Stephen Hannock: The Oxbow, from Thomas Cole to Alfred Hitchcock by Marlborough Fine Art

STEPHEN HANNOCK

Front cover: HOGSMILL RIVER OXBOW, FLOODED: FOR BRIDGET (MASS MOCA # 281), 2018 (details on page 12)

Marlborough

STEPHEN HANNOCK T H E OX B O W, F R O M T H O M A S C O L E TO A L F R E D H I TC H C O C K Text by Jason Rosenfeld

28 June â&#x20AC;&#x201C; 28 July 2018

Marlborough Fine Art, 6 Albemarle Street, London W1S 4BY t: +44 (0) 20 7629 5161 e: mfa@marlboroughfineart.com www.marlboroughlondon.com

INTRODUCTION

fig. 1. Thomas Cole (1801-1848), View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow, 1836, oil on canvas, 51 1/2 x 76 in. (130.8 x 193 cm), Metropolitan Museum of Art, New York, Gift of Russell Sage, 1908.

BY JAS O N R O S E N F E L D, P H . D. D I S T I N G U I S H E D C H A I R A N D P R O F E S S O R O F A R T H I S TO R Y, M A R Y M O U N T M A N H AT TA N C O L L E G E , N E W YO R K , N E W YO R K

Stephen Hannock’s second exhibition at the gallery brings together two of this American landscape painter’s chief influences from widely disparate realms. There is Thomas Cole (1801-48), the Lancashire-born artist whose historically weighted works engendered an entire school of landscape painters in New York in the 1830s and 1840s, and Alfred Hitchcock (1899-1980), the London director who established a newly psychological idea of America in his mature films of the mid-twentieth century. From Cole, Hannock derived a sense of the importance of a place and its ties to history, and from Hitchcock a way to see his own pictures as carefully crafted stage sets for personal stories. The idea of foreigners affecting the directions of two great art forms in the history of American culture, painting and film, is a potent one. The United States has always been a place receptive to ideas gleaned from and formed in the wider world. The National Gallery is at present hosting Britain’s first exhibition on the work of Cole, one that originated at the Metropolitan Museum of Art, New York. Titled Thomas Cole: Eden to Empire, it shows how Cole developed a distinctly American art through his experience of what he saw as a young painter in England and Italy.1 Cole absorbed the work of J.M.W. Turner and John Constable and the ruins of Rome, and transformed them into radically new but cautionary visions of nature. The grand series of five paintings titled The Course of Empire (1833-6, The New-York Historical Society) and View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow (1836) (fig. 1) express pessimism towards human progress, at the same time that they advanced his quest to develop a uniquely American art. Cole has been a formative influence on Hannock from his earliest days as a painter. In Cole’s most bizarre picture, The Titan’s Goblet of 1833 (fig. 2), painted a few years before The Oxbow, he left the familiar environs of the Hudson Valley in favour of an invented realm of Mediterranean myth, in this aerial view of a stemmed drinking vessel of massive proportions. Filled with water, its lip is composed of minute forests and classical temples. Sailboats ply the water’s placid surface. Miles high, the liquid from the goblet spills over the edge of this micro-universe in the forms of great cataracts that plummet down to the alpine landscape

below, in which can be spotted a miniature seaside city somewhat reminiscent of Florence, all washed over by a Turnerian sun. A Romantic subject purely of Cole’s imagination, and linked to the idea of the perils of expansionism pursued in his Course of Empire series, the small scale of the picture belies the intended monumentality of the scene, and the faulty drawing of the base of the goblet makes it appear unsteady on its rocky promontory. It is cooler in conception than execution. The picture inspired Hannock in 1995 to produce a more dramatic variant on the theme, Titan’s Goblet at the Approach of the Third Millennium (cat. 5). In adopting a worm’s eye view, Hannock improved on Cole’s design, while introducing a degradation of the fabric of the cup—water now pours out of a great cleft in the side. Painted just half a decade before the year 2000, its millenarian sentiment shares a post-apocalyptic theme with the fifth and concluding image in Cole’s Course of Empire, Desolation (1836), in which nature has reclaimed a formerly teeming city, and people are absent. The intimations of the hazards of too-far-reaching human endeavour in Cole’s epic series, now on view at the National Gallery, are reflected in Hannock’s picture. Yet the abstracted forms and nocturnal setting are more reminiscent of James McNeill Whistler’s (1834-1903) Aestheticist art than that of the naturalist Romanticism of Cole, and it is minute in scale—only seven inches high. Hannock has returned to the theme in an important new oil that is over four times as large titled Titan’s Goblet in the Third Millennium (Mass MoCA #280) (cat. 4), accompanied here by a slightly smaller drawing (cat. 6).2 The lack of resolution of the Whistlerean abstraction in the picture from 1995 has yielded to a more refined style, and the oil is a powerfully designed and coloured work. The gaping crater remains in the side of the vessel, but there is evidence of reconstruction in progress, as if Hannock is conceiving a sixth picture in Cole’s Course of Empire cycle, in which humans return to repair their deteriorated civilization. Rampant vegetation has grown over architectural ruins in the background cliffs after centuries of neglect, twists around a great colonnade, and subsumes stairs leading down to a grotto at lower left. The drawing provides a key to the theme: in the bottom left corner is a pasted image of Cole’s painting. At lower right is an

fig. 2. Thomas Cole (1801-1848), The Titan’s Goblet, 1833, oil on canvas, 19 3/8 x 16 1/8 in. (49.2 x 41 cm), Metropolitan Museum of Art, New York, Gift of Samuel P. Avery Jr., 1904.

image of Hannock’s picture from 1995 with text reading ‘...The world is beat up...but still ticking. It’s now 2018. Time to repair’. In the top right corner is an image of the artist’s drawing from 2012 after a photograph of the Tyne Bridge in Newcastle being built in the late 1920s and text reading, ‘...this is how we’re going to start repairing the goblet in 2018’. As seen in the drawing and the oil, the arch connecting the chasm in the cup’s rim is being reconstructed, and a derrick sits at top lifting a new girder into place. A spray of water still emanates from the jagged gash in the goblet, now painted in a technique Hannock used in his images of Niagara Falls dating back to 2012, and remarkably convincing of downward motion; the falling spray pounds itself into mist at the rocks and the water’s surface below. Wisps of pink clouds fleck the blue skies behind the right side of the colonnade, and the goblet itself is decorated (unlike in Cole’s version, or Hannock’s from 1995) with great high relief arabesques flanked above and below by registers of decorative swags. It is a hopeful image, as evident in the rising sun reflected off the curve of the right side of the chalice; Titans may no longer be in evidence, but human ingenuity and resilience is very much on display, a theme also evident in Hannock’s related meditations on the history of Newcastle upon Tyne in The Last Ship book and his Northern City Renaissance series (see cat. 16). Cole’s masterpiece, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow (fig. 1), has long been a key picture in Hannock’s career, and a continued motif in his art, as represented in eight works in this exhibition. The latest large version, Flooded Oxbow for Lane Faison (Mass MoCA #271) (cat. 1), represents a mixture of the old and the new—the same general composition he has used since 1994 in over thirty largescale works, but employing advanced techniques of sanding and layering of pigments and resins, and glorious sunset effects in the background featuring a ripped red sky of uncommon brilliance.3 This broader sky is treated atypically, in its visible swirls and drips of acrylic paint seen across the upper section of the picture. Hannock painted the sky and after it set sanded it down with his power tools using water, scraping up and dislodging the paint so it put itself back down in unexpected swirls. These result from the water churning up the surface, like building a slurry in glass polishing. Here, Hannock

