ArtSlant - Openings & events en-us 40 Melvin Edwards - Alexander Gray Associates - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">&ldquo;The use of African words as titles of my sculpture is to extend the practical and philosophical values of the large quantity of esthetic possibility in creative art for now and the future.&rdquo; &ndash;&ndash;Melvin Edwards<br /> <br /> Alexander Gray Associates presents an exhibition of work by Melvin Edwards reflecting his engagement with and influence of Africa. Edwards&rsquo; first visits coincided with a key moment in the region&rsquo;s history as recently independent countries defined their postcolonial national identities. Since his first trip in 1970 to Ghana, Togo, Dahomey (now the Republic of Benin), and Nigeria, Edwards has consistently traveled to Africa, often returning to Nigeria and Ghana and making repeated trips to Senegal and Zimbabwe. He eventually established a studio in Dakar, Senegal in 2000. His experience of and engagement with this region and its traditional and contemporary art scene has nurtured Edwards&rsquo; investigations of metalwork and its formal qualities, abstraction, history, language, exchanges between cultures, and the significance of personal relationships.<br /> <br /> The central work in the exhibition is <em>Homage to the Poet Leon Gontran Damas</em> (1978&ndash;81), a monumental installation shown for the first time since Edwards&rsquo; retrospective at the Neuberger Museum of Art in Purchase, NY in 1993. This work consists of several large-scale metal geometric sculptural elements and a long piece of chain organized in relation to each other to create an environment that encourages gathering and meditation; collective consciousness and contemplation. Grounded to the horizontal plain of the Gallery&rsquo;s floor, the installation is oriented using the sun as a compass in order to face East, looking towards Africa. He conceived the work to honor Damas, a co-founder of Negritude, active in anti-colonial politics, and a poet whose style creatively eschewed the standardized French of the former colony and embraced influences from Harlem jazz to Caribbean calypso. Edwards met Damas in 1969 through the poet, activist, and performance artist Jayne Cortez, Edwards&rsquo; late wife and artistic collaborator, with whom he traveled extensively throughout Africa and across the world.<br /> <br /> Melvin Edwards&rsquo; use of materials, primarily the result of his formal and aesthetic concerns, unfold multiple meanings as they relate to African and African Diasporan cultures and histories, represented in the exhibition in a selection of Lynch Fragments and wall-sculptures. Returning from a trip to Nigeria in 1973, Edwards began incorporating machetes as a formal and symbolic element as in the Lynch Fragment <em>Nunake</em> (1993). He recognizes that machetes function as agricultural tools in West Africa, describing the artifact as &ldquo;another shape of steel that already exists.&rdquo; At the same time, the knives stand as embodiments of social uprisings, which speak to Edwards&rsquo; life-long engagement with social movements. <em>Beyond Cabo Verde</em> (2006) uses as its base a grid-like element sourced from Dakar metal workshops. Its title refers to the island nation of the same name, a site that was a prosperous center of the slave trade. Edwards views the work&rsquo;s square-shape as a window into time, as he explains, &ldquo;Since I spent a fair amount of time in the place, thinking about what&rsquo;s beyond. Both personally and what was beyond historically.&rdquo; <br /> <br /> Edwards&rsquo; works also speak to a broad network of creative minds including African artists, writers, and craftsmen, with whom he has developed personal relationships throughout many decades. Edwards titled his Lynch Fragment <em>Ibadan Oke</em> (1992) in homage to his visits to Nigeria during the 1970s. The urban landscape of the Yoruba city of Ibadan stimulated Edwards&rsquo; interests in architecture and urban design, which were also greatly encouraged through his close friendship with Nigerian artist and architect Demas Nwoko. He met and worked with many others in the city, including the Nigerian Nobel Prize-winning playwright and poet Wole Soyinka, and the Jamaican writer Lindsay Barrett. The Fragment <em>Djeri Djeff Papa Tall</em> (2008) references the phrase &ldquo;djeri djeff&rdquo; or &ldquo;thank you&rdquo; in Wolof&mdash;a widely-spoken language in Senegal&mdash;as well as Papa Ibra Tall, a seminal Senegalese modern artist, founder of the influential tapestry workshop Manufactures s&eacute;negalaises de arts d&eacute;coratifs (MSAD). Tall and Edwards met in Senegal in 1999, and later collaborated when Edwards produced two tapestries in MSAD, including the large-scale <em>Diamnaidio</em> (2010), on view in the exhibition.</p> Thu, 09 Oct 2014 09:37:51 +0000 Joel Holmberg - American Contemporary - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">For the greater part of the 20th Century, companies that controlled the lion&rsquo;s share of markets got there by joining partnerships and forming associations as a way to reduce transaction costs below market price, but recently the developed world experienced a shift in prevailing management theories. Technology can now enable workers to create professional networks and collaborate outside of big business. Labor has found more ways to work in the open market while businesses are getting smaller and working with a growing number of freelancers.