If you are at all interested in my thoughts regarding: dismissive art critics, contemporary sculptors & Upper-Paleolithic painters… then click on over to BmoreArt to see my interview with founding editor,the indespensible, Cara Ober. http://bmoreart.com/2015/06/captain-marble.html
Come for my highly-subjective-opinions… stay for the outrageous photos by Justin Tsucalas! You can check out his documentation of the shop and studio at the now-re-located Hilgartner Natural Stone Company in the gallery below. See more of Justin’s photography at www.justintsucalas.com and www.plaidphoto.com.
It’s true. After almost 40 years at their current location, Hilgartner Natural Stone Company, Inc is moving… again.
Hilgartner’s Baltimore City shop (which has been home to my studio since I earned my MFA from MICA’s Rinehart School of Sculpture in 2008) has moved a number of times since their founding in 1863, always due to the expansion of the railroad system. Stone shops prior to the modern era needing to be adjacent to the railways that provided their material and delivered their work. This current move is a bit more about development, property values and a new neighbor (who will remain namesless) that showed up rolling deep in card tables and slot machines . . .
I and all of my considerable baggage will be going with them to our new location, still in beautiful Charm City, at:
That’s between Westport and Carroll Park in South Baltimore, for those of you familiar with the City– the Washington Blvd Exit (#51) off 95, for those of you that aren’t.
While I will miss the frenetic energy of Cross Street in Federal Hill– with it’s Ravens & Orioles fans flooding the area on game day, and it’s charming-drunken-post-collegiate-frat-boy atmosphere that begins on Friday and lingers through Monday morning . . . I and the rest of the Hilgartner team are looking forward to the vastly improved shop, offices, showroom, gallery, and STUDIO that our new home will provide!
Many thanks to those who recently have seen fit to help document my soon-to-be-former studio space through their writers, photographers & videographers: Jenny Carson and the Walters Art Museum, The Smithsonian American Art Museum, The Baltimore Sun, HOME & DESIGN Magazine, The Baltimore Business Journal, and BmoreArt.
The original part of the “new” shop was a WWII era foundry, so a far bit of renovation has been undertaken and still continues–but don’t worry–we are ready to roll and will be fully operational in no time.
So please excuse the current hiccup in our work schedule. We will all be back to rocking out and making heaps of dust in no time!
May 18, 2015
Living Marble: A Contemporary- Historical Collaboration at the Walters, BmoreArt
The Walters Art Museum is widely known as a house of rare objects of antiquity, but not a place for contemporary art . . .read more.
It’s my great surprise and honor to be sharing ink in Sunday The Baltimore Sun News Paper this morning with, not only #Rinehart & Oprah Winfrey, but fellow Baltimore-boy, Mike Rowe !!! #rad
You can check out the article, Carving Out a Legacy, about the Walters Art Museum show online too: http://www.baltimoresun.com/entertainment/arts/bs-ae-walters-rinehart-20150411-story.html#page=1
Rough Stone to Living Marble
The video documentary, produced by curator Jenny Carson, that is currently on view in the Walters Art Museum show, Rinehart’s Studio: Rough Stone to Living Marble, can be seen here by clicking this link or the image above. The short film about the process of creating stone sculptures and the relationship between the “sculptor” and the “carver” focuses on Rineharts works, a stone sculpture fabrication shop in Italy, and my own studio here in Baltimore at Hilgartner Natural Stone. If you’ve got 5 mins– check it out! Better yet–go see the show!
Rough Stone to Living Marble
Written by: Jenny Carson
Cinematography: Tarek Turkey
Narrator: Dillin Olshonsky
Finally some killer photos by Geoff Graham of the second glove in the series focusing on some of the hand-wear I’ve accumulated. This railroad “engineer” style glove reminds me of the type of gloves my grandfather wore. His family immigrated to the States and worked on the railroads in Upstate NY.
The leather around the fingertips and palm is thick and coarse, while the upper cuff and back of the hand is thinner cotton, to allow for cooling in a hot environment.
Initially I thoughthat I would focus on the actual colored striped patter on the cotton, however I decided that (as ever) texture trumps color–and so I decided to try to illustrate the fine herring bone texture of the material. It was pretty painstaking, but I’m glad I went for it. It was certainly easier work than shoveling coal…
This guy, his buddy, Kermit the Frog, and some other former-Baltimore-stair-steps will be headed to the S. Tucker Cooke Gallery at UNC Asheville for the show “3 Makers,” with Jackson Martin & Stacy Lee Webber.
Opening reception, Thursday, March 5 th, 6-8pm, preceded by my artist talk at 5pm in the Humanities Lecture Hall.
Opening Reception Friday, February 6th, 5-8pm
MICA’s Decker Gallery, Fox Building, 1301 W Mount Royal Ave, Baltimore, Maryland 21217
Sebastian’s recent work, Icon: Sam the Eagle, will be on display with the tools and models used for it’s creation.
MICA’s Exhibition Development Seminar (EDS) students present HAND / MADE, an art show juxtaposing an original 19th-century marble sculpture by artist and former MICA student William Henry Rinehart with 3-D, performance and video works by contemporary sculptors and interdisciplinary artists. Exhibited in MICA’s Fox Building: Decker Gallery (1303 W. Mount Royal Ave.) from Friday, Jan. 30-Sunday, March 15, HAND / MADE makes vital connections between traditional methods employed by artists working with 19th-century studio artisan teams and collaborative practices in contemporary studios. A reception will take place Friday, Feb. 6, 5-8 p.m.
“HAND / MADE explores how sculptures are seldom the result of a simple transaction between a single artist, an idea and a given medium,” said EDS co-curator and class spokesperson Adenike Adelekan ’15 (art history, theory, and criticism). “The methods and practices that are sometimes used when creating a sculpture can involve multiple people beyond the artist. This can cause tension regarding the complex issue of authorship. Our exhibition aims to investigate this on-going discussion.”
The EDS class will show work from six contemporary artists, all with ties to MICA, of which five have been commissioned for new work. Fiber faculty member Annet Couwenberg,Nancy Daly ’11 (Photographic & Electronic Media), Director of the Rinehart School of Sculpture Maren Hassinger, Richard Vosseller ’95 (general fine arts) and Megan Van Wagoner ’00 (Mount Royal School of Art) are creating works that respond to Rinehart’s most reproduced sculpture, Sleeping Children. Each artist has been asked to reflect on the relationship between individual creative expression and artistic collaboration-and what it means when others’ labor is required to realize an artwork. MICA’s own Sleeping Childrenwill be displayed alongside the commissioned pieces, allowing the audience to draw connections from the past to the present. Also on display will be contemporary marble work by Sebastian Martorana ’08 (Rinehart School of Sculpture), with his tools and maquettes (or scale models) to help viewers visualize the traditional carving process.