retained the slurry and drips from the sanding instead of wiping them away. It is part of the general movement in his art away from accurate rendering of nature in favour of ‘accidents of the paint’, as he describes them.4 A good example is in the treatment of the hill at the left and the central vegetation, in which the paint is applied almost as overlaid calligraphy: some of the blotting resembles Arabic script in small, elegant, seemingly cursory marks by turns thick and thin, flicked down and then across. A signature element of Hannock’s larger works is that they include text scrawled into their surfaces, in tones that slightly meld with the background hues on which he writes the words. From a distance they are near-invisible, but the artist’s canvases repay closer inspection to see the blocky all-caps script and pasted images that lie in the glazes. Both contribute additional meaning to the works. The bulk of the text in Flooded Oxbow for Lane Faison is dedicated to one of Hannock’s mentors, S. Lane Faison, the eminent art historian associated with Williams College in Massachusetts who died in 2006, but there are also tributes to the actor Robin Williams (1951-2014), whom Hannock became friends with while designing the Academy Award-winning visual effects for Williams’ film What Dreams May Come (1998). At the bottom right there is text about Hannock and his wife Bridget Watkins Hannock posing for daguerreotypes by Chuck Close (b. 1940) in 2000 just before their daughter Georgia was born. It also details how on 11 September 2001, thirty seconds after a second plane crashed into the Twin Towers, they received a call that Bridget had a brain tumor. She died three years later on 4 October 2004. There are thus multiple levels of elegiac reference in this picture, a tone enhanced by the sunset glow. At the same time, there are consistencies among the Oxbow pictures of a more mundane nature. Along a highway imaged at the left, and repeated in variations in almost all versions, the text reads ‘speed traps on rt 91’. This always appeared to be but an ordinary reference to the depicted environs, but in including this line so frequently in these pictures the meaning shifts from notations of local colour to a sense of history within the pictures’ histories—and perhaps now a caution, with respect to the sense of personal loss inscribed in this work: a warning not to speed, not to go too fast, but to appreciate both the view and the life as lived in in their measured sequentiality. 6

fig. 3. Prairie Stop Route 41. Still from the film, North by Northwest, directed by Alfred Hitchcock (Metro-Goldwyn-Mayer Studios, 1959). © Warner Bros. Entertainment, Inc.

There is a trio of new compositions in this exhibition based on wide and radiant vistaVision scenes from Alfred Hitchcock’s North by Northwest (1959), new compositions that continue Hannock’s interest in film and how directors employed settings for visionary stories (cats. 13-15). Each is drawn from a scene in the film, although they are not mere replications. Each is absent of text. North by Northwest mirrors Cole’s interpretation of America in the The Oxbow, in that it was a film that took place in two major American cities (New York and Chicago), the vast Midwestern agrarian landscape, a modernist American house based on the prairie-style designs of Frank Lloyd Wright (who died the year it was released), and concluded atop iconic Mount Rushmore. Cole was an Englishman who helped Americans in the decades before the Civil War to see with more acuity the native splendour of their nation and its complicated history, and North by Northwest was a collaboration by an English director and three English actors, Cary Grant, James Mason, and the character actor Leo G. Carroll, resulting in a picture that redefined the American action thriller. The first painting in Hannock’s sequence is Hudson Highlands from the 20th Century Limited (Mass MoCA #288) (cat. 13), featuring the sunset over the hills of the lower Hudson Valley near Bear Mountain as viewed from the left side of the train. Grant and Eva Marie Saint take the famed New York Central Line to Chicago; the image is close to the shot in the film, although Hannock has shifted the sunset to the right, eliminated the riparian shrubbery, and added depth of colour to the surface of the river. The train banks right as it curves left along the shore, leaving the horizon at a slight angle. Hannock painted the sunset using his customary Rorschach transfer technique, putting paint on a loose piece of paper and folding it in half onto itself, and then blotting the resulting twinned forms onto the surface. This is then glazed with resin and polished. It is most evident in the bits of highlighted cloud at the top and then visible down in the white reflections of light on the water below. It is all joyfully colouristic, and provides conclusive evidence why travellers from New York City must always sit on the left side of Albany-bound trains for the best view. The low vegetation in the foreground is raked on a diagonal from lower left to upper right to convey close landscape seen at speed from a train, as opposed to the more stately, frozen forms of the dark hills beyond. There is some

fine work on the upper surfaces of the picture, in scrims of paint applied with the palette knife in the spirit of J.M.W. Turner’s (17751851) facture, especially in a burst of hot colours on the glistening steel sides of the train. The water is sensational, its striations of blues and pinks inclining to orange and yellow in reflection, an aqueous sense of depth in the liquid glazes. Hudson Highlands is set in a region Hannock knows intimately and has painted over his career, and on the rail line he takes regularly and that features in some shots in Wolfram Hissen’s documentary on the artist, Dreamscapes (2012). By contrast, the second image in the Hitchcock series, Full Moon Above Prairie Stop Hwy 41 (Mass MoCA #289) (cat. 14) takes a famous, nearly one-minute-long establishing shot in the film, and tweaks it into something strangely new (fig. 3). This comes from a crane shot that precedes the most notable action sequence in North by Northwest, the crop dusting scene, where Grant’s character is attacked by a propeller plane. Grant’s Roger Thornhill was meant to be taking the Indianapolis bus from Chicago to Prairie stop highway 41 in Indiana, about an hour and a half’s drive from Chicago. It was not filmed there, but rather amidst dusty fields at Wasco, near Bakersfield, California, on Garces Highway, State Route 155. As production designer Robert Boyle has explained, the establishing aerial shot included a distant town on the horizon, so the filmmakers had to blend an in-camera matte shot without the town with the vista from a high crane.5 It was early autumn, so the fields were brown, and midday. In Hannock’s picture he restores the town in the far distance, and changes the time of day to night. In cinematographer Robert Burks’ notations of sixty-one camera angles in the famous nearly ten-minute crop dusting sequence, the first continuity point reads ‘1. High Shot – Bus arriving – Man out.’6 This was shot from a crane, the only overhead view in the sequence, and striking in the era before filming with drones has become commonplace in Hollywood.7 Hannock’s picture, however, is closer to the late-nineteenth century European symbolist landscapes of Edvard Munch (18631944) or Harald Sohlberg (1869-1935) than an arid bird’s-eye view of the American grasslands. There is no water, no sun. The skipping of the artist’s power sander across the picture’s surface