</p> <p style="text-align: justify;">A professional website plays a significant role in the costs associated with marketing one&rsquo;s skills and experience. The act of maintaining an online presence requires a constant negotiation between participation in a centralized network and internal growth by way of a personal website more representative of one's skill set and brand. Technical obsolescence and security play a big part in how much work goes into building a website. Sometimes it can contribute to your sense of comfort and well-being, but sometimes it can be unhealthy.</p> <p style="text-align: justify;">Content management systems (frequently abbreviated as CMS) are built on a database wherein the layout of a site can be manipulated independently from its content. Using software formerly available only to corporations that could afford it, sites built using CMS are now proliferated by volunteer programmers. </p> <p style="text-align: justify;">The ubiquity of CMS has given rise to the template industry, which, fueled by ad revenue, makes it viable for unsupported templates to be downloaded and integrated.</p> <p style="text-align: justify;">The dynamic nature of the technology supply chain can result in sites becoming unsupported across browser platforms and vulnerable to being infected by malicious attacks. The more shortcuts that go into making a site look professional the more chances exist for it's form to be compromised. The result is beautiful. I can only compare it to gardening. The wild can take over fast. The goal is to help it achieve the majesty of an ancient forest, with a canopy and an understory and vista from which to gaze.</p> <p style="text-align: justify;">Joel Holmberg (b. 1982 in Bethesda, MD) lives and works in New York, NY. He has previously exhibited at <strong>Cleopatra&rsquo;s</strong>, Brooklyn, NY; <strong>Foxy Production</strong>, New York, NY; <strong>Ullens Center for Contemporary Art</strong>, Beijing, CN; <strong>New Museum</strong>, New York, NY; <strong>Outpost</strong>, Norwich, UK; <strong>The Museum of the Moving Image</strong>, New York, NY; The <strong>9th Shanghai Biennale</strong>, Shanghai, CN, <strong>W139 </strong>in Amsterdam, NL<strong>, The Sundance Film Festival, </strong>Park City, UT, <strong>Espace Gantner</strong>, Belfort, FR, and <strong>Kettles Yard</strong>, Cambridge, UK. His most recent solo exhibition was the inaugural exhibition at <strong>Harmony Murphy Gallery</strong>, Los Angeles, CA. He is a member of the web based collective Nasty Nets and studied at Virginia Commonwealth University, Richmond, VA and Yale University, New Haven, CT. </p> Tue, 28 Oct 2014 14:28:36 +0000 Michael St. John, Borna Sammak, Martha Rosler - Andrea Rosen Gallery - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present a three-person exhibition of Martha Rosler, Borna Sammak and Michael St. John. Looking to and pulling from the urban, social and cultural landscape, these three distinct trajectories uniquely address matters intrinsic to the urban environment and the public sphere. While retaining his or her own unique territory, each individual artist&rsquo;s work reveals a critical awareness, empathy, and responsibility to the world in which we live. Juxtaposing the different strategies and methods employed by each artist to confront the landscape of the present will hopefully provide new perspectives that can enrich and deepen our understanding of these artists&rsquo; works.&nbsp;</p> <p style="text-align: justify;">Martha Rosler&rsquo;s distinct bodies of work within the gallery offer different approaches to the representation of familiar urban spaces. In her seminal work <em>The Bowery in two inadequate descriptive systems</em> (1974/75), a grid of 24 texts and images conjoins a photographic and a linguistic system to represent an iconic Skid Row district inhabited by alcoholics and transients (and, invisibly, a few loft-dwelling artists). Rather than showing us the usual subjects of documentary, Rosler depicts the Bowery through a series of unpopulated storefronts and sidewalks with empty bottles and other detritus, alongside a variety of metaphoric words and phrases used to describe drunkenness and drunks. But even together, the deadpan images and the far more poetic words, rather than &ldquo;capturing&rdquo; the realities of dispossession and degradation, point to the neglected questions of social relations and ethics involved in the photographic exchange.</p> <p style="text-align: justify;">Selections from Rosler&rsquo;s photo series <em>Transitions and Digressions</em> evoke aspects of ordinary life in commercial districts where shop windows provide visions of society we observe but rarely bother to process. Her video diptych, Bowery Highlights (2008), returns to the site of her earlier work but generates a second report through the juxtaposition of photographs and real estate documents, rooflines and certificates of occupancy, displaying the radical ascent up the social scale of the residents of the area and the conversion of the living spaces of earlier eras.