TODD MERRILL STUDIO EXHIBITING AT THE SALON: ART + DESIGN IN NEW YORK
Park Avenue Armory, November 10 -14, 2016
New York, New York— At The Salon: Art + Design, Todd Merrill Studio will exhibit a collection of unique, material-driven works from nine artists working with the most refined and innovative techniques across metal, wood, ceramics and LED. While the works shown are definitive of the 21st Century, implementing new technologies, they also frequently reference the past whether through historical technique or visual aesthetics. The artists included in the exhibition share a similar focus of viewing the natural world through historic interpretation.
Molly Hatch’s newest plate painting was crafted by sourcing Chinese patterns from Owen Jones’ iconic 19th century archives of ornament and decoration. The installation extends Hatch’s series of works wherein the artist explores the relationship between the historic and the contemporary through the deconstruction of traditional pattern. The historic floral pattern is re-contextualized through painterly brush strokes over 54 hand-thrown porcelain plates. Hand-painted with glaze, under-glaze, and 11K gold luster, each plate reveals Hatch’s unique approach to painting, through abstracted lines, bold forms, and captivating plays between positive and negative space. Together, the plates form a unique wall installation, reawakening interest in the historic through a 21st century technique and aesthetic.
Hatch’s work has been widely collected, commissioned and exhibited. Physic Garden, a monumental 456-plate painting, was installed at the High Museum of Art in Atlanta, this Spring. Hatch is currently working on a large-scale installation for the Newark Museum.
Discoveries : The best in design, culture and style
By Architectural Digest | Wednesday, July 15, 2016
For tastemaking Manhattan design dealer Todd Merrill, relocating to a 100-year-old storefront in Tribeca has required the patience of an archaeologist. “There were surprises at every turn,” he says of his renovation of the space, which was formerly occupied by a massage parlor and a check-cashing business. Over the decades partitions had been added, windows covered up, and not one but two drop ceilings installed, concealing a jungle of electrical and mechanical systems. Merrill peeled it all back.
The result, unveiled in May, is an airy sun-drenched gallery with 20-foot ceilings and a total of 4,000 square feet—more than double that of Merrill’s previous outpost. There’s now ample breathing room for his dynamic mix of vintage and contemporary treasures. “We’re in this gray area between art and design,” says Merrill (photographed next to a chair by cutting-edge wood-working atelier Yard Sale Project and a ceramic wall sculpture by Molly Hatch). As the dealer explains, “I’m always on the hunt for the Paul Evans and George Nakashima of today.”
After months of planning, we're excited to gather the craft field together at Kaneko in Omaha, Nebraska, this week for our national conference, "Present Tense."
One of the things we're especially looking forward to is seeing the commemorative plate wall installation created by ceramist Molly Hatch to recognize all of our conference supporters. Hatch used imagery from the ACC Library and Archives as inspiration for SCOPE, and we asked her to share a bit more with us about her process and the finished installation.
What was your process like for exploring the archives for inspiration?
I approached sourcing inspiration for SCOPE as I do most of my work. I typically research online, in museums and museum archives, as well as libraries for inspiration. In this case, I worked with the ACC to develop the concept and overall direction for the piece, which helped a lot in sourcing imagery in the ACC archives in Minneapolis. I spent an afternoon looking through the past catalogues from exhibitions, conferences, and the magazine to get a sense of the overall feeling of the history of the publications by the ACC.
What stood out and how did you decide?
It became clear that throughout the history of ACC publications, covers have been consistently graphic in nature, often a pattern or pattern reference was used. So I thought I would approach designing SCOPEto incorporate a selection of covers. I was excited to see how many worked well together in a linear way — creating a new composition from past covers. In the end, I unified the graphics by making the overall composition monochrome, the gold was something I added later, as I felt it needed one more element to complete and unify the composition.
What do you hope people take away from the finished installation?
