, with one large-scale landscape installed on the opposite wall at the foot of each bed. While the flowers could be interpreted as a portrait, metaphor or guardian for the sick person, the landscape connected each patient to the outside world.

Our exhibition of Struth’s large-scale Winterthur landscapes opens in Vermont on 4 January 2025.

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

Pictured: (1) Thomas Struth, Forest Road on the Lindberg, Nr. 3, Winterthur, 1992, Chromogenic print, 32 x 40 in. (2) Thomas Struth, Cornfield, Nr. 22, Winterthur, 1992, Chromogenic print, 39-1/2 x 46-1/2 in. (3) Thomas Struth, Silvery Tree Trunk on the Wolfenberg, Nr. 17, Winterthur, 1993, Chromogenic print, 27 x 34 in.

Ref: Thomas Struth, Sketch, Löwenzahnzimmer (The Dandelion Room), Winterthur, 1991, 21 x 29.7 cm
© the artist

09/12/2024

The cloister at Kunstmuseum Schloss Derneburg has a long and rich history. Swipe!

Initially, Derneburg was the home of various religious orders for nearly 700 years. During a period of extensive renovations in 2007, the graves of 42 monks and various artifacts were discovered in the cloister, and carefully recorded as part of an official archaeological investigation.

After serving as a monastery for several centuries, Schloss Derneburg became a residence for the Anglo-Hanoverian Münster family from 1814 -1974. This view dates from the early 1900s and shows the cloister as a residential display space for the family’s tapestries and busts.

In 1974, Derneburg became the home and studio of Georg Baselitz for approximately 30 years. Here is a view of Baselitz stretching a painting in the cloister in 1993.

In 2006, Derneburg was acquired by the Halls, and the cloister is now partly used as an exhibition space - here’s a view of Robert Longo’s sculptural installation “When Heaven and Hell Change Places (7 day version)” (1992-2019).

Photo of Baselitz: (c) Edward Quinn / Hall Art Foundation, (c) Georg Baselitz

06/12/2024

In Vermont, we are on a short break until we reopen with our special winter hours on January 4th.

You can find additional details on our website. See you again soon! ❄️

05/12/2024

Kris Martin’s “Good Luck (seeberg sandstone)” (2023) is positioned in front of the castle’s east wing, flanked by one of the castellated towers added to what was previously a Cistertian monastery by the Munsters, who converted Derneburg into a stately home. The tower itself is adored with red and white chevrons from the Munster family crest.

Photo: Roman März

04/12/2024

“Hermann Nitsch: Drawings” is currently on view at the BRUSEUM, Neue Galerie Graz in Austria.

“In his Or**es Mysteries Theater, Hermann Nitsch (*1938 in Vienna; †2022 in Mistelbach) created an extensive Gesamtkunstwerk (total art work) that fused painting, music, action, theatre and architecture. His goal was to produce an all-encompassing aesthetic and spiritual experience. Nitsch’s drawings and prints do not represent an independent body of work but rather are an integral part of his overall concept. They reveal the architectural visions he developed for his action theatre while offering fascinating insights into his thoughts and plans for its realisation.”

The show includes 2 large scale works on paper, “Das letzte Abendmahl (The Last Supper)” (1976-1979) and “Design for “Grablegung (Burial)”’ (1983-2007), pictured here - on loan from us!

On view through 23 February 2025. Check it out if you can.

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

Photos: Universalmuseum Joanneum/N. Lackner © Bildrecht Wien, 2024

03/12/2024

We are pleased to announce an exhibition of photographs by Thomas Struth, opening in Vermont on 4 January 2025 as part of our special winter program.

Since the late 1970s, the work of internationally acclaimed German artist Thomas Struth has explored the construction of our built and social environments through precise and analytic photographs of individuals and families, landscapes, architecture, and interior spaces of culture and science. This show features a group of Struth’s large-scale color photographs of rural landscapes taken in and around the Winterthur area of Switzerland in the early 1990s.