</p> <p style="text-align: justify;">Engaging a constant interplay with the contemporary cultural climate, Michael St. John&rsquo;s work continues to recalibrate and address a growing circuit of visual information. In creating this particular body of work, St. John reflects on notions of disaster, nihilism, murder, guns, joblessness/economy, indifference/tragedy, narcissism, institutional racism, and mayhem - each either overtly, or discretely embed within the layers of his compositions. Here newspaper clippings, found images, fragmented language and everyday objects aggregate into captivating collaged portraits of the world at present &ndash; the US incarceration system, Hell Yeah Tumblr sites, domestic violence month &ndash; emphasizing an immediacy of content and material, and speaking to numerous trajectories within art history. Underlying its visceral humor and clever nods to mass culture, however, St. John&rsquo;s work embodies a proactivity that speaks of a devotion and responsibility to a generation of overwhelming content and information. &ldquo;At some point the world became too urgent to ignore,&rdquo; states St. John. And this urgency is continually reflected in his multivalent works, complex juxtapositions and influential gestures that allows a viewer to see the world with both greater complexity and clarity.</p> <p style="text-align: justify;">Drawing from a social garbage can, Borna Sammak reins a safari of contemporary visual content within his multi-media compositions. Using cultural products as raw material, his works present uncannily affective juxtapositions of objects and information, excerpted and extracted from their functional contemporary contexts, and rearranged in new and arresting formations. Abstracted signage is penetrated by a commercial flag - &ldquo;BUY HERE PAY HERE.&rdquo; Paintings tangled with heat press t-shirt decals and dense embroidery present raucous and refined collages of stock imagery and digital designs. Endlessly amassed video content from the internet cut and pared down for their color, movement and form, create what is ultimately a celebratory canvas, with each clip refined to a pixel-bound brush stroke. By wrenching information free from its contextual foundation, Sammak engages in a continuous play with form, subject and content, that encourages viewing the everyday anew.</p> <p style="text-align: justify;"><em><strong>Martha Rosler</strong> was born in Brooklyn, New York, where she lives and works. She is widely regarded as one of the most influential artists of her generation, one whose artistic practice, teaching, and writing continue to influence succeeding generations. Her work has been exhibited in "Documenta 7," Kassel; several Whitney biennials; at the New Museum, NY; the Institute of Contemporary Art, London; the Museum of Modern Art, New York; the Dia Center for the Arts, New York; and many other international venues. Her work is in the collections of major international museums, including the Metropolitan Museum, the Whitney Museum, the Museum of Modern Art, and the Guggenheim in New York, the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Art Gallery of Ontario, Victoria and Albert Museum in London, among many others. A solo exhibition of her Meta-Monumental Garage Sale was held at the MoMA, NY in 2012. Her writing has been published widely in catalogues and magazines, and she has published 14 books, in several languages, of photographs, texts, and commentary, as well as lectured widely, both nationally and internationally.</em></p> <p style="text-align: justify;"><em><strong>Michael St. John</strong> lives and works in Sheffield, Massachusetts. This will be St. John's 13th solo exhibition in New York since 1990, including a recent exhibition at Karma in 2013, for which a major monograph was concurrently published. He has been included in numerous group exhibitions across the U.S.. Along with an extensive resume of curatorships, St. John has held numerous teaching positions, including the position as an adjunct professor at New York University since 1994.</em></p> <p style="text-align: justify;"><em><strong>Borna Sammak</strong> lives and works in Brooklyn, NY. Recent exhibitions include a solo presentation at JTT, New York, and a two-person exhibition with Alex De Corte at Oko, New York organized by Alison Gingeras. Sammak has been included in numerous group exhibitions, such as DSM-V, curated by David Rimanelli and presented by Vito Schnabel in The Future Moynihan Station, New York. In 2009, a public exhibition of select video paintings by Sammak, organized together with curator Thomas McDonell, was conceived at the Best Buy on Broadway in New York.</em></p> Thu, 09 Oct 2014 09:44:23 +0000 Bill Bollinger, John Divola, Magali Reus - Andrea Rosen Gallery 2 - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">Andrea Rosen Gallery is pleased to present a three-person exhibition of Magali Reus, Bill Bollinger and John Divola. Shifting away from the supremacy of a single object, each artist here acknowledges a more phenomenological experience of material and form. Through strengthening material vernaculars, there is a distinct presence of the body indicated within each of the artists&rsquo; works that describes both a presence of artist and viewer, as well as the encounter of material as vessel for meaning. This juxtaposition of unique trajectories is a way to not only contextualize work being made now within the established field of contemporary art, but also a way of showing how artists like Divola and Bollinger remain a vital part of the discourse.