Tuesday, September 16, 2008

Works of Art: Tom Stanley

All works by Tom Stanley available through if ART Gallery. (803) 238-2351 / wroefs@sc.rr.com.
Modern Motel, 2014, acrylic on 300#
watercolor paper, 30 x 22 in., $1,100
(Two for $1,900, three for $2,700)
Modern Motel, 2014, acrylic on 300# 
watercolor paper, 30 x 22 in., $1,100 
(Two for $1,900, three for $2,700)

Modern Motel, 2014, acrylic on 300# 
watercolor paper, 30 x 22 in., $1,100 
(Two for $1,900, three for $2,700)








Big Lots Paintings X, 2011, acrylic on canvas
12 x 12 in., $400


Big Lots Paintings XII, 2011, acrylic on canvas
12 x 12 in., $400










Big Lots Paintings VII, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings VIII, 2011, acrylic on canvas
12 x 12 in., $400





















Big Lots Paintings XIV, 2011, acrylic on canvas
12 x 12 in., $400
Drawings Across the Seas #9, 2016,
 acrylic on 300# Arches, 22 x 30 in., $2,500

Drawings Across the Seas #10, 2016,
 acrylic on 300# Arches, 22 x 30 in., $2,500


Untitled, 2008, acrylic on canvas, 48 x 60 in., $5,000

Houses, 2017, acrylic on 300#
Arches, 22 x 15 in., $1,200

Houses, 2017, acrylic on 300#
Arches, 22 x 15 in., $1,200

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

En Route To Hamlet, 1993-2000, acrylic on canvas, 
13 3/4 x 13 3/4 in., $600

The Neighborhood, 2005-06, 
acrylic on panel, 33 x 39 in., $1,800

Red, White and Black #2, 2010, acrylic on canvas, 
48 x 68 in., $5,000

Monday, September 15, 2008

Biography: Tom Stanley

Tom Stanley is an artist and chair of the Department of Fine Arts at Winthrop University, Rock Hill, S.C. Born in Fort Hood, Texas, Stanley grew up in Concord, N.C., and attended Belmont Abbey and Sacred Heart colleges in Belmont, N.C. He received a M.A. in Applied Art History and a M.F.A. in Painting from the University of South Carolina in 1980. He has served on the faculties of Arkansas College (now Lyon College) in Batesville, Ark.; Barry University in Miami, Fla.; and as the director of the Waterworks Visual Arts Center in Salisbury, N.C. He was the first director of Winthrop University Galleries from 1990-2007. As a curator, Stanley's projects have included Worth Keeping: Found Artists of the Carolinas for the Columbia Museum of Art; New South Old South Somewhere In Between for Winthrop and the Levine Museum of the New South; Still Worth Keeping: Communities, Preservation and Self-Taught Artists in collaboration with the South Carolina State Museum; the production of Remembering Ed (Lewandowski): The Last Precisionist in collaboration with SCETV; Portraits et Personages, co-curated with the late Geneviève Roulin, in collaboration with the Collection de l'art Brut; Edge to Edge, an exhibition that focused on the art of the 1960s for Bank of America's Charlotte and San Francisco galleries; and Two Worlds Outside: Nukain Mabusa and Joshua Samuel in collaboration with South by South Africa. 
In recent years his work has been exhibited at Hampton III Gallery, Greenville; George Gallery, Charleston; If Art, Columbia; Fine Arts Center, Greenville; Artspace, Raleigh; and 701 Center for Contemporary Art, Columbia. His 2004 Floating series was exhibited at the South Carolina State Museum’s Triennial and the New Orleans Center for Creative Arts. He has exhibited in Charlotte’s Gallery at Carillon; SECCA, Winston-Salem; La Galerie du Marché, Lausanne; Hodges Taylor Gallery, Charlotte; Musée de la Halle Saint Pierre, Paris; the Halsey Gallery, Charleston; and gallery twenty-four, Berlin. His work was included in Abstract Art in South Carolina, 1949-2012 at the South Carolina State Museum, and Tom Stanley Glossary: Untitled Paintings at Gallery 80808 in Columbia. A series titled Drawings Across the Sea was exhibited this past year at the University of Porto’s Casa-Museu Abel Salazar in Portugal. 
Over the past few years Stanley has teamed with colleague-artist Shaun Cassidy on a number of projects including the exhibition Collaboration of Fragments at the Sumter Gallery of Art and public art commissions including Balancing Act in Simpsonville, S.C., for Provident Community Bank; Journey in Raleigh, N.C., for the North Carolina Local Government Federal Credit Union; and Five Installations for the University of Nebraska Medical Center in Omaha. In 2010 Cassidy and Stanley completed the 33-feet high stainless steel Winthrop Monolith and the concrete River’s Journey for the Hardin Family Garden at Winthrop University. In 2013 the team completed the sculpture Time Further Out for the Matthews, N.C. Sportsplex. Stanley is currently completing the public art for Charlotte Area Transit’s Tom Hunter Station on North Tryon Street in Charlotte. 

