Sarah McEneaney Trestletown

Oct 18 - Nov 23, 2013

Sarah McEneaney, Studio 2013

Studio 2013, 2013, egg tempera on wood, 36 x 48 inches

Sarah McEneaney, Trestletown, North from Goldtex

Trestletown, North from Goldtex, 2013, egg tempera on wood, 36 x 48 inches

Sarah McEneaney, Viaduct, West Poplar

Viaduct, West Poplar, 2013, egg tempera on wood, 36 x 48 inches

Sarah McEneaney, Trestletown, 10th and Hamilton 10th Floor

Trestletown, 10th and Hamilton 10th Floor, 2012, acrylic on linen, 36 x 48 inches

Sarah McEneaney, Trestletown, 13th and Noble

Trestletown, 13th and Noble, 2012, acrylic on linen, 48 x 36 inches

Sarah McEneaney, Winter Wildlife

Winter Wildlife, 2011, acrylic on linen, 48 x 24 inches

Sarah McEneaney, Animal Thirst

Animal Thirst, 2012, egg tempera on gessoed panel, 24 x 24 inches

Sarah McEneaney, Twilight

Twilight, 2012, egg tempera on gessoed panel, diptych, 20 1/2 x 36 inches

press release

Locks Gallery is pleased to present an exhibition of seventeen new and recent paintings and drawings by Philadelphia artist Sarah McEneaney. Trestletown will be on view October 18th through November 23rd, 2013. There will be a reception for the artist on November 1st, from 5:30–7:30 pm.

Trestletown, also known as the Eraserhood, Chinatown North, or Callowhill, is the artist’s longtime neighborhood. Central to the to this post-industrial landscape is an abandoned elevated rail line that was in use from 1891-1984. McEneaney depicts her home and neighborhood with intimate scenes that rely on personal narrative and occasionally fantasy. In the painting Future Vine Street, she imagines a bridge connecting the neighborhood to Chinatown and Center City, where the rail line now abruptly ends.

Aerial skyline views, each from a distinct vantage point over the trestle, have a special poignancy for the artist; McEneaney is a co-founder of the Reading Viaduct Project—dedicated to the reuse of the elevated structure as Philadelphia’s next great public space. Echoing Joel Sternfeld’s Walking the High Line project and other preservation efforts spearheaded by artists, Trestletown celebrates the poetics of life in the urban landscape while galvanizing efforts for community revitalization.

Many of the paintings are egg tempera on panel, a technique the artist has worked with extensively throughout her career. Autobiographical subjects have been continuous themes in the artist’s work. Curator Ingrid Schaffner noted in 2004 that McEneaney’s paintings expand a personal viewpoint into a “cultural tale” that represents the essence of contemporary practice. Schaffner described the paintings as “an art history that transforms McEneaney’s art from being a limited act of circumscription, into a relevant contemporary practice. What could be more engaging, within a post-modern and contemporary global art world, than attempting to find newly inclusive, if not simply different ways of telling the story of art itself?”

McEneaney, a graduate of the Pennsylvania Academy of the Fine Arts, exhibited at Tibor de Nagy, New York in 2012. Recent group exhibitions include First Look, The Philadelphia Museum of Art (2013), The Female Gaze: Women Artists Making Their World, The Pennsylvania Academy of the Fine Arts (2013); The Figure: Contemporary Works from the Collection, RISD Museum of Art (2010); and As Others See Us: The Contemporary Portrait, Brattleboro Museum (2009). In 2004, the Institute of Contemporary Art, Philadelphia, organized a 20-year survey of paintings, drawing and sculpture.

The artist has received multiple awards, including a Chinati Foundation Residency, Yaddo Fellowship, Pew Fellowship in the Arts, Joan Mitchell Foundation Grant and an inaugural residency with the Joan Mitchell Center in New Orleans.

Click here to download a PDF press release.

selected text

Mar 1, 2014
Art in America
Nov 18, 2013
Title Magazine
Nov 14, 2013
Philadelphia Citypaper