</p> <p style="text-align: justify;">Approximating the scale and basic materiality of fridge and freezer units, Magali Reus&rsquo; sculptures, <em>Lukes</em>, as titled &ldquo;bodies,&rdquo; combine in anthropomorphic fashion. Stripped of their supposed functionality, these hand-activated vessels of skewed rectangular form deflect our familiarity with an object coded by domesticity, instead offering themselves as hosts in which smaller, more materially luxurious compositions play out. Their skins are phosphate clad, cast concrete, milky raspberry coated &ndash; and interior, a printed fleece blanket, strewn packets of mustard condiment, a single flattened white knife&nbsp; &ndash; deftly confusing binaries of the human and the mechanical. Made with industrial finishes and contemporary processes, the resulting works puzzle human relationships to inanimate matter and their intended functions. The collision of material preservation and more internalized alchemical detail exposes Reus&rsquo; relationship to object making as one which communicates the universal meanings embedded within all materials, but also the transformative strategies we use to mobilize the everyday.&nbsp;</p> <p style="text-align: justify;">Focused on the gesture of construction, and the physical limits and nature of material, Bill Bollinger too sought to expand experience and perception of materiality and commodity. <em>Graphite Piece</em>, first shown in January of 1969, divides the gallery into two defined spaces of dark and light planes. Traces of the graphite powder dusted between the floor and wall illicit the sweeping gestural distribution of material, the physical performance of construction, while simultaneously communicating an opaque sense of openness and expandability so crucial to the artist in each carnation.</p> <p style="text-align: justify;">Two photographs from John Divola&rsquo;s &ldquo;Dark Star&rdquo; series accentuate a delicate balance of creation and destruction. Resembling a full stop or black hole, Divola&rsquo;s spray painted circles, almost as lesions upon the interior walls of a derelict abandoned space, add both a lethal mark to a sinister image of utter abandonment, as well as accentuate the significance and weight of a single material gesture enacted by the artist upon a chosen ground. Engaging two performative mediums, of painting and photography, Divola&rsquo;s evident participation within such spaces transcends a process of observation or means of documentation, and reflects a more visceral material involvement.<br /> <br /> <strong>Bill Bollinger</strong> (1940-1988) originally studied aeronautical engineering at Brown University and turned to art when he moved to New York City in 1961. His work was included in some of the most historically important exhibitions of the 1960s, including <em>Live in Your Head: When Attitudes Become Form</em> (Kunsthalle Bern, 1969); <em>Anti-Illusion: Procedures/Materials </em>(Whitney Museum of American Art, 1969); <em>Nine at Leo Castelli</em>(Castelli Warehouse, 1969); <em>Information</em> (Museum of Modern Art, 1970) and the Whitney Museum Annual of 1971 and Biennial of 1973. His oeuvre was recently recognized by a international traveling retrospective at the Kunstmuseum Liechtenstein; the ZKM Zentrum fur Kunst und Medientechnologie, Karlsruhe; The Fruitmarket Gallery, Edinburgh; and The ScultureCenter, New York.</p> <p style="text-align: justify;"><strong>John Divola</strong> was born in Venice, California in 1949. His work has been exhibited in key historical exhibitions such as John Szarkowski&rsquo;s Mirrors and Windows: American Photography since 1960 at The Museum of Modern Art (1978), The Whitney Biennial at the Whitney Museum of American Art (1981) and most recently, Under the Big Black Sun: California Art 1974-1981 at the Museum of Contemporary Art, Los Angeles (2010). His work is in the public collections of The Museum of Modern Art, The Whitney Museum of American Art and the Metropolitan Museum of Art in New York; The Museum of Contemporary Art, The Getty Museum and the Los Angeles County Museum of Art in Los Angeles; San Francisco Museum of Modern Art, San Francisco; The Smithsonian American Art Museum in Washington, D.C.; The Centre Pompidou, Paris and The Victoria and Albert Museum, London among many others. He is a recipient of multiple National Endowment for the Arts Photography Fellowships as well as a John Simon Guggenheim Memorial Fellowship.</p> <p style="text-align: justify;"><strong>Magali Reus</strong> was born in 1981 in Den Haag, The Netherlands, and currently lives and works in London. Reus&rsquo; recent solo shows include <em>DINOSAURS</em> at Circuit, Lausanne; In <em>Lukes and Dregs</em>; The Approach, London (both 2014); <em>Highly Liquid</em>, Galerie Fons Welters, Amsterdam (2013), <em>Background</em>, La Salle de bains, Lyon and IBID Projects, London (2009). She has been included in recent group exhibitions at Fridericianum, Kassel; Kestnergesellschaft, Hannover; Kunstmuseum St Gallen; David Roberts Art Foundation, London; ZERO, Milan and De Hallen, Haarlem (all 2014).&nbsp; Her work has been shown in screenings at Tate Britain, London; ICA, London; Turner Contemporary, Margate; MK Gallery, Milton Keynes; Cornerhouse, Manchester; Tramway, Glasgow (all 2014) and Oberhausen Film Festival (2013). She has forthcoming solo exhibitions at SculptureCenter, New York, The Hepworth Wakefield and Fondazione Sandretto RE Rebaudengo, Turin (all 2015), as well as an upcoming group show at LUMA Foundation, Z&uuml;rich.