{"id":15195,"date":"2021-03-04T21:06:09","date_gmt":"2021-03-04T22:06:09","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/ellen-hackl-fagan\/"},"modified":"2021-03-04T22:38:49","modified_gmt":"2021-03-04T22:38:49","slug":"ellen-hackl-fagan","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/ellen-hackl-fagan\/","title":{"rendered":"Ellen Hackl Fagan"},"content":{"rendered":"
\n

\"\"Ellen Hackl Fagan<\/a> builds connections between color and sound using installations, an interactive web app<\/a>, and collaborative projects that combine color-saturated paintings with sound.  <\/span><\/span><\/span>Balanced between randomness and intention, like jazz music, Fagan’s art continues to reveal limitless possibilities for improvisation.<\/span><\/span><\/p>\n

Echoing life’s chaotic beauty, her color-saturated paintings are sourced in pop music, Rimbault, Jungian psychology, the theory of correspondences, minimalism and decorative art.<\/span><\/span><\/p>\n

Ellen Hackl Fagan is the inventor of The Reverse Color Organ <\/a>and the ColorSoundGrammar Game, two projects that enable viewers to interact aurally with color. Th<\/span>e Reverse Color Organ is a web app, downloadable to a smart phone, thus placing this synaesthetic tool into peoples’ hands to be used, not only to expand the language of color, but also as a crowd-sourced musical instrument. <\/span><\/span>Fagan exhibits her work extensively throughout New England and New York City. <\/span><\/span><\/span><\/p>\n

Books she continues to reference in her work are: James Joyce, Finnegan’s Wake<\/a>, Ellen Dissanayake’s Homo Aestheticus,<\/a> and Ogham, An Irish Alphabet <\/a>which tap into her deep interest in prehistoric art and earthworks.<\/span><\/p>\n

In 2014 she expanded her independent curatorial practice into a full time business and is now the owner of ODETTA Gallery<\/a>, based in New York City and Greenwich, Connecticut.  Since that time Fagan has created and produced over 70 exhibitions of contemporary art, working with over 150 artists, in addition to maintaining her studio practice.<\/span><\/span><\/span><\/p>\n

As director of ODETTA, she is exploring new platforms in gallery practice and community building, both virtually and in real life. During the pandemic, she has opened ODETTA Digital on the SHIM Art Network platform, and is their Director of Sales, bringing together groups of artists to develop their own exhibition opportunities and curatorial skills. She also has opened ODETTA Petite, a replica of the ODETTA Bushwick gallery space. Here she exhibits works as model scaled proposals for monumental works of art, to be purchased as commissioned works.<\/span><\/span><\/p>\n

ODETTA has been critically reviewed in numerous notable publications, both in print and in blogs, like The New Criterion, Artillery Magazine, and Hyperallergic.<\/span><\/span><\/p>\n

Public commissions include Coach’s flagship store on 5<\/span>th<\/sup><\/span> Avenue and David Yurman Jewelers’ showroom in Tribeca. ODETTA’s exhibitions have traveled to Real Art Ways in Hartford, CT, The Flux Art Fair at Marcus Garvey Park in Harlem, NYC, Bronx Art Space, NYC, and the Morris Museum of Art, Morristown, NJ.<\/span><\/span><\/p>\n

\"\"
Ellen Hackl Fagan, installation view Helpless 2020 Five Points Torrington CT.<\/figcaption><\/figure>\n
\"\"
Ellen Hackl Fagan, SeekingtheSoundofCobaltBlue, Bounty, 2020, inkpigment acrylic on readymade object, 2020, 12-x-12-inches, Private Collection.<\/figcaption><\/figure>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Ellen Hackl Fagan builds connections between color and sound using installations, an interactive web app, and collaborative projects that combine color-saturated paintings with sound.  Balanced between randomness and intention, like jazz music, Fagan’s art continues to reveal limitless possibilities for improvisation. Echoing life’s chaotic beauty, her color-saturated paintings are sourced in pop music, Rimbault, Jungian […]<\/p>\n","protected":false},"author":3,"featured_media":15226,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-15195","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/15195","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=15195"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/15195\/revisions"}],"predecessor-version":[{"id":15227,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/15195\/revisions\/15227"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/15226"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=15195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=15195"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=15195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}