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

Pictured: Thomas Struth, Group of Trees near Rutschwil, Nr. 25, Winterthur, 1993, Chromogenic print, 46 x 54 in. © the artist

02/12/2024

“Strike Fast, Dance Lightly: Artists on Boxing” is currently on view at the Norton Museum of Art in West Palm Beach, Florida.

This group show “presents a critical look at the sport of boxing through a variety of artistic media. Featuring over 100 artworks spanning from the late 19th century to present day, this dynamic presentation is the largest comprehensive survey of artwork depicting the global sport and its cultural impact. Strike Fast, Dance Lightly illuminates the connections between boxing and artists, and underscores the rich history of a centuries-old sport and its influence on artistic movements.”

Including works by Keith Haring, Joe Zucker and Ed Paschke - on loan from us!

The show is on view through 9 March 2025. Check it out if you can.

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

Photos: Ashley Kerr. Courtesy of the Norton Museum of Art.

29/11/2024

In Vermont, we received our first snowfall in time for the last weekend of our regular season.

This Saturday and Sunday is your last chance to see our Barbara Kruger, Ed Ruscha, Sherrie Levine, Doomscrolling and Robert Longo exhibitions.

We’ll reopen for special winter hours in January. Stay turned!

Photos by

28/11/2024

In Vermont, this is the last weekend to see “Ed Ruscha: Works on Paper”.

The show begins with a group of Ruscha’s seminal black-and-white photographs from 1962 and presents over a dozen works on paper that span five decades of his career. Since the 1960s, Ruscha has explored the role of language in painting, drawing, photography, printmaking, and bookmaking by using the meaning and formal qualities of words as his principle subject matter.

Photos by Jeffrey Nintzel and Tara Wray

26/11/2024

A distant, late afternoon view of Schloss Derneburg 🤍

Photo .lenferink

25/11/2024

In Vermont, this is the last weekend to see our show of works by Sherrie Levine.

Sherrie Levine rose to prominence as a member of the Pictures Generation, a loose group of artists based in New York City in the late 1970s and early 1980s. In varied ways, these artists all created work by appropriating and reusing existing images from popular culture, questioning the way that meanings become assigned to images, and how or why certain kinds of images are considered “art”. While many of her colleagues utilized images from popular culture and the mainstream media in their work, Levine borrowed her images directly from high art sources, and importantly, often from reproductions of artworks, which are often the most common way that one experiences a well-known image.By claiming existing artworks as her own, Levine broke with conventional notions of art needing to be created by “the hand of the artist”, further raising questions about uniqueness, authenticity, and originality, and how these elements have traditionally been the basis for valuating works of art. Spanning over 30 years of her work, this survey includes photographs, paintings, and sculptures from many of Levine’s most acclaimed series which are central to her ongoing inquiry into notions of ownership, authorship, originality, and authenticity.

Photos by Jeffrey Nintzel and Tara Wray

22/11/2024

Sol LeWitt is considered a pioneer of conceptual art and minimalism, which he explored in printmaking, painting and sculpture. LeWitt adopted two opposing approaches in the creation of his works, mathematical order or chance. This allowed the artist to create an artwork from the selected principle in a natural progression.

Open Geometric Structure 3 (1990) is one example of his application of the principle of geometric progression. Composed of white-painted, hollow and open wooden squares, the interpretation of the sculpture’s shape changes depending on one’s perspective. Through the continuous and uniform alteration of the structure, which begins with a tower of eight stacked squares and continuously decreases by one unit in height and increases by one unit in width, its form is reminiscent of a staircase when viewed from the side. When viewed from above, squares of differing sizes are lined up next to each other. The formula applied by LeWitt determines the appearance of the final sculpture and thus requires only minimal physical intervention by the artist.

Sol LeWitt
Open Geometric Structure 3, 1990
Painted Wood
98 x 98 x 438 cm

This work is presented as part of our ongoing Sammlungsraum series — a program of special rotating displays of works drawn from the Hall Collection open to visitors via special tour opportunities.