</p> Thu, 09 Oct 2014 09:45:31 +0000 Nathan Lyons - Bruce Silverstein - October 30th 6:00 PM - 8:00 PM <div class="text"> <p style="text-align: justify;">Bruce Silverstein is pleased to announce an exhibition of new work by the esteemed artist Nathan Lyons in conjunction with the publication of his highly anticipated fourth book, Return Your Mind to Its Upright Position. The exhibition features a selection of photographic diptychs created by Lyons that mirror the layout of the accompanying book. The extended meaning created by reading images as a pairing within a larger sequence remains Lyons&rsquo;s greatest artistic and conceptual contribution to this art form. </p> <p style="text-align: justify;">The exhibition begins with an installation of photographs spanning the years 1962 to 2013, representing all four of Lyons&rsquo;s books. This is an opportunity to experience, on a large scale, Lyons&rsquo;s visual journal of the residue of our social and cultural landscape, and his ongoing pursuit of meaning derived from the relationships between images in pairs and within a sequence. In an artist&rsquo;s statement prepared for an exhibition at the National Gallery of Canada in 1971, Lyons wrote, &ldquo;This series of photographs could be about me. But I think it is probably a series of questions about us and our stuff&mdash;pictures, objects and things. They may question us more honestly than we can ourselves.&rdquo; </p> </div> <div class="text more-visible"> <p style="text-align: justify;">This &ldquo;series of questions&rdquo; has continued for over fifty years. Anne Wilkes Tucker, Gus and Lyndall Wortham Curator of Photography at The Museum of Fine Arts, Houston, has written of Lyons&rsquo;s continuing visual inventory of the messages we send out to the world, explaining that &ldquo;Lyons &lsquo;collects&rsquo; into his pictures various public displays: lawn decorations, wall posters, advertisements, historical sites, store windows and billboards. What people display, plus how and why it appears, reveals what they value and often what their community values.&rdquo; The current exhibition traces his inventory through the present, revealing decades of incisive cultural observation.&nbsp;&nbsp; </p> <p style="text-align: justify;">The exhibition will include a special introductory component curated by Jessica S. McDonald, Chief Curator of Photography at the Harry Ransom Center in Austin, Texas, and author of the book Nathan Lyons: Selected Essays, Lectures and Interviews (2012). In addition to his reputation as an artist, Lyons is well known as a curator, theorist, and educator, and McDonald has devoted the front room of the gallery to highlighting Lyons&rsquo;s groundbreaking contributions and broad influence in the field.&nbsp; </p> <p style="text-align: justify;">In 1969, after more than a decade of producing pioneering exhibitions and publications at George Eastman House, Lyons founded the Visual Studies Workshop in Rochester, New York. The Workshop offered some of the first graduate programs devoted to the study of photographic history, curatorial practice, and academic research in this medium, and became a center for critical discourse in media studies and visual arts. Many of Lyons&rsquo;s students became leaders in the field as artists, curators, critics, educators, and museum directors.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">Nathan Lyons (b.1930) has received many distinguished honors throughout his career, including the International Center of Photography&rsquo;s Infinity Award for Lifetime Achievement in Photography in 2000. In 1985, Lyons received a National Endowment for the Arts Senior Fellowship. His work is held in over 60 museum collections around the world.</p> <p style="text-align: justify;">Opening Reception and Book Signing: October 30 th , 6 &ndash; 8pm</p> </div> Fri, 24 Oct 2014 13:57:22 +0000 Geoffrey Farmer - Casey Kaplan Gallery - October 30th 6:00 PM - 8:00 PM <div class="large-item"> <p style="text-align: justify;">Kathy Acker rang my head like a bell.</p> <p style="text-align: justify;">It happened sometime in the spring of 1990, while she was reading out loud, a passage to our class from Gertrude Stein&rsquo;s 1914 book&nbsp;<em>Tender Buttons. </em></p> <p style="text-align: justify;">I had just read it myself and thought little of it. In fact I clearly remember not liking it.</p> <p style="text-align: justify;">The book is comprised of three parts: Objects, Food and Rooms. I didn&rsquo;t understand what any of the passages had to do with any of the subjects that they were listed under. When Kathy read, she did so simply, without sentiment and with a New York accent that delivered the words with matter-of-factness.</p> <p style="text-align: justify;">She was sitting at the end of a long conference table at the San Francisco Art Institute, and I was with half of the class, looking out through the window at Alcatraz, our backs facing the wall with the then entombed painting, <em>The Rose</em><em>&nbsp;</em>(1958-1966) by Jay Defeo.&nbsp;</p> <p style="text-align: justify;">Kathy read:</p> <p style="margin-left: 30pt; text-align: justify;">&ldquo;The care with which the rain is wrong and the green is wrong and the white is wrong, the care with which there is a chair and plenty of breathing. The care with which there is incredible justice and likeness, all this makes a magnificent asparagus, and also a fountain.&rdquo;</p> <p style="text-align: justify;">Then the sound of a bell.</p> <p style="text-align: justify;">&ldquo;The care with which the rain is wrong and the green is wrong and the white is wrong&hellip;&rdquo;</p> <p style="text-align: justify;">I&rsquo;m thinking about this now, in New York, while I look out at the rain from the circular window of my hotel room.