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Malcolm Kenter

@malcolm.kenter

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‘Synecdoche’ Opens 9/17-12/13 @smcmoa

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Malcolm Kenter at St. Mary’s College Museum of Art … proud of you my brother ❤️❤️❤️ go see the show, it’s the perfect reprieve from city life that throws you right back into it 🏙️

@malcolm.kenter @smcmoa curated by @blroyer

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Tomorrow is the day to venture into the SMCMoA’s Fall 2026 Exhibitions!

Join us for our opening celebration (9/17) from 5:00 p.m. to 8:00 p.m. Enjoy light refreshments and get an exclusive first look at ‘Synecdoche: Malcolm Kenter,’ ‘Choreographies of Calamity: Art Hazelwood and the Media of War,’ and ‘Fix Your Face: Representations of the Female Gaze.’

🪟 ‘Synecdoche: Malcolm Kenter’ features the San Francisco-based Kenter’s (b. 1987) architectural paintings that speak to the urban environment, providing pauses for meditative consideration and care for the utilitarian components and worn markings of San Francisco’s built architecture and urban symbolism.

🇺🇸 ‘Choreographies of Calamity: Art Hazelwood and the Media of War’ explores the nonsensical nature of warfare through printmaker and activist Hazelwood’s (b. 1961) art practice. Student-curated, this exhibition presents work from the early 2000s to the present, inviting visitors to consider the cyclical and puppeted components of the USA’s involvement in war.

🪞‘Fix Your Face: Representations of the Female Gaze’ is a student-curated exhibit featuring select works from the permanent collection exploring how female photographers, painters, and printmakers have turned to their media to reclaim agency and transform power dynamics.

Fall Exhibitions are on view through December 13, 2026 during regular operating hours from 10 a.m. to 4 p.m., Wednesday through Sunday. (Closed Monday and Tuesday) Visit the MoA website for special programs. Admission is free and open to all.

Gallery installation photographs by Francis Tatem, 2026.

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❗️Mark your calendars❗️

Next Thursday, September 17 from 5:00pm - 8:00pm is the Opening Celebration of Fall 2026 Exhibitions!

San Francisco-based artist Malcolm W. Kenter constructs architectural paintings that respond to the urban environment and conflicting aesthetic discourses. Framed through the Arts & Crafts pursuit of 19th-century architect and collateral descendant Reverend Joseph Worcester, this exhibition presents Kenter’s development over the past 10 years alongside select works from SMCMoA’s permanent collection. Through the lens of craft and meditative care, Kenter compiles from the utilitarian components and worn markings of San Francisco’s built architecture and urban spaces to draw attention to the narrative of the city from the 1800s to today.

Be sure to also join us for Kenter’s Artist Talk on November 19 at 10:00am.

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The SMCMoA is excited to announce Malcolm W. Kenter’s solo exhibition “Synecdoche” opening on September 16, and on view through December 13, 2026.

San Francisco-based artist Malcolm W. Kenter constructs architectural paintings that respond to the urban environment and conflicting aesthetic discourses. Framed through the Arts & Crafts pursuit of 19th-century architect and collateral descendant Reverend Joseph Worcester, this exhibition presents Kenter’s development over the past 10 years alongside select works from SMCMoA’s permanent collection. Through the lens of craft and meditative care, Kenter compiles from the utilitarian components and worn markings of San Francisco’s built architecture and urban spaces to draw attention to the narrative of the city from the 1800s to today.

We can’t wait for you to experience these works!

Images: Malcolm Kenter I. Hawk and Fan Intervention, 2025, Housepaint, enamel and spray paint on wood, plastic, galvanized steel, polyurethane sealant, papier-mache, acrylic paint, 2025. II. Vivande Restaurant’s Mouth of Hell, enamel on plasticine, wood, latex, and plastic, 2019. III. Veiled Tracery, House paint on wood, steel screen and stained glass, 2025.

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⚾ BASEBALL KINGS FOREVER 2007 ⚾

#ripspesh #riporfn #friendsforever♥️

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‘residue’

Open hours Thursday and Saturday 1-5

L3 at Railspur Studios

Artists :
@maxwell.volkman
@a.e.d.barnes
@patrickapplebystudio
@novalynn_diguistini
@jesse_brown
@oldleatherutilitybelt
@mpatten_
@wwohlgemuth
@rare.joolz
@robertfalco
Lukas Kubeja
@whoatemycheeseits
@malcolm.kenter
@jd_banke
@masterpeace.650
@graysonrichter
@_brennan_young_
@iron_j_forge
@jean_nagai
@antonlvov1ch

