The online hang is only part of it. A walk-through, a studio visit and the printed catalogue each slow the looking down in a different way.
Small groups move through the current hang room by room, in the same order as the online gallery. That makes it easier to come back to a single plate afterwards and look again at the details you walked past.
Arranged separately from the walk-through, a studio visit puts you in front of the working drawings and blocks behind a finished piece. Ask about a specific work and the artist can talk through how it was cut, painted or printed.
Request the catalogue and it arrives as a record of the show: maker, medium, year and a short note on where each work was made. Four of these a year, one per season, so a body of work can be followed across the calendar.
Selected editions are offered as print-on-demand. The catalogue states plainly which works are available that way and which are held only in the physical hang, so there is no guessing about what can leave the room.
Two of the current rooms are documented in detail: Fence Lines and Grazing Camps and Silos in Flat Light. If you would rather arrange a visit or ask about a specific work, write to us at contact@putnamfarms.com.
The online gallery mirrors the physical hang room by room, but some things read better in person or on paper. These are the formats the gallery runs alongside each seasonal show, and what each one is actually for.
A guided pass through the current hang, kept to a small group so there is time to stand in front of individual plates and talk about how they were made. The route follows the rooms in the same order as the online gallery.
Best for: a first visit, or returning to a work you have only seen zoomed in.
Arranged separately from the walk-through, for a closer look at the work and the ground it came from. Useful if you want to follow a body of work rather than a single finished piece.
Best for: collectors and students tracing how a field edge becomes a carved shape.
Four catalogues a year, each entry recording the maker, the medium, the year and a short note on where the work was made. Requested by email, and treated as part of the exhibition rather than a souvenir.
Best for: reading a show at your own pace, or keeping a record across seasons.
Selected editions are offered as print-on-demand. The catalogue states plainly which works are available that way and which are held only in the physical hang.
Best for: taking home a specific plate without guessing at the paper.
Two current bodies of work are documented in detail: Fence Lines and Grazing Camps and Silos in Flat Light. To arrange any of the formats above, write to contact@putnamfarms.com or call +27 62 180 3972.
The online rooms are only part of how the gallery works. If you would rather stand in front of a plate, follow a walk-through, or sit with an artist while a block is being cut, there are three ways in. Each one is arranged separately, and each one keeps the group small enough to actually look.
A guided hour through the current hang, moving room by room in the same order as the online gallery. The group stays small, so there is time to stop at a few plates and talk about how the frame was made and what changed between seasons.
A closer encounter with the work and the ground it came from. You sit with one of the artists who lives and works near the property, see the drawings and blocks behind a finished piece, and hear how a field edge turns into a carved shape.
Four catalogues a year, one per show. Every entry records the maker, the medium, the year and a short note on where the work was made, so you can follow a body of work across seasons rather than scroll a wall of pictures.
Two of the current rooms are worth reading before you decide: Fence Lines and Grazing Camps and Silos in Flat Light.
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