</p> <p style="text-align: justify;">Geoffrey Farmer born 1967</p> </div> Thu, 09 Oct 2014 09:57:35 +0000 Louise Bourgeois - Cheim & Read - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">Cheim &amp; Read is pleased to present an exhibition of hanging works by renowned French-American sculptor Louise Bourgeois (1911-2010). The exhibition will be accompanied by a full-color catalogue with a text by Robert Pincus-Witten. <br /> <br /> The sculptures in this exhibition all hang from the ceiling. Along with a group of drawings from the 1940s, in which pendulous forms are delineated in black ink, the selection of works traces the theme of suspension throughout Bourgeois&rsquo;s long career. Spanning more than forty-five years &ndash; from the organic Lair forms of the early 1960s and the Janus series of 1968, to the cloth figures of the 1990s, the hanging heads of the 2000s, and the torqued spirals of shining aluminum made in the last years of Bourgeois&rsquo;s life &ndash; they demonstrate the myriad ways in which she approached material, form, and scale. They also affirm the various readings of Bourgeois&rsquo;s work, whether formal, psychological, biographical, or experiential. For Bourgeois, the sculptures&rsquo; suspension is an expression of the psyche; as she stated: &ldquo;Horizontality is a desire to give up, to sleep. Verticality is an attempt to escape. Hanging and floating are states of ambivalence.&rdquo; In psychology, ambivalence refers to conflicting but coexisting feelings for the same person, place, or event. The many dualities at play within Bourgeois&rsquo;s oeuvre (organic/geometric; rigid/pliable; male/female) provide this condition with fertile ground.<br /> <br /> The very physicality of Bourgeois&rsquo;s work &ndash; its density and weight &ndash; is offset by the seemingly effortless, floating state in which they are presented. Eschewing the traditional sculptural base, Bourgeois positions her work in dialogue with the viewer and surrounding environment. Tethered to the ceiling but by no means static, her sculptures have the potential to revolve on their axes, providing a sense of movement and instability. The implied vulnerability is especially profound in works like the polished bronze Arch of Hysteria (1993), in which a male figure hangs from a cord attached at the pelvis; the double-headed fabric Arch of Hysteria (2004), in which male and female torsos are fused and hung at the waist; or the bronze Femme (2005), which is suspended by the figure&rsquo;s pregnant abdomen. Other works are similarly evocative. In Henriette (1985), a portrait of the artist&rsquo;s sister, a single prosthetic leg never reaches solid ground, while the elongated rubber legs of Legs (1988) stop just shy of the floor. The soft folds and flaccid double ends of the androgynous Janus series (1968), though cast in bronze, seem exposed and defenseless. One &ndash; Hanging Janus with Jacket &ndash; seeks protection under a hard outer shell. The Quartered One (1964-65), conjures images of beef hanging in a slaughterhouse. Late works, like Untitled (2004) and The Couple (2007-09), manifest the implications of suspension within their forms &ndash; coils of aluminum weave in and out and over each other, as if echoing the spiraling and spinning of which they are capable. Various associations with hanging &ndash; suicide and murder, as well as the connection between mother and child through the umbilical cord &ndash; are further explored by Pincus-Witten as he examines the trajectory of Bourgeois&rsquo;s work.</p> <p style="text-align: justify;">The earliest piece in the show&mdash;an intimately-scaled bronze Lair, painted white and hung on a steel hook&mdash; is dated 1962, but Bourgeois&rsquo;s writings and drawings attest to her preoccupation with the idea of suspension much earlier. In 1957, during the height of an intensive psychoanalysis that went on intermittently until the 1980s, she wrote: &ldquo;loathing of the floor &ndash; wish to hang things / and see hanging things (drawings of / hanging sheathes whole series).&rdquo; Bourgeois traced the origins of this impulse to her childhood. As she has described, her father stored his collection of wood chairs in the attic of the family home, hanging them from exposed beams: &ldquo;It was very pure. &hellip;You would look up and see these armchairs hanging in very good order. The floor was bare. ...This is the origin of a lot of hanging pieces.&rdquo; In a May 1996 diary entry, she writes: &ldquo;Hanging things must be loved / green beans on the ceiling in Antony.&rdquo; As with all of Bourgeois&rsquo;s work, an underlying current of biography informs her process. But while the sculptures (and many of their elongated forms) can be traced back to visual and emotional recollections of her childhood, their physical presence is charged by the viewer&rsquo;s individual reaction. Ultimately, it is this visceral exchange which Bourgeois sought to provide.<br /> <br /> All Louise Bourgeois quotes &copy; The Easton Foundation.</p> Tue, 14 Oct 2014 07:02:32 +0000 Eric Souther, Kiki Smith, Ann Hamilton, Xu Bing, Oliver Herring, Peer Bode, Joseph Scheer - Claire Oliver Gallery - October 30th 6:00 PM - 8:00 PM <p>Groundbreaking selections from the Institute for Electronic Arts at Alfred University</p> <p>Migration: 1.) to shift position&nbsp; 2.) a large-scale and continuing movement.<br /> &nbsp;</p> <p>With the advent of new technologies forging new definitions of design and communications, the role of artists and designers in society has become more critical than ever. Claire Oliver Gallery seeks to forge new bridges between the worlds of science, technology, art and design with the exhibition <em>Migration</em>.