fig. 4. John Everett Millais (1829-1896), Ophelia, 1851-2, oil on canvas, 30 x 44 in. (76.2 x 111.8 cm), Tate, London, Presented by Sir Henry Tate, 1894. Photo Credit: © Tate, London 2018

makes a series of incised lines in all different directions that convey a sense of moving air, of stillness disrupted, which in Hitchcock’s conception comes from trucks and cars rushing through the vast and limitless landscape at high speed as seen in whip shots, and in the flight of the crop dusting plane spewing insecticide. In the painting, four white blips in the distance on the road may allude to approaching traffic, and on the right horizon is the town, aglow in the starless moonlight. A further addition to the scene is the shadow of the crane at the bottom, conforming to the viewer’s angle of vision. This painting is related to Hannock’s series of nocturnal squid boat pictures from the Gulf of Siam in 1991, and reflects a consistent attempt to push the inner luminosity and contrasting effects of subtle light in his works.8 The third Hitchcock-inspired picture, Rapid City Nocturne (Mass MoCA #290) (cat. 15) moves the setting to South Dakota, and the final reel of the film. Like Hudson Highlands, this picture is closer to the source material, but it cannily brings together the colour schemes of the preceding works in this triptych—with a landing strip aglow like the sunset in the first picture, and the blue tonality of the nocturnal setting of the second. The blips of white car headlights in Full Moon Above Prairie Stop Hwy 41 are transformed into landing lights on the character played by James Mason’s private runway, and Hannock wittily included an image of Mount Rushmore subtly submerged in the foreground surface. He has, however, removed the landing plane featured in the shot in the film. This was entirely a matte painting, and here Hannock has delivered some delightfully craggy work in the mountains in the foreground, which communicate a monumental scale. The treatment of the vegetation at left is Ruskinian in its intensity, remarkably accomplished without a brush, resulting in a somehow detailed but liquid surface. The distant mountains are treated in atmospheric perspective, but their pocked quality, with bits of midnight blue highlights in their dark masses make them resemble pictorial elements in the series of prints Hannock has been working on with printer Brandon Graving for his book, The Last Ship.9 In working through Hitchcock’s own storyboarding and set design and location shooting process on North by Northwest, Hannock has been enlightened regarding his own process of similarly using modified locations from the history of

art and his own experience, then overlaying them with text and pasted materials, as a way of setting the stage for his own stories. 2 The elegiac sentiments found in Hannock works inspired by Cole such as Flooded Oxbow for Lane Faison (Mass MoCA #271) (cat. 1), and the narratival concepts that have emerged in his art through his close looking at Hitchcock’s films, have coalesced in a series begun in 2016. Inspired by seeing the works of the British Pre-Raphaelites in an exhibition I co-curated in London and Washington, D.C., in 2012-13, Hannock blended the motif of the Oxbow with John Everett Millais’s masterpiece Ophelia of 1851-2 (fig. 4) and the photographer Gregory Crewdson’s own riff on Millais, Untitled (Ophelia) of 2000-01 (fig. 5). The results are a series of flooded Oxbows for Ophelia that combine all the recent concerns of his art. Millais’s radiant image of Hamlet’s soon-to-be-drowned lover made him think about landscapes as stage sets for actions. Millais had journeyed to Surrey in the summer and autumn of 1851 to paint on the banks of the Hogsmill River the entirety of the background of Ophelia, returning to his Gower Street studio in London in early December to commence painting in the figure in a blank area reserved in the centre of the canvas. Hannock has adopted a similar approach in his recent work. Emerald Willow Waiting for Ophelia (Mass MoCA #282) (cat. 11) is a small but haunting nocturnal image of the imagined Hogsmill setting of the picture. It bears a remarkably glassy surface reflective of the still, slow moving waters of this river south of London. The picture’s surface looks burnished, like aluminium, but not cold. There is a sense of great stillness and anticipation.10 In Emerald Willow, a low arch of mist hangs over the water along the riverbank, with a moonrise at the distant horizon, just right of centre. Its ghostly white glow reflects down through the water. In the middle, as Queen Gertrude recounts in Act 4, scene 7 of Hamlet, ‘There is a willow grows aslant a brook / That shows his hoar leaves in the glassy stream’. The willow explodes like the rockets in one of Hannock’s nocturne pictures,11 its six main branches arcing into plumes of soft foliage, the furry catkins depicted contre-jour. Taller trees stand sentinel in black also against the moon’s glow and are replicated on either side of the willow: the entire composition thus spreads wide and overall resembles the 8

artist’s Rorschach technique. Only the low mist exists in a singular form, a ribbon of vapour cresting along the waterline.

fig. 5. Gregory Crewdson (b.1962), Untitled (Ophelia), 2000-01, Digital chromogenic print, 50 x 60 in. (127 x 152.4 cm). © Gregory Crewdson. Courtesy Gagosian

Emerald Willow is a kind of template or backdrop for the expanded Cole/Millais/Crewdson works that follow in the series, some of which are seen here in the form of drawings (cats. 6 & 8) or a small oil (cat. 9). But the most complete conceptions are Hogsmill River Oxbow for John Everett Millais (Mass MoCA #287) (cat. 12) and Hogsmill River Oxbow, Flooded: For Bridget (Mass MoCA #281) (cat. 2). The former shows the same location at twilight, with a reproduction of Millais’s Ophelia pasted in the centre. The latter (cat. 2) is a grand picture, at 36 x 60 inches, and incorporates pasted materials and text. In the centre, below the willow, Hannock has replaced Millais’s Ophelia with a pasted reproduction of Crewdson’s similarly highly staged Untitled (Ophelia) (fig. 5), with the willow seemingly sprouting out of the shelving under the staircase in the photo, and at the same time appearing to externalize the emanations of the recumbent and bobbing woman’s mind. The mist here has begun to form in the chill of twilight, and the moon from Emerald Willow has been swapped for a burning setting sun, which bears a powerful intensity and range of colouration commensurate to Turner’s Slave Ship of 1840.12 The foreground water includes reeds that assume the shape of Cole’s bend of the Connecticut River in his Oxbow. In addition to the Crewdson photograph, Hogsmill River Oxbow, Flooded: For Bridget (Mass MoCA #281) includes other pasted materials. At left are the images of a headless and unclothed Hannock and Bridget as Adam and Eve, as shot in daguerreotypes by Chuck Close, and at the right is an image of their daughter Georgia lying on a bench in a garden. This large painting incorporates a great deal of text, including at the left in the upper banks details about the young Millais painting on the Hogsmill and his nineteen-year-old model Elizabeth Siddall. In the centre it reads ‘Bridget was in great shape when we modelled for Chuck’s “Adam & Eve” daguerreotype. Georgia was born two months later’. At the far right of the composition, Hannock has written ‘Gregory Crewdson built a suburban home at Mass MoCA then flooded it. To keep the model warm Larry Smallwood built a heater under the house but it caught fire and almost burned down