A sense of unity despite material — that metaphorically the donors and active members and community that makes up the ACC are each integral parts to making up a whole. Without any single one of us, the composition isn’t complete — yet each of use stand on our own as individuals within the whole. I am excited to reference the amazing ACC Library and Archives. It's an incredible resource that I hope more people will take advantage of. Finally, I hope that viewers see this as a celebration of the ACC and its past, present, and future.
What's next for you as an artist?
I am continuing work in my studio as an artist making one-of-a-kind wall installations and also as a designer working to develop product. I am working on a large installation for the Newark Museum in New Jersey. That will be my largest installation to date with more than 500 plates in the installation. The piece will be on public view in summer of 2017.
What are you most looking forward to at the "Present Tense" conference?
I am most excited about the conversations in the community. I am curious about what is on our community’s mind, how folks are doing, and what is happening out there in the American craft scene. I am entering the conference with excitement and an open mind!
Winter Antiques Show Offers a Collection of Recent and Rare Works
By Roberta Smith | January 22, 2016
The Winter Antiques Show is a short-lived galaxy of colliding worlds. Nearly every booth provides a glimpse into some areas of visual culture, from Egyptian antiquities to American folk art to postwar Italian art glass.
The collisions at this year’s show at the Park Avenue Armory are greater than ever because the cutoff date for material has been moved to the present from 1969. One dealer — referring to show’s tradition of fine furniture — observed that this iteration is “less brown” than its predecessors.
At Todd Merrill, a newcomer to this fair, nearly everything dates from after 1969, starting with “Three Mauves,” a booming tapestry by the Flemish-American artist Jan Yoors. Its style is hard-edge Color Field, its date, around 1976. It overlooks an aggressively faceted console in chromed steel (1973) by Paul Evans and several large vases from 2015 by Shari Mendelson. Made of plastic trash and foil, they both parody and pay homage to ancient glass. Mr. Merrill seems to favor a high-spirited incompatibility that is unusual here.
8 Things You Shouldn’t Miss at the New York Design Fairs
By Rebecca Stadlen and Lindsey Chan | May 11, 2015
New York City’s furniture fairs kick off this week as part of a massive citywide celebration of all things design. Among them, ICFF, Collective Design, Sight Unseen OFFSITE, and WantedDesign are some of the most exciting places to preview what’s new and discover up-and-coming talent. Here, eight things you shouldn’t miss at this year’s fairs.
“Molly Hatch’s plate installation at last year’s Collective was one of my standouts from the fairs, so I was thrilled to hear she would be back with part two, Aspire: After Meissen, U.S.A. Hatch’s deconstruction of Meissen’s Purple Indian tableware pattern, on a group of 58 hand-thrown-and-painted porcelain plates, is a combination of everything I love.”
. . . In the high modern era, decoration was forbidden; everything was “form follows function.” Craft, however, was often covertly decorative. Now craft embraces a whole range of the decorative, from the conceptual to the riotously ornamental.
The James Renwick Alliance invites you to join a lively and distinguished panel as they explore the contemporary decorative impulse in craft: its intentions, its meanings and its devices.
The When & Where
Date: March 28, 2015
Time: 10:30 am to 12:30 pm
Venue: McEvoy Auditorium of the Smithsonian American Art Museum
The New Bedford Whaling Museum has organized a landmark exhibition featuring Molly Hatch and 7 other leading Ceramic Artists tasked with creating contemporary works in response to the Museum’s Collection. The National Council for the Education of Ceramic Arts (NCECA) holds its annual conference in Providence, Rhode Island in March 2015. This exhibition coincides with the NCECA conference, showcasing original work inspired by the material culture of this region’s storied history from the collection of the New Bedford Whaling Museum. Of Earth and Sea features commissioned work from 8 acclaimed artists: Chris Archer, Mary Barringer, Cynthia Consentino, Molly Hatch, Sergei Isupov, Kathy King, Jim Lawton, and Seth Rainville. These artists were selected to showcase the local world-class talent in the ceramic arts. All residents of New England, the artists were invited to visit the Museum frequently to study the vast collection with the generous help of the Museum collections staff. Works created are on display in the Breitmeyer Gallery and throughout the Museum’s other exhibition galleries from March through August 2015.