&nbsp; With groundbreaking selections from the Institute for Electronic Arts at Alfred University, the exhibition seeks to highlight innovations and discoveries which have and continue to expand the possibilities of digital technology's role in the fine arts.</p> Fri, 24 Oct 2014 14:52:38 +0000 Abdul Badi, Yehuda Blum, Colin Bootman, Maria Diaz-Luna, France Hilbert, Carlos Pinto - Clover's Fine Art Gallery - October 30th 6:00 PM - 8:00 PM <p><strong>Clover&rsquo;s Fine Art Gallery</strong> presents <strong><em>Moonalised &ndash; A Portrait Exhibition, </em></strong>a group show by six artists &ndash; <strong>Abdul Badi, Yehuda Blum, Colin Bootman, Maria Diaz-Luna, France Hilbert </strong>and <strong>Carlos Pinto</strong>.&nbsp; The exhibition runs from October 30, 2014 to November 30, 2014.&nbsp;</p> <p><strong>Opening Reception will be held on Thursday, October 30<sup>th</sup>, 6-8pm</strong> at Clover's Fine Art Gallery located in downtown Brooklyn - 338 Atlantic Avenue (Hoyt &amp; Smith).</p> <p>What is "Moonalised&rdquo;?&nbsp; It refers to the face of the moon and to <strong><em>Mona Lisa</em></strong>, the half-length portrait of a woman by Leonardo da Vinci.&nbsp; It is the action of staring at the moon in the same way that tourists stare at the <em>Mona Lisa</em>.&nbsp; In this exhibition, the six artists Moonalised their subjects - observing and portraying the person, looking for his or her essence and uniqueness.</p> <p><strong>Featured Artists:</strong></p> <p><strong>Abdul Badi</strong> never took art seriously.&nbsp; For years he drew and painted with reckless abandon, with little thought the effect his work had on viewers.&nbsp;&nbsp; But with age and study, Abdul has come to recognize that art provides more than mere aesthetics: it delivers both conscious and subtle sub-conscious messages.&nbsp;&nbsp;</p> <p>Abdul was born in Washington, DC and spent his formative years in Brooklyn.&nbsp;&nbsp; He attended Manhattans&rsquo; High School of Art and Design completed an art program at Mercy College of Dobbs Ferry, New York.&nbsp; He has become known for his vibrant oversized portrayals of Third World people, particularly Africans.&nbsp;&nbsp; Abdul spent years working as a pastel painter but of late works almost exclusively in oils.&nbsp;</p> <p><strong>Yehuda Blum</strong> lives and works in Brooklyn, New York. Between 2006 and 2009 he attended classes and summer programs at the Valley Art Institute in Los Angeles. In 2014 he received his bachelor&rsquo;s degree in Art History from Case Western Reserve University. He spent a year abroad at Jerusalem&rsquo;s Bezalel Academy of Art and Design. Blum&rsquo;s work ranges from observed renderings to abstract, process-based experiments. He enjoys erasure, layering, transparency, and destabilization as practical and metaphorical impetuses in his practice. While he is primarily a painter and draftsman, he also delves in collaborative and interdisciplinary work.</p> <p><strong>Colin Bootman </strong>was born in Trinidad and moved to the United States at age seven.&nbsp; Bootman cites finding his first comic book as the life-changing experience that marked the beginning of his career as an artist.&nbsp; He was encouraged to purse children&rsquo;s book art as it allowed him to freedom to express himself through various media.&nbsp; Bootman credits the lively rhythms and vibrant palette of Trinidad which left an indelible mark on his creative expression.</p> <p>For <strong>Maria Diaz-Luna</strong> painting is like learning to envision because it is the essence that lives and illuminates within everything.&nbsp; For her, it is like visual music that can be heard and felt from the inner soul.&nbsp; It is an innate force that streams from her belly onto the paint brush and then onto the canvas.&nbsp; Maria was born in Puerto Rico and moved to Brooklyn.&nbsp; Here, she observed the many faces of people from diverse ethnic backgrounds that inspired her towards painting portraits of all kinds of people.</p> <p><strong>France Hilbert</strong> artistic education began in France at age seven when her grandfather, the late artist Jaro Hilbert, taught her the classical tradition.&nbsp; She continued her formal studies at the <a href=";rct=j&amp;q=&amp;esrc=s&amp;frm=1&amp;source=web&amp;cd=1&amp;cad=rja&amp;uact=8&amp;sqi=2&amp;ved=0CB4QFjAA&amp;;ei=solCVJerMK61sQTYzYKQBg&amp;usg=AFQjCNHqS-tgBhh_VGihzkMXKcj5au8nzw&amp;sig2=p5xiUdMIXZLzNQE7o7uRvw&amp;bvm=bv.77648437,d.cWc" rel="nofollow">&Eacute;cole Nationale Sup&eacute;rieure des Beaux-arts</a> in Paris, France and then in the US at the Academy of Arts at the Newington-Cropsey Foundation in Hastings-on-the-Hudson, NY.&nbsp; Hilbert&rsquo;s major works consist of sculptures in public space and many of her commissions are permanent installations.&nbsp; <em>Talma</em> is a 7-foot bronze sculpture installed in a public square in Brunoy, France and <em>The Calling</em> is a pair of 4-foot bronze relief sculptures installed in Georgetown University Medical School in Washington, DC.</p> <p><strong>Carlos Pinto</strong> is from Guatemala and has been working as an artist in NY for the past 15 years.&nbsp; His art is as expressive, lush and colorful as his nature country.&nbsp; Pinto&rsquo;s artwork is also poignantly aggressive and projects a revolutionary declaration.&nbsp; Most of Pinto&rsquo;s media comes from salvaged material and found objects.&nbsp; He uses discarded plastic Metros cards and broken tile and glass to reinforce recycling and prolong its use indefinitely while provide the artist with a source of free material.&nbsp; Pinto is planning a series of mural and public art in Brooklyn.