the museum!’ In the lower right Hannock has written, ‘Losing Bridget was heartbreaking enough but all the months after her stroke were crippling for us all’. In the centre he has written ‘This is Gregory’s Ophelia / Much more confined than Millais’’. And finally, near the picture of his daughter: ‘Georgia’s world / Oceana County / Michigan!’, a reference to Andrew Wyeth’s famed Christina’s World at MoMA (1948), whose model shares Georgia’s pose. In some respects this may seem a doleful picture, but the last lines of text, as with Titan’s Goblet in the Third Millennium (cat. 4), communicate a sense of hope, as they reference a place in the United States of great meaning to the Hannocks: where Bridget grew up and her family lives. 2 What do you do when you lose perfection? You parent. And you paint. In Enemies of Promise, his book about the nature of literary criticism, published in 1938, Cyril Connolly wrote: So much depends on style, this factor of which we are growing more and more suspicious, that although the tendency of criticism is to explain a writer either in terms of his sexual experience or his economic background, I still believe his technique remains the soundest base for a diagnosis, that it should be possible to learn as much about an author’s income and sex-life from one paragraph of his writing as from his cheque stubs and his love-letters and that one should also be able to learn how well he writes, and who are his influences.13 In Hannock’s recent work, style and substance are one. There may be ‘accidents of the paint’, but the imagery itself is not accidental. In working through his artistic ancestors such as Cole and Turner, and being open to other influences, whether the Pre-Raphaelites or filmmakers Hitchcock and David Lean or contemporary photographers, Hannock has been able to express his feelings about the crushing loss of his beloved wife, to himself and to all of us. At the same time, he has made it a point to open up his art even more fully to the beautiful, and this has had much to do with

advances in his technique. Hannock’s work has always been about the self to some degree, not least of all in his choice of motif, like John Constable working with the scenes that ‘made me a painter, and I am grateful’, as that English Romantic once wrote. But the emotional self has not always been on view, although it is clear that the loss of Bridget runs through almost all his work since 2004. Yet it is only now, in a dedicatory work such as Hogsmill River Oxbow, Flooded: For Bridget (Mass MoCA #281), that it has become the full subject. In this sense, Connolly is amiss. Hannock’s recent work can only be better understood through exploring its tripartite synthesis of style, influence, and autobiography. His daughter Georgia is now eighteen, and the painter is, well, older. As the quality of his technique continues to improve, such that he can now achieve ever heightened levels of luminosity, he has at last been able fully to embrace his missing his wife in his work. He can refer to what she went through, especially in the sense of confinement in Crewdson’s image, which he equates with Bridget’s experience after her stroke. The results are both beautiful and doleful, though not in equal measure. In the sadly diminished genre of landscape painting, Stephen Hannock has produced buoyantly expansive works that sew together traditional and contemporary art, film and theatre, love and loss, nature and experience. His optimistic mantra for the third millennium is a resounding ‘Time to repair’.

intricate layering of glazes of subtly modulated acrylic or oil across the prepared surfaces, repeatedly honing down the paint using power sanders, veneering the final sanded pigment layer with sheets of reflective resin, and then polishing that down to a matte sheen. This allows light to penetrate deeply into the strata of the picture plane and reemerge with an exceptional radiance’. Jason Rosenfeld, Stephen Hannock: Moving Water, Fleeting Light, ‘Introduction’ (London: Marlborough Fine Art, 2014), p. 4. Conversation with the artist, 4 June 2018.

Peter Fitzgerald, Director, Destination Hitchcock: The Making of ‘North by Northwest’ (Fitzfilm Inc., Turner Classic Movies, Warner Bros. Home Video, 2000).

See Will Schmenner and Corinne Granof, Casting a Shadow: Creating the Alfred Hitchcock Film (Northwestern University Press, 2007), as adapted on http://ritholtz.com/2011/05/northby-northwest-crop-duster/

Writer Ernest Lehman noted that his original script also called for helicopter shots throughout the sequence, in audio commentary on the Warner Bros. DVD released 2000.

The tonality is reminiscent of another of Hannock’s favourite pictures, Jean-François Millet’s Starry Night of ca. 1850-65 at the Yale University Art Gallery, in which an artist better known for pictures of peasants portrayed a glowing night sky with shooting stars and hazy trees and a dimly perceived road stretching into the distance.

E N D N OT E S

Elizabeth Mankin Kornhauser and Tim Barringer, Thomas Cole’s Journey: Atlantic Crossings (New York: Metropolitan Museum of Art, 2018).

The addendum, ‘Mass MoCA’ followed by a number in Hannock’s titles represents Hannock’s desire to pay tribute to the place where he has resided since 2003, through the Massachusetts Museum of Contemporary Art in North Adams, which serves as a studio and support system for his art, and a collaborator in his involvement in the local art scene.

‘The pictures in this exhibition all bear some combination of his signature technique of working with acrylics, oils, resin, specially combined brushes, squeegees, pasted papers and photographs, and power sanders to produce light effects hardly rivaled in the history of art. Hannock’s approach involves an

The Last Ship from the River of the Northern City, Prints by Stephen Hannock with Lyrics by Sting (Rockport, Maine: Two Ponds Press, 2018).

It inadvertently but serendipitously reflects of one of Millais’s most delicate small landscape pictures of the late-1850s, Waiting (1854) in the Birmingham Art Gallery.

Such as Incendiary Nocturne: Green-Gray Light (Mass MoCA #239) of 2016. See Stephen Hannock: Oxbow for Ophelia (New York: Marlborough, 2016), p. 19.

Museum of Fine Arts, Boston.