Presented by Common Ground in collaboration with Forest For The Trees

𝘈𝘤𝘳𝘰𝘴𝘴 𝘱𝘢𝘪𝘯𝘵𝘪𝘯𝘨, 𝘤𝘰𝘭𝘭𝘢𝘨𝘦, 𝘴𝘤𝘶𝘭𝘱𝘵𝘶𝘳𝘦, 𝘮𝘪𝘹𝘦𝘥 𝘮𝘦𝘥𝘪𝘢, 𝘢𝘯𝘥 𝘱𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺, 𝘵𝘩𝘦 𝘸𝘰𝘳𝘬𝘴 𝘥𝘦𝘱𝘪𝘤𝘵 𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳 𝘰𝘣𝘫𝘦𝘤𝘵𝘴 𝘢𝘯𝘥 𝘴𝘤𝘦𝘯𝘦𝘴. 𝘝𝘦𝘩𝘪𝘤𝘭𝘦𝘴, 𝘪𝘯𝘵𝘦𝘳𝘪𝘰𝘳𝘴, 𝘣𝘰𝘥𝘪𝘦𝘴, 𝘢𝘯𝘥 𝘭𝘢𝘯𝘥𝘴𝘤𝘢𝘱𝘦𝘴. 𝘙𝘢𝘵𝘩𝘦𝘳 𝘵𝘩𝘢𝘯 𝘥𝘰𝘤𝘶𝘮𝘦𝘯𝘵 𝘳𝘦𝘢𝘭𝘪𝘵𝘺, 𝘵𝘩𝘦𝘴𝘦 𝘸𝘰𝘳𝘬𝘴 𝘳𝘦𝘨𝘪𝘴𝘵𝘦𝘳 𝘪𝘵𝘴 𝘳𝘦𝘴𝘪𝘥𝘶𝘦. 𝘐𝘮𝘢𝘨𝘦𝘴 𝘢𝘳𝘦 𝘣𝘳𝘰𝘬𝘦𝘯 𝘢𝘱𝘢𝘳𝘵, 𝘣𝘭𝘶𝘳𝘳𝘦𝘥, 𝘭𝘢𝘺𝘦𝘳𝘦𝘥, 𝘰𝘳 𝘢𝘭𝘵𝘦𝘳𝘦𝘥, 𝘳𝘦𝘧𝘭𝘦𝘤𝘵𝘪𝘯𝘨 𝘩𝘰𝘸 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦𝘴 𝘢𝘳𝘦 𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳𝘦𝘥 𝘳𝘢𝘵𝘩𝘦𝘳 𝘵𝘩𝘢𝘯 𝘥𝘪𝘳𝘦𝘤𝘵𝘭𝘺 𝘴𝘦𝘦𝘯. 𝘛𝘩𝘦 𝘦𝘹𝘩𝘪𝘣𝘪𝘵𝘪𝘰𝘯 𝘭𝘰𝘰𝘬𝘴 𝘢𝘵 𝘩𝘰𝘸 𝘦𝘷𝘦𝘳𝘺𝘥𝘢𝘺 𝘭𝘪𝘧𝘦 𝘪𝘴 𝘴𝘩𝘢𝘱𝘦𝘥 𝘣𝘺 𝘴𝘤𝘳𝘦𝘦𝘯𝘴, 𝘮𝘢𝘵𝘦𝘳𝘪𝘢𝘭𝘴, 𝘢𝘯𝘥 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘱𝘦𝘳𝘴𝘱𝘦𝘤𝘵𝘪𝘷𝘦, 𝘴𝘶𝘨𝘨𝘦𝘴𝘵𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘪𝘮𝘢𝘨𝘦𝘴 𝘢𝘤𝘵 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦 𝘦𝘤𝘩𝘰𝘦𝘴 𝘰𝘧 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘵𝘩𝘢𝘯 𝘦𝘹𝘢𝘤𝘵 𝘳𝘦𝘤𝘰𝘳𝘥𝘴, 𝘢𝘯𝘥 𝘵𝘩𝘢𝘵 𝘮𝘦𝘢𝘯𝘪𝘯𝘨 𝘪𝘴 𝘢𝘭𝘸𝘢𝘺𝘴 𝘤𝘩𝘢𝘯𝘨𝘪𝘯𝘨 𝘢𝘯𝘥 𝘶𝘯𝘧𝘪𝘯𝘪𝘴𝘩𝘦𝘥.

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Lately Jan big mood

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Malcolm Kenter at Sebastian Gladstone, Los Angeles
“Composite Order”
January 8 – February 14, 2026
Photos: images copyright and courtesy of the artist and Sebastian Gladstone, Los Angeles
@sebastiangladstone @malcolm.kenter

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In between time

📸 @campsnapcamera 105 with the Supra filter

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Malcom Kenter, “Composite Order,” continues in Los Angeles through February 14th.

The genesis for the show and placing this theme of the Composite Order into context came from a moment when I observed a Romanesque pillar on the side of a shuttered storefront. A vent of unknown function hung defunct on the face of the pillar, and the passage of time was evident through the layers of paint that were piled upon it. I was struck by the colliding systems and doctrines that were evident. I was observing contradicting forces where both schools of thought had come to lay dormant and timeworn, as if I was a witness to a battlefield where both parties lay defeated. The classical revival architecture of the pillar seemed overly ornate, and echoed cheaply in this instance like architectural costume jewelry. The imposing vent form, however, revealed itself like a parasitic blemish, void of decoration or grace, a complete opposite of the grandeur of the pillar with which it occupied the same space. This collision resulted in something profound to me, the mask of materialistic splendor meeting on the same surface with defunct utility and the absence of spectacle. This suggestion of a societal duality exemplified in the infinite metaphor and vernacular of the built environment compelled me to make this body of work, a world of merging contradictions and anomalies. The rigidity and the ensuing entropy of a surface, the banal coalescing with the ornate, and luxury with its inevitable degradations were themes I wanted to explore sculpturally.

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@malcolm.kenter

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Join us tonight in Los Angeles for the opening of Malcolm Kenter’s solo exhibition “Composite Order” from 6-8PM.

In ancient Greek and Roman architectural traditions, orders were assigned by the ornamentation exemplified in the columns of the era. Distinctive capitals and fluting defined the orders, starting with the simple Doric, followed by the increasingly ornate Ionic and Corinthian. In time, these orders began to blur and compound on one another, and the combined motifs of Ionic and Corinthian were later deemed the Composite Order.

Malcolm Kenter
Spiny Romanesque, 2025
Housepaint on wood, plastic, concrete, galvanized steel,
steel screen, spray foam, dryer lint, tape
36.5” H x 25.25” W x 9.5” D

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