Virginia Mallon
Virginia Mallon is an New York artist working in paint, photography, and mixed media. Her work contemplates religious, historic, and mythological women, personal histories (including her own), and the psychological undercurrents of modern society. With influences from social realism, political, and feminist art, it touches upon the angst and trauma of contemporary America, with a female point-of-view, on serial rapists, serial killers, forced birth, and religious fanatics, and ongoing attack on reproductive rights.
Mallon’s work explores painting on non-traditional surfaces, such as burlap, slate, found objects, and cigar boxes as well as oil on canvas. Recent projects use discarded roof tiles from a former state-run (1885-1996) condemned psychiatric hospital. Now a hotspot for urbex explorers, it provides a wealth of unusual poignant pieces of history on which to paint. The added symbolism using a piece of broken shelter from an insane asylum seems appropriate for our times.
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FOR IMMEDIATE RELEASE
Full Circles
The art exhibition Full Circles celebrates the careers of two Queens College Alumni from April 7 through May 5, 2025, at the Queens College Art Center Gallery in the Benjamin S. Rosenthal Campus Library.
Queens College alumnae Mary Ahern (class of 1980) and Virginia Mallon (class of 1985) have crossed paths many times since graduating in the 80s. Though distinct in style, these accomplished artists have shared similar journeys, challenges, and successes throughout their careers. Both have experienced long-standing memberships in the National Association of Women Artists (NAWA) and at Ceres Gallery, one of the oldest feminist galleries in New York City.
On view will be work representing the arc of expression and symbols explored during their years at Queens College and still uniquely threads through their current artwork decades later.
Ahern's art is deeply rooted in symbolism, dynamically reflecting the interconnectedness within the microcosm of her garden and the macrocosm of the cosmos. Her vibrant floral works invite viewers to contemplate universal questions of existence, exploring themes of survival, growth, and renewal through meticulous attention to the natural world. Issues of isolation and exclusion featured in her work then return in this new period of political upheaval.
Mallon approaches her art through a different lens. "My work contemplates religious, historic, and mythological women, personal histories (including my own), and the psychological undercurrents of contemporary society." Mallon explains. With influences from social realism, political, and feminist art her powerful pieces offer commentary on modern societal challenges from a distinctly female perspective, exploring complex themes of identity, power, and resilience.
Both artists have successfully balanced their artistic pursuits with parallel careers outside the art world, bringing unique perspectives to their creative practice.
Exhibition Details:
"Full Circles: The Art of Mary Ahern and Virginia Mallon"
April 7 to May 5, 2025
at QUEENS COLLEGE ART CENTER
65-30 Kissena Blvd, 6th Floor
Benjamin S. Rosenthal Library
Flushing, NY 11367
Reception, Saturday, April 12, 1 to 4 pm
For more information, images, or interview requests, please contact:
Virginia Mallon: Email: virginiamallon@gmail.com, Website: VirginiaMallon.com
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STATEMENT
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This exhibition showcases the arc of my art career from 1985 to 2025. It highlights not only my evolution as an artist but also the enduring themes that have been central to my work. My education began mentoring under Indian Space and Political Satirist Robert Barrell in his Queens studio. I further refined my skills at Queens College, studying under Elias Friedensohn, Robert Bermelin, and Marvin Bileck, ultimately graduating with a liberal arts degree that included a fine arts major with courses in the humanities, archaeology, and anthropology.
When I launched my art career in 1985, I entered a landscape that was largely unwelcoming to female artists, with few paths available for women at that time. Rather than succumbing to the cliche of the starving artist, an unromantic reality I knew all too well, I resolved to carve my own path and simultaneously navigate both the art world and corporate America. While I found this dual existence challenging, it fueled my creativity, as I firmly believe that art must transcend mere aesthetics and genuinely reflect the world around us. My work is far from decorative; it is crafted to provoke thought and inspire dialogue. Throughout my career, I have assumed various roles in addition to being an artist. Jobs included corporate travel agent, bank teller, shoe salesman, secretary, sandwich maker, and events planner. I've sold consumer goods, bug spray, speed starch, and oven cleaners. My resume spans the hospitality, law, finance, and non-profit sectors. Even as an imposter, I can run the rat race with the best of them, all the while taking notes. These are insights eventually find their way into figurative imagery infused with themes of angst, anger, encouragement, and hope.
Despite the changes in the art world since 1985, many challenges linger; our voices and choices remain under siege, making it increasingly difficult for artists to thrive. Throughout my artistic and professional endeavors, recurring themes continue to question the role of women in society. My early work juxtaposed nature and humanity, exploring their interplay and endurance. Over time, I have expanded my focus to address critical issues like the biological clock, infertility, and the glass ceiling, evolving to confront sexual assault, domestic violence, the erosion of feminine power, and the struggle for authenticity. Much of my work draws from personal histories and delves into the psychological undercurrents of modern life. I critically analyze my experiences against the backdrop of historic, religious, and mythological figures, weaving compelling narratives into images that I hope resonate with audiences. I balance the turbulence of this work with a series titled "American Toile" with humorous portraits of family, neighbors, friends, and other creatives I respect.
I am proud to share this body of work which summarizes the circle of my artistic journey. The road ahead remains challenging. I am grateful for the opportunity to highlight my roots which began here at Queens College in 1985.
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