Cyril Connolly, Enemies of Promise, revised (The University of Chicago Press, 2008), 7-8.

edition

L I ST O F WO R KS

1. FLOODED OXBOW FOR LANE FAISON (MASS MOCA # 271), 2017

7. MORNING FOG FOR OPHELIA (MASS MOCA # 283), 2018

polished mixed media on canvas 36 x 60 in.; 91.5 x 152.5 cm

polished mixed media on canvas 7 x 7 ½ in.; 18 x 19 cm

2. HOGSMILL RIVER OXBOW, FLOODED: FOR BRIDGET (MASS MOCA # 281), 2018

8. HOGSMILL RIVER OXBOW (MASS MOCA # 286), 2018

polished mixed media on canvas 36 x 60 in.; 91.5 x 152.5 cm 3. OXBOW NOCTURNE: BURGUNDY & GREEN (MASS MOCA # 285), 2018

polished mixed media on canvas 14 x 17 ½ in.; 35.5 x 44.5 cm 4. TITAN’S GOBLET IN THE THIRD MILLENNIUM (MASS MOCA # 280), 2018

polished mixed media on canvas 30 x 24 in.; 76 x 61 cm 5. TITAN’S GOBLET AT THE APPROACH OF THE THIRD MILLENNIUM, 1995

polished oil on canvas 7 x 4 ¼ in.; 18 x 11 cm

graphite on panel 11 x 14 ½ in.; 28 x 37 cm 9. ROSE DAWN FOR OPHELIA (MASS MOCA # 284), 2018

polished mixed media on canvas 6 x 11 ¾ in.; 15 x 30 cm 10. LADY OF SHALOTT (MASS MOCA # 278), 2018

polished mixed media on canvas 14 ¼ x 11 ¼ in.; 36 x 29 cm 11. EMERALD WILLOW WAITING FOR OPHELIA (MASS MOCA # 282), 2018

polished mixed media on canvas 9 x 13 ½ in.; 23 x 34 cm

12. HOGSMILL RIVER OXBOW FOR JOHN EVERETT MILLAIS (MASS MOCA # 287), 2018

polished mixed media on canvas 18 x 30 in.; 46 x 76 cm 13. HUDSON HIGHLANDS FROM THE 20TH CENTURY LIMITED (MASS MOCA # 288), 2018

polished mixed media on canvas 16 ½ x 30 in.; 42 x 76 cm 14. FULL MOON ABOVE PRAIRIE STOP HWY 41 (MASS MOCA # 289), 2018

polished mixed media on canvas 16 ½ x 30 in.; 42 x 76 cm 15. RAPID CITY NOCTURNE (MASS MOCA # 290), 2018

polished mixed media on canvas 16 ½ x 30 in.; 42 x 76 cm 16. NORTHERN CITY RENAISSANCE, COURSE OF EMPIRE 2018 (MASS MOCA # 291), 2018

polished mixed media on canvas 44 x 72 in.; 112 x 183 cm

6. STUDY: TITAN’S GOBLET (MASS MOCA # 279), 2018

charcoal and chalk on grey paper 25 ½ x 19 ¾ in.; 65 x 50 cm

1. FLOODED OXBOW FOR LANE FAISON (MASS MOCA # 271), 2017 13

polished mixed media on canvas 36 x 60 in.; 91.5 x 152.5 cm

2. HOGSMILL RIVER OXBOW, FLOODED: FOR BRIDGET (MASS MOCA # 281), 2018 15

polished mixed media on canvas 36 x 60 in.; 91.5 x 152.5 cm

3. OXBOW NOCTURNE: BURGUNDY & GREEN (MASS MOCA # 285), 2018 17

polished mixed media on canvas 14 x 17 Â½ in.; 35.5 x 44.5 cm

4. TITANâ&#x20AC;&#x2122;S GOBLET IN THE THIRD MILLENNIUM (MASS MOCA # 280), 2018 19

polished mixed media on canvas 30 x 24 in.; 76 x 61 cm

5. TITAN’S GOBLET AT THE APPROACH OF THE THIRD MILLENNIUM, 1995 21

polished oil on canvas 7 x 4 ¼ in.; 18 x 11 cm

6. STUDY: TITAN’S GOBLET (MASS MOCA # 279), 2018

charcoal and chalk on grey paper 25 ½ x 19 ¾ in.; 65 x 50 cm

7. MORNING FOG FOR OPHELIA (MASS MOCA # 283), 2018 23

polished mixed media on canvas 7 x 7 Â½ in.; 18 x 19 cm

8. HOGSMILL RIVER OXBOW (MASS MOCA # 286), 2018 25

graphite on panel 11 x 14 Â½ in.; 28 x 37 cm

9. ROSE DAWN FOR OPHELIA (MASS MOCA # 284), 2018

polished mixed media on canvas 6 x 11 Â¾ in.; 15 x 30 cm

10. LADY OF SHALOTT (MASS MOCA # 278), 2018 27

polished mixed media on canvas 14 ¼ x 11 ¼ in.; 36 x 29 cm

11. EMERALD WILLOW WAITING FOR OPHELIA (MASS MOCA # 282), 2018

polished mixed media on canvas 9 x 13 Â½ in.; 23 x 34 cm

12. HOGSMILL RIVER OXBOW FOR JOHN EVERETT MILLAIS (MASS MOCA # 287), 2018 29

polished mixed media on canvas 18 x 30 in.; 46 x 76 cm

13. HUDSON HIGHLANDS FROM THE 20TH CENTURY LIMITED (MASS MOCA # 288), 2018 31

polished mixed media on canvas 16 Â½ x 30 in.; 42 x 76 cm

14. FULL MOON ABOVE PRAIRIE STOP HWY 41 (MASS MOCA # 289), 2018 33

polished mixed media on canvas 16 Â½ x 30 in.; 42 x 76 cm

15. RAPID CITY NOCTURNE (MASS MOCA # 290), 2018 35

polished mixed media on canvas 16 Â½ x 30 in.; 42 x 76 cm

16. NORTHERN CITY RENAISSANCE, COURSE OF EMPIRE 2018 (MASS MOCA # 291), 2018 37

polished mixed media on canvas 44 x 72 in.; 112 x 183 cm

BIOGRAPHY

STEPHEN HANNOCK 1951 Born in Albany, New York 1970 Studied at Bowdoin College, Brunswick, Maine; Smith College, Northampton, Massachusetts, and Hampshire College, South Amherst, Massachusetts, from which he received a BA (through 1976) 1972 Apprenticed to artist Leonard Baskin (19222000) (through 1975) 1982 Lived and worked in New York, New York (through 2003) The artist lives and works in North Adams, Massachusetts.

AWA R D S 2013 Frederic E. Church Award, Olana Partnership, New York, New York 2010 Honorary Doctorate, Massachusetts College of Liberal Arts, North Adams, Massachusetts

S E L E C T E D S O LO EXHIBITIONS AND I N S TA L L AT I O N S 2016 Oxbow for Ophelia: Recent Paintings, Marlborough Gallery, New York, New York 2014 Stephen Hannock: Moving Water, Fleeting Light, Marlborough Fine Art, London, England 2012 Stephen Hannock: Recent Paintings: Vistas with Text, Marlborough Gallery, New York Gathering Light: The Art of Stephen Hannock, Brattleboro Museum and Art Center, Brattleboro, Vermont 2010 Mt. Blanca with Ute Creek at Dawn, Frederic C. Hamilton Building, Denver Art Museum, Denver, Colorado (through 2012) Two Paintings, One Night, Mass MoCA, North Adams, Massachusetts Flooded Canyon, Yellowstone Dawn, Whitney Gallery of Western Art, Buffalo