Sunday, September 14, 2008

Essay: Tom Stanley

TOM STANLEY – The Neighborhood
By Wim Roefs

“I think of my images as free floating narratives,” Tom Stanley wrote in 1995. That’s still true for his work, including his most recent series, “The Neighborhood.” In his narratives, Stanley seems to be on the move. He’s “Floating,” “En Route to Hamlet” or going “Across the River,” as his series’ titles indicate. 

As he travels, physically but more so in his mind, Stanley explores human activity. His tableaus are composites of scenes, structures or objects he has seen and symbols, letters and words linked to people and experiences. “The idea, I supposes, is the journey,” Stanley said in 1998. 

In “The Neighborhood,” the eye strolls from a row of houses or larger structures to a church or a power-line tower. Stanley places the elements next to or on top of each other, creating a delicate construction of clues to his views about society. He often exhibits several paintings in a horizontal row, providing complimentary angles on a subject. 

His neighborhoods, Stanley says, represent “built environments that are forms of human expression.” Symbols for oil and electricity are monuments of survival. There are large wheels, often with buildings or other structures balancing on them. There’s a bucket, a spigot or a chemist’s bottle. 

Stanley’s recycling of images in different series suggests that as he emphasizes specific concerns, he’s developing a broader, integrated view of “human expression.” Many elements of “The Neighborhood” already appeared in “Floating,” then placed on large ships, combined with symbols of oil and warfare but also of nature and the circus. Nature, especially trees, as well as boats, wheels and imposing architectural structures featured in “Across the River.” There, Stanley also explored family history – more specifically, the mysterious 1920 drowning death of his grandfather in the Mississippi River at New Orleans.

Many of the elements in the work go back to the early 1990s. Inspired by self-taught artists he worked with as a curator, Stanley began to mine his own experience, memories and environment – “my myth,” as he has called it – in a free-associative, even stream-of-conscious manner. This resulted in colorful, crowded-but-balanced tableaus populated by dozens of small, roughly rendered objects, shapes, structures, symbols and big and small Pacman-like profiles. 

From the mid-1990s, Stanley gave the individual elements in his busy work their own space, isolating them in small, square paintings. He installed dozens of them in flowing, lively narratives called “En Route to Hamlet.” The shape and size of the installation would change according to the space Stanley exhibited in.

Aesthetically, too, the work had a distinctly un-academic, informal feel. In addition to self-taught artists, the paintings related to Art Brut and the likes of Jean Dubuffet and Paul Klee. But already with “Hamlet,” a formalization of Stanley’s work set in. The Hamlet series maintained an informal painting and drawing style, but the isolation of individual elements in sparse paintings gave them a formal touch. 

The late-1990s’ “Profile En Route to Hamlet” series was busy again but clearly and deliberately organized around a large head in profile. And in the “Profiles” series of 2003, the large head shared a rather barren environment with only a few geometric forms. The change since the mid-1990s from rather colorful to a muted, sometimes even darkish palette also increased the work’s formal quality. 

The series “Across the River” of 2002 – 03 seems pivotal. In it, the mechanical, hard-edged drawing style, the strict, calculated compositions and the stylized shapes that define Stanley’s current work begin to dominate. And while the personal remained important, the human figure through the profile disappeared. 

In his last few series, Stanley has intensified the hard-edged, geometric narrative form. He has replaced muted colors with stark black-and-white compositions, sometimes with a touch of red. The human figure is gone even as humanity remains Stanley’s focus. Stanley’s autobiographical presence of the early 1990s has made way for the artist as analyst, as distant observer. “Tom in the world” has become “the world Tom lives in.”