I’m thrilled to share a project I’ve been immersed in for the past year: Morgan Bulkeley: Where Late the Sweet Birds — Selected Works 1984–2025.
Morgan Bulkeley is one of the most remarkable living artists I’ve had the privilege to work with. From over 2,000 artworks, we selected 56 pieces spanning multiple decades of his career — and I’m so pleased the exhibition will extend into 2026 at the Muscarelle Museum of Art.
Morgan Bulkeley was born in 1944 in the Berkshires of Massachusetts. Raised on a small farm in Mount Washington, he was surrounded by the natural world, with his parents—both naturalists—raising orphaned wild animals. Morgan graduated from Yale University in 1966 with a B.A. in English Literature, and after a stint in the Coast Guard, he spent a year in Newark, New Jersey, working with VISTA programs and drawing. He spent the next 14 years in Cambridge, Massachusetts, painting and sculpting. In 1985, Morgan returned to his childhood home, where he currently lives with his wife, environmentalist Eleanor Tillinghast.
MB’s work speaks for itself — simultaneously terrifying, funny, fragile, beautiful and clearly articulates the moment in which we live. After spending time with five decades of Morgan’s work, one thing feels certain: the next fifty years will look nothing like the last. Many thanks to MB and EL for trusting me with your work.
Production photos of Juan Brenner’s exhibition “Abundant, Life Giving and Cruel”, now on view at the Andrews Gallery at William & Mary.
Please join us for the reception and artist talk on Thursday, Feb 21 from 4-7pm. The talk begins at 5pm in the Muscarelle Museum next door.
I’m pleased to announce Juan Brenner’s solo exhibition, “Abundant, Life Giving and Cruel”, presented by Andrews Gallery and the Muscarelle Museum of Art at the College of William & Mary — on view 2/3 to 4/3.
“Abundant, Life Giving and Cruel” brings together five years of Juan Brenner’s creative output, research, and investigation into the complex cultural conditions of the Guatemalan Highlands. Juan’s photographs provide us with a historical map which traces thousands of years, where time is presented as a thread that simultaneously tangles and untangles narratives as a trans-temporal paradox. Through Juan’s images, we are able to visualize the full spectrum of a historically networked ecology latent within the landscapes and inhabitants of the Highlands—representing a reality all their own, and perhaps, a projection of the future of humanity.
The exhibition celebrates the release of Brenner’s new monograph, Genesis, published by Guest Editions.
Juan will travel from Guatemala to Virginia for a reception and artist talk on Feb 20.
“Abundant, Life Giving and Cruel” was curated and produced by Patrick Harkin and Juan Brenner. With generous support by the Muscarelle Museum, the Reves Center for International Studies, and departments of Art & Art History, Latin American Studies, and Anthropology.
With unconditional love of the unknown,
-Juan and Patrick
Solar Cabinets 1 and 2
Various materials from across the globe
Dimensions variable
2022
Each cabinet is inlaid with a solar panel and speaker, with various internal components.
They are capable of “playing” themselves autonomously - creating infinite feedback loops between themselves in a sort of spontaneous synchronicity, communicating and responding with each other. The sound they produce constantly changes depending on the light surrounding them. The daylight hours sounding very different from the artificial light of the night.
Through making these I wanted to further understand the notion of a Hyperobject. Hyperobjects are objects so massively distributed in time and space that they are without a center, boundaries, or even fully understandable effects - such as styrofoam, the internet, and radioactive plutonium. The term ‘Hyperobjects' was coined by Timothy Morton in 2013, but the terminology was inspired by Björk's 1996 single 'Hyperballad’ (slide 3 🔊).
During my Fathers tenure at NOAA, a mysterious and inexplicable sound known as the “Julia Sound” (my younger sisters namesake) is recorded from an Icebreaker off the coast of Antarctica in the year 1999. Played here thru the Cabinets, and the muted fluorescent lighting of the studio (slide 5 🔊).
Big thanks to @copeland.studio for showing these and @christianmichaelfilardo for the 📸
Excited for @christianmichaelfilardo ’s new book “The Pearl”, a handmade 30 page ring book, which comes vacuum sealed with an engraved dog tag. “It’s a very fun object and you might never want to open it!” -CMF 💞
📸 by yours truly
Tomorrow night 9/12 7pm I’ll be talking about my current show at @hamiltoniangallerydc .
Last few days to see the show, thanks so much to everyone who came out! 😭✨🌊
There’s still plenty of time to see my show @hamiltoniangallerydc ‘Harvester’s Dilemma’ up until 9/14. This work is near impossible to represent adequately through photography. An active viewership of the work is required (using your smartphone) for the technical, conceptual and ecological critique of the medium to unfold in real time. The camera in this sense is both an ally and a nemesis.
________________________________________________________(Pictured above after and before 📸)
‘The Opacity of Non-Planetary Ground’
Silk Screen on Anti-Photographic fabric.
All silk screen prints were printed by my dear friend and master printer @ricardovicentejoseruiz 🦑💞🦎
Opening tonight! My solo show Harvester’s Dilemma @hamiltoniangallerydc . See you there friends!
Above: Inhof vs Svalbard (tic-tac-toe), silk screen on anti-photographic fabric, 66 x 77 inches