2002 Stephen Hannock, McKenzie Fine Art, New York, New York

1990 Stephen Hannock: Rockets and Flooded Rivers, Tibor de Nagy Gallery, New York, New York

Stephen Hannock, Michael Kohn Gallery, Los Angeles, California

Selected Works 1970-1990, Joseph V. Reed Center for the Arts, Deerfield, Massachusetts; travelled to Robert Berman Gallery, Santa Monica, California

Meredith Long and Company, Houston, Texas 2001 Stephen Hannock: Recent Nocturnes, John Berggruen Gallery, San Francisco, California Stephen Hannock: Recent Paintings, Winston Wächter Fine Art, Seattle, Washington 2000 James Graham and Sons, New York, New York Stephen Hannock: Paintings, Quint Contemporary Art, La Jolla, California 1999 Stephen Hannock: Nocturnes and Flooded Rivers, Kohn Turner Gallery, Los Angeles, California Illuminations, Robert Berman Gallery, Santa Monica, California Meredith Long and Company, Houston, Texas

1989 Frank Bernarducci Gallery, New York, New York 1988 Wallace Wentworth Gallery, Washington, D.C. 1987 Frank Bernarducci Gallery, New York, New York 1986 B -1 Gallery, Santa Monica, California 1983 Deerfield Academy, Arts Symposium, Deerfield, Massachusetts Frank Bernarducci Gallery, New York, New York 1982 Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts

Stephen Hannock: Recent Nocturnes, Winston Wächter Fine Art, Seattle, Washington

Albany Institute of History and Art, Albany, New York

1998 Stephen Hannock: Space and Time, Deerfield Academy, Massachusetts; travelled to Dayton Art Institute, Dayton, Ohio

Williams College Museum of Art, Williamstown, Massachusetts 1981 Greenspace Gallery, New York, New York

James Graham and Sons, New York, New York

1980 St. Georges School, Newport, Rhode Island

Stephen Hannock: New Work, John Berggruen Gallery, San Francisco, California

1997 Meredith Long and Company, Houston, Texas

Warberg Center, Middlesex School, Concorde, Massachusetts

2007 Northern City Renaissance at the Berkshire Museum, Berkshire Museum, Pittsfield, Massachusetts

Nocturnes: From Tuscany to Naples, John Berggruen Gallery, San Francisco, California

Bill Historical Center, Cody, Wyoming

2009 Honorary Doctorate of Fine Arts, Bowdoin College, Brunswick, Maine

2009 Inaugural Exhibition, Bowdoin College Museum of Art, Brunswick, Maine

1999 Academy Award: Special Visual Effects, Academy of Motion Picture Arts and Sciences, Beverly Hills, California

Northern City Renaissance, Laing Art Gallery, Newcastle, England

Luminosity: Paintings by Stephen Hannock, Albany Institute of History and Art, Albany, New York 2006 Stephen Hannock: A Survey, The Butler Institute of American Art, Youngstown, Ohio 2005 Recent Vistas with Text, McKenzie Fine Art, New York, New York Stephen Hannock, The Harrison Gallery, Williamstown, Massachusetts

The Ralls Collection, Washington, D.C.

1996 Stephen Hannock, James Graham and Sons, New York, New York 1995 A fter Church, After Cole: Stephen Hannock’s Oxbow, Timken Museum of Art, San Diego, California 1994 Salander-O’Reilly Galleries, New York, New York 1993 Nocturnes and Flooded Rivers, John Berggruen Gallery, San Francisco, California

Deerfield Academy, Deerfield, Massachusetts Northfield-Mount Herman, Northfield, Massachusetts Williston Academy, Easthampton, Massachusetts Paul Mellon Center, Wallingford, Pennsylvania 1979 Hood Museum, Dartmouth College, Hanover, Massachusetts 1978 Massachusetts Institute of Technology, Cambridge, Massachusetts

Gallery One, Toronto, Canada

Boston Center for the Arts, Boston, Massachusetts

1992 Recent Paintings: Stephen Hannock, Meredith Long and Company, Houston, Texas

1976 Smith College of Museum of Art, Northampton, Massachusetts University of Massachusetts, Amherst, Massachusetts

SELECTED GROUP EXHIBITIONS 2016 L ay of the Land, Smith College Museum of Art, Northampton, Massachusetts Summer Group Exhibition, Marlborough Gallery, New York 2015 Summer Group Exhibition, Marlborough Gallery, New York River Crossings: Contemporary Art Comes Home, Thomas Cole National Historic Site, Catskill, New York and Olana State Historic Site, Hudson, New York (Co-Curator) 2012 On Hudson: Highlights from the Albany Institute of History and Art, Florence Griswold Museum, Old Lyme, Connecticut Northern City Renaissance, Laing Art Gallery, Newcastle upon Tyne, England 2007 Friends from Northampton, The Harrison Gallery, Williamstown, Massachusetts One Hundred Fifty Years in the Art Business, James Graham and Sons, New York, New York The Story Goes, McKenzie Fine Art, New York, New York We Are Here, Ferrin Gallery, Pittsfield, Massachusetts The Art of Night: Sunrise to Sunset, Barn Gallery at Stonover Farm, Lenox, Massachusetts 2006 Nightscapes, The Harrison Gallery, Williamston, Massachusetts 2004 Friends from New York, The Harrison Gallery, Williamston, Massachusetts 2003 Waterscapes, The Harrison Gallery, Williamston, Massachusetts Grisaille, James Graham and Sons, New York, New York

2002 Changing Prospects: The View from Mount Holyoke, Mount Holyoke College Art Museum, South Hadley, Massachusetts The American River, Brattleboro Museum, Vermont; travelled to T.W. Wood Gallery, Vermont College, Montpelier, Vermont; Montshire Museum, Norwich, Vermont; Philadelphia Art Alliance, Philadelphia, Pennsylvania; and Florence Griswold Museum, Lyme, Connecticut (through 2004) 2000 Fluid Flow, James Graham and Sons, New York, New York Out-of-Doors, Adam Baumgold Fine Art, New York, New York Landscape 2000: Late 20th Century American Landscape Painting, University of Wyoming Art Museum, Laramie, Wyoming Transcending Earth and Sky, University Art Gallery, San Diego State University, San Diego, California Landscape, Winston Wächter Fine Art, Seattle, Washington 1999 Water: A Contemporary American View, Gibbes Museum of Art, Charleston, South Carolina; travelled to Mobile Museum of Art, Mobile, Alabama; and Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin (through 2000) Green Woods and Crystal Waters: The American Landscape Tradition Since 1950, Philbrook Museum, Tulsa, Oklahoma; travelled to Davenport Museum of Art, Davenport, Iowa; and Ringling Museum of Art, Sarasota, Florida Enduring Vision: Contemporary Painters in the Tradition of the Hudson River School, Mandeville Gallery, Union College, Schenectady, New York