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

Photos: Roman März

19/11/2024

A new addition to our sculpture park!

In 2012 Nicole Eisenman was invited to a residency at the Studio Voltaire in London during which the artist decided to sculpt with plaster. The two figures which comprise the bronze sculpture, “Untitled (Lust)”, were cast from the plaster originals made during this residency. They lean backwards as if by force of the action, haphazardly balanced on a triangular base in which the grain of the original wood comes through in the cast. The leaning position is perhaps atypical in the history of both plaster and bronze, while the motif of a kiss recalls both Pygmalion and Brancusi, and appears in a number of Eisenman’s paintings, drawings and prints.

Nicole Eisenman
Untitled (Lust), 2024
Cast bronze
245 x 80 x 86 cm

Photos: Roman März and .lenferink

18/11/2024

Schloss Derneburg’s long history dates back almost one thousand years. Initially a fortified dwelling, it became the home of various religious orders for nearly 700 years. In the early 19th century the Prussians took Derneburg from the church and made it a property of the state, and in 1807, it was seized by Napoleon’s troops. With Napoleon’s defeat, Derneburg then passed to the Hanoverian kingdom of George Ill of England, who gave it to the English-Hanoverian Count Ernst Friedrich Herbert zu Munster in 1815. Under their ownership, the Munsters converted Derneburg into a stately home, razing parts of the monastery and adding new structures in the English gothic style. The baroque church built by the Cistercians was converted into a strikingly evocative structure containing a unique concave sloping roof, still visible on the castle’s west wing.

Photos: .lenferink

15/11/2024

Marisol’s sculptural painting, “Homage to Mantegna (Study After Mantegna’s Dead Christ)”, (ca. 1963-64) is included in our group show, The Passion. Installed throughout the cloister of the former monastery, the show examines the use of Christian iconography in contemporary art, while paying homage to Schloss Derneburg’s long ecclesiastical history.

Marisol
Homage to Mantegna (Study After Mantegna’s Dead Christ), ca. 1963-64
Graphite on paper mounted to wood panel with cast plaster and paint
114 x 102 x 20 cm

Photo: Roman März

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In Vermont, there are only 3 weekends left to see “Doomscrolling” by Rob Swainston and Zorawar Sidhu. An addictive compulsion, doomscrolling is described as the act of spending an unintentionally excessive amount of time actively seeking out and reading negative or depressing news online. In this series of 18 woodblock prints, Zorawar Sidhu and Rob Swainston culled imagery from the mainstream media to depict 18 moments between 24 May 2020 and 6 January 2021. The date of each work is tied to now-iconic images and specific events, and altogether form a portrait of the United States during the time of Covid, Black Lives Matter protests, the events leading up to the 2020 election and the infamous day of the insurrection at the United States Capitol in Washington, D.C. The show is up in Vermont through November. Click on the link in our profile for more info and tickets. Video by Jeff Diehl #hallartfoundation #hall_collection #zorawarsidhu #robswainston @zorawarawar @rob_swainston

An addictive compulsion, doomscrolling is described as the act of spending an unintentionally excessive amount of time actively seeking out and reading negative or depressing news online. In this series of 18 woodblock prints, Zorawar Sidhu and Rob Swainston culled imagery from the mainstream media to depict 18 moments between 24 May 2020 and 6 January 2021. The date of each work is tied to now-iconic images and specific events, and altogether form a portrait of the United States during the time of Covid, Black Lives Matter protests, the events leading up to the 2020 election and the infamous day of the insurrection at the United States Capitol in Washington, D.C. The show is up in Vermont through November. Click on the link in our profile for more info and tickets. Video by Jeff Diehl #hallartfoundation #hall_collection #zorawarsidhu #robswainston @zorawarawar @rob_swainston

Greetings from an old friend 💚 Olafur Eliasson Waterfall, 2004 Scaffolding, water, wood, foil, aluminum, pump, hose 7 x 6 x 10 m #hallartfoundation #olafureliasson

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