1998 Master and Apprentice: Selected Works from Leonard Baskin and Stephen Hannock

1990 Season’s Best, Tibor de Nagy Gallery, New York, New York

Hampshire College Library Gallery, Amherst, Massachusetts

Harmony and Discord: American Landscape Painting Today, Virginia Museum of Fine Arts, Richmond, Virginia

Remembering Beauty: American Landscapes, South Bend Regional Museum of Art, South Bend, Indiana

Landscape on Paper, Graham Modern Gallery, New York, New York

Movements of Grace: Spirit in the American Landscape, Winston Wächter Fine Art, New York, New York

1989 Neo-Romantic Landscape and Still-Life, Williams Center for the Arts, Lafayette College, Easton, Pennsylvania

1997 Landscape as Abstraction, James Graham and Sons, New York, New York

1988 Luminous Painting and Sculpture, Hampden Gallery, University of Massachusetts at Amherst, Amherst, Massachusetts

Derriere Garde Festival, The Kitchen, New York, New York Choice Cuts, The Cumberland Gallery, Nashville, Tennessee 1996 Water, James Graham and Sons, New York, New York 1995 Contemporary Landscape: Topography and Imagination, James Graham and Sons, New York, New York

1987 American Pop Culture Today, Le Fouret Museum, Tokyo, Japan Urban Visions, Adelphi University, Garden City, New York Light, Park Avenue Atrium, New York, New York 1986 Mainly on the Plane, 55 Bleecker Gallery, New York, New York

1993 Hollywood Collects, Salander-O’Reilly Galleries, Beverly Hills, California

Luminous Paintings, High-Tech Exhibition Space, San Francisco, California

1992 Stephen Hannock/Ralph Blakelock, SalanderO’Reilly Galleries, New York, New York

American Cityscape, Frank Bernarducci Gallery, New York, New York

Gallery Selections, Salander-O’Reilly Galleries, Beverly Hills, California

Schreiber Cutler Gallery, New York, New York

1991 Figurative Paintings, Salander-O’Reilly Galleries, Beverly Hills, California Lights in Darkness, Lintas Worldwide, New York, New York

1985 Major Works, Frank Bernarducci Gallery, New York, New York 1983 Brooklyn Museum, Brooklyn, New York

Biennial, Tibor de Nagy Gallery, New York, New York

Rotations, Winston Wächter Fine Art, New York, New York

PUBLIC COLLECTIONS Albany Institute of History and Art, New York, New York Bodleian Library, University of Oxford, Oxford, England Bowdoin College Museum of Art, Brunswick, Maine Colby College Museum of Art, Waterville, Maine Dayton Art Institute, Dayton, Ohio Grand Rapids Art Museum, Grand Rapids, Michigan Museum of Contemporary Art, San Diego, California Museum of Fine Arts, Boston, Massachusetts Museum of Fine Arts, Houston, Texas National Gallery of Art, Washington, D.C. Princeton University Art Museum, Princeton, New Jersey Readers Digest Collection, Pleasantville, New York Smith College Museum of Art, Northampton, Massachusetts Smithsonian American Art Museum, Washington, D.C. The Block Museum of Art, Northwestern University, Evanston, Illinois

S E L E C T E D C ATA L O G U E S AND MONOGRAPHS 2016 Galitz, Kathryn Calley. The Metropolitan Museum of Art: Masterpiece Paintings. New York: Rizzoli International Publications, Inc. 2015 Rosenfeld, Jason. River Crossings: Contemporary Art Comes Home. New York: The Artist Book Foundation. 2009 Rosenfeld, Jason, et al. Stephen Hannock. New York: Hudson Hill Press. 2007 Fahlman, Betsy. James Graham and Sons: A Century and a Half in the Art Business, 1857-2007. New York: James Graham and Sons. 2002 Rosenfeld, Jason. Stephen Hannock. New York: McKenzie Fine Art. Williams, Mara. The American River. Brattleboro, VT: Brattleboro Museum. 2000 Hannock, Stephen. Luminosity: The Paintings of Stephen Hannock. San Francisco: Chronicle Books. 1999 Arthur, John. Green Woods and Crystal Waters, The American Landscape Tradition. Tulsa, OK: Philbrook Museum of Art.

The Butler Institute of American Art, Youngstown, Ohio

Garver, Thomas. Water: A Contemporary American View. Charleston, SC: Gibbes Museum of Art.

The Metropolitan Museum of Art, New York, New York

1998 Fischer, Hal. Stephen Hannock: Space and Time. Deerfield, MA: Deerfield Academy.

Whitney Museum of American Art, New York, New York

Baskin, Hosea. Master and Apprentice: Selected Works from Leonard Baskin and Stephen Hannock. Amherst, MA: Hampshire College Library Gallery.

Williams College Museum of Art, Williamstown, Massachusetts Worcester Art Museum, Worcester, Massachusetts Yale University Art Gallery, New Haven, Connecticut

1996 Atkins, Robert and Hugh Davies. Stephen Hannock. New York: James Graham and Sons. 1995 After Church, After Cole: Stephen Hannock’s Oxbow. San Diego: Timken Museum of Art. 1990 Stephen Hannock: Rockets and Flooded Rivers. New York: Tibor de Nagy Gallery. 1988 American Pop Culture Today, Volume 2. Tokyo: U.S.S.O. Co., Ltd.

BIBLIOGRAPHY 2016 Peers, Alexandra. “Galerie’s Guide”, Galerie Magazine, December. Ross, Ken. “Review: Contemporary landscape exhibit at Smith College worth the visit”, MassLive, August 24. “‘The Lay of the Land’: SCMA Exhibition Offers Views of Landscapes Real and Imagined”, Smith College News, June 22. 2015 Meier, Allison. “Hudson River School Painters’ Homes Make Way for Contemporary Art”, Hyperallergic, April 10. Gardner Jr., Ralph. “Frederic Church’s Olana Gets Contemporary With New Art Exhibit”, The Wall Street Journal, May 11. Haider, Faheem. “The Strange Union of Contemporary Art and the Hudson River School”, Hyperallergic, May 13. Van Benthuysen, Daniel. “‘River Crossings’, a Contemporary Art Exhibition at 2 Historic Sites of the Hudson River School”, The New York Times, May 28, 2015. Kaufman, Joanne. “Audrey and Danny Meyer at Home on Gramercy Park”, The New York Times, October 2. 2013 Catton, Pia. “A Dining Room with Stunning Views”, The Wall Street Journal, May 20. DiBlasi, Loren. “Beyond the Borders of Landscape: An Interview with Stephen Hannock”, NY Art Beat, May 14. Sutton, Benjamin. “Joyce Pensato, Jose Parla, Dustin Yellin and More Donate Work as Tribeca Film Fest Prizes.” ARTINFO, January 28, 2013

2012 “View of Tyne comes home.” News Guardian, January 17. “Trophy Art.” Art in America, April 1, p. 25 “Chanel hosts Tribeca Film Festival dinner: Alexa Chung, Liv Tyler, Leelee Sobieski, Naomi Watts and others attend”, Lucire, April 26, 2012 “Recent large-scale paintings by Stephen Hannock on view at Marlborough”, Art Daily, April 29, 2012 “Stephen Hannock ’74 Exhibition Opens at Marlborough Gallery.” Bowdoin Daily Sun, May 1. “Chelsea’s Marlborough Gallery Showing Stephen Hannock’s Gorgeous ‘Vistas with Text’.” Edge Auto Rental, May 2. Cox, Gordon. “Tribeca lines up art prizes.” Variety, January 31. DiBlasi, Loren. “The Traditional Landscape, Re-imagined: Stephen Hannock at Marlborough Gallery.” NY Art Beat, May 28. Duray, Dan. “Kara Walker, Cindy Sherman to Donate Works for Tribeca Film Festival.” The New York Observer, February 1. Fletcher, Richard. “Things to do in Newcastle: Laing Art Gallery.” Chronicle Live, March 16. Gordon, Amanda. “Scene Last Night: Martha Stewart, Charles Royce, Church’s Olana.” Bloomberg, January 19. Lewis, Kayleigh Rose. “Laing Art Gallery to host Sting’s favourite painting, Northern City Renaissance.” Culture24, January 12. Parker, Ashley Joy. “Haute Event: CHANEL Tribeca Film Festival Artists Dinner With Robert De Niro.” Haute Living, April 25. Schwendener, Martha. “The Hudson River School Seen Anew.” The New York Times, July 13. Semino, Matt. “Martha Stewart and Morrison Heckscher Honoured by The Olana Partnership.” Examiner, January 19. Sokolowski, Erik. “Dreaming Away: A Peek into the Reality of Stephen Hannock.” The Advocate Weekly, October 24.

Sutton, Benjamin. “Works by Cindy Sherman, JR and More, Donated as Tribeca Film Fest Prizes, To Go on Public View.” ARTINFO, March 13. Vartanian, Hrag. “A number of well-known artists….” Hyperallergic Labs, April 6. Vogel, Carol. “Grand Galleries for National Treasures.” The New York Times, January 5. Young, Robin. “New Yorker Writer Adam Gopnik Explores Our History With Food.” WBUR NPR, May 16. 2011 Agudo, Alison. “Tom Colicchio’s Restaurant Craft.” Haute Living, September 7. “Important art collection donated to museum.” The Deerfield Valley News, April 21. Charnoff, Neal. “Hannock Paintings Gifted To Southern Vermont College.” Vermont Public Radio, March 24. Collins, Glenn. “Meyer Intends to Sell Eleven Madison Park to Its Chef and Manager.” The New York Times, October 4. Cowan, Cathy. “Painting commissioned by Sting to celebrate Newcastle.” Creative Boom, December 16. Douglas, Sarah. “In with the New.” Art + Auction, May, p. 35. Itzkoff, Dave. “Make Art, Get Art in Return at Tribeca Film Festival.” The New York Times, February 16. Kornbluth, Jesse. “If I Were President…..” The New York Times, August 21. Sifton, Sam. “The Pleasures of Simplicity.” The New York Times, September 6. Wittstein, Max. “Sting’s Artist, And Ours.” Passport Magazine, March 17.

2010 Rosenfeld, Jason. “Stephen Hannock: Taking Landscape to the Next Level.” Fine Art Connoisseur, vol. 7, no. 3, May/June, pp. 35-39.

2002 Glueck, Grace. “Hymning a Mountain in Many Views.” The New York Times, September 13, 2002, p. E32

Rozzo, Mark. “Restaurants Reboot at RealityShow Speed.” The New York Times, January 26.

Hopping, Martha. “Depicting Mount Holyoke: A Dialogue with the Past.” Changing Prospects: The View from Mount Holyoke. Ithaca, NY: Cornell University Press.

2009 Cunningham, Bill. “Stars of the Season.” The New York Times, December 13. Dietrich, Joy. “The Art of Winning.” The New York Times, April 23. 2007 “Luminosity: Paintings by Stephen Hannock.” Panorama, Spring/Summer, p. 7 Berman, Ann. “In Plein Sight.” The Shuttle Sheet, April, pp. 8-9 Berman, Ann. “The New Old School.” Traditional Home, September, pp. 126-133 Cahill, Timothy. “July Portfolio: Stephen Hannock.” Chronogram, July, pp. 44-45 Giuliano, Charles. “The Palimpsests of Stephen Hannock.” Maverick Arts, no. 361, September 30. Van Gelder, Lawrence. “Arts, Briefly.” The New York Times, April 17. Van Gelder, Lawrence. “Arts, Briefly.” The New York Times, May 4. 2006 Miliard, Mike. “An Artist in Demand.” Bowdoin Magazine, November, pp.10-17 2005 Serwer, Andy. “Portrait of an A-List Artist.” Fortune Magazine, no. 152, October 17, pp. 124-136

2001 Rewald, Sabine. “Stephen Hannock.” Metropolitan Museum of Art Bulletin, 59 (Fall 2001), p. 70 1998 Charles, Eleanor. “Connecticut Guide.” The New York Times, March 22. Driscoll, John and Arnold Skolnick. The Artist and the American Landscape. Cobb, CA: First Glance Books, 1998 Van Gelder, Lawrence. “Footlights; News.” The New York Times, December 15. 1996 Little, Car and Arnold Skolnick. Paintings of New England. Camden, MA: Down East Books, 1996 1993 Rosenblum, Robert. “Art: Contemporary Romantic Landscapes.” Architectural Digest, May, pp. 193-230 1988 McGuigan, Cathleen. “Transforming the Landscape.” Newsweek, December 26, 1988, pp. 60-62 1987 Braff, Phyllis. “Seeing the City as Artists Do.” The New York Times, October 25.

2004 Faison, Jr, S. Lane and Stephen Hannock. “A Conversation on Landscape.” The Harrison Gallery. Williamstown, MA: The Harrison Gallery. 2003 Genocchio, Benjamin. “The River: An Object of Beauty, and a Mode of Transport.” The New York Times, October 26, p. CT10

MARLBOROUGH

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N E W YO R K

Marlborough Fine Art (London) Ltd 6 Albemarle Street, London W1S 4BY Telephone +44 (0)20 7629 5161 Telefax +44 (0)20 7629 6338 mfa@marlboroughfineart.com www.marlboroughlondon.com

Marlborough Gallery Inc. 40 West 57th Street, New York, N.Y. 10019 Telephone +1 212 541 4900 Telefax +1 212 541 4948 mny@marlboroughgallery.com www.marlboroughgallery.com

Marlborough Contemporary 6 Albemarle Street, London W1S 4BY Telephone +44 (0)20 7629 5161 Telefax +44 (0)20 7629 6338 info@marlboroughcontemporary.com www.marlboroughcontemporary.com

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MADRID

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