&nbsp; He hopes his legacy will be an artist who demands change to a Green Revolution.</p> <p>Come meet the artists, enjoy a glass of wine and see this spectacular body of art. Clover&rsquo;s Fine Art Gallery is located in the historic Atlantic Avenue district, close to the Barclays Center. The exhibition was curated by &shy;gallery owner, Clover Barrett.&nbsp; Special thanks to France Hilbert for her valuable contribution in helping curate this show.</p> <p><strong>Clover&rsquo;s Fine Art Gallery is particularly committed to promoting a greater awareness and appreciation of the art and artists of the Caribbean.</strong></p> <p align="center"><a href="" target="_blank" rel="nofollow"></a></p> <p align="center"><a href="" target="_blank" rel="nofollow"></a></p> <p align="center"><a href="" target="_blank" rel="nofollow"></a></p> <p align="center"><a href="tel:718%20625%202121" target="_blank" rel="nofollow">718 625 2121</a></p> <p align="center">338 Atlantic Avenue, Brooklyn, NY 11201</p> Thu, 23 Oct 2014 23:27:45 +0000 Alexander Ross - David Nolan Gallery - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">David Nolan Gallery is pleased to present <em>Recent Terrestrials</em>, an exhibition of new work by Alexander Ross. On view from October 30 through December 6, this will be Ross&rsquo;s third solo show with the gallery. Bringing together a series of large-scale paintings and group of smaller drawings, the exhibition signifies a variety of recent formal and thematic innovations for the artist.<br /> <br /> Ross is best known for his biomorphic imagery, wherein modeled forms suggest molecular ecosystems as viewed through a microscope, or surreal landscapes inspired by Max Ernst. In recent years, the artist has developed a distinctive color palette in which occasional flashes of red and yellow emerge within multiple shades of green. Ross&rsquo;s characteristic handling of paint &ndash; through which shapes are given dimensionality in incremental bands of shading &ndash; might suggest a photorealistic endeavor. However, viewed as a whole, his compositions can be understood more accurately as abstractions, in which the interplay of color and form, highlight and shadow become the focus.<br /> <br /> With <em>Recent Terrestrials</em>, Ross redirects his emphasis toward imagery recalling &ldquo;grotesques&rdquo;, a style of architectural ornament found throughout Europe that incorporates ugly or playfully contorted faces. These sneering faces also have a political dimension, conveying the artist&rsquo;s restlessness in response to what he perceives to be disquieting geological and social changes in civil life. <br /> <br /> Another group of paintings finds the artist un-mounted from his established vantage point, in which a clear blue sky serves as a neutral backdrop. Radically shifting this familiar perspective, a number of Ross&rsquo;s new works comprise intricately worked lattices or cellular matrixes, which appear both luminous and translucent. In an alternative reading, these can also be seen as cross-sections of the earth where unusual concave forms suggest subterranean excavations.<br /> <br /> Born 1960 in Denver, Colorado, Alexander Ross lives and works in Great Barrington, Massachusetts. His works are included in the permanent collections of the Museum of Modern Art, New York, the Denver Art Museum, the Art Institute of Chicago, the Morgan Library, New York, and the Herbert F. Johnson Museum of Art at Cornell University, Ithaca. He is the recipient of numerous awards including the John Simon Guggenheim Memorial Foundation Fellowship (2002) and the Louis Comfort Tiffany Foundation Award (2003). His works have been exhibited in museums and galleries worldwide since the mid 1990s, including the pivotal group show <em>Remote Viewing</em> at the Whitney Museum of American Art (2005). Ross is currently included in <em>Spaced Out: Migration into the Interior</em>, a group exhibition at Red Bull Studios, New York, curated by Phong Bui.</p> Tue, 14 Oct 2014 07:43:47 +0000 Shonagh Adelman - Denise Bibro Fine Art - October 30th 6:00 PM - 8:00 PM <p><strong>Denise Bibro Fine Art</strong>, in Chelsea, New York is pleased to announce the solo exhibition of Shonagh Adelman&rsquo;s <em>Beastiful</em>. Running from October 30<sup>th</sup>- December 13<sup>th</sup>, 2014.</p> <p>Adelman is one of two artists chosen from the <em>Art from the Boros </em>Competition that exhibited 50 artists from over 500 plus initial submissions. Her crystal covered canvases stood out among the rest as a unique and inventive medium conveying quirky contemporary vignettes.</p> <p><em>Beastiful&rsquo;s c</em>ombination of iconic images of Versailles and animal human hybrids depicted on crystalized canvases make for a campy genre of traditional turned none traditional painting. Her nod to Rococo and portraiture is executed just right. Attractive feminine figures, posed in front of decadent gold and ornate backgrounds are dressed in huge stuffed animal heads seen as both beautiful and beastly.</p> <p>Shonagh&rsquo;s process is laborious and intricate; each canvas is fixed with thousands of 4mm colored glass beads. Everything about these pieces are in excess, from the ornate architecture of Versailles to the literal crystals creating the shapes and colors of the image.</p> <p>Adelman has an abd PHD in Women&rsquo;s studies from York University, a Masters in History and Philosophy of Education from the Ontario Institute and a BFA from The School of the Art Institute of Chicago. She has an extensive Exhibition, Awards and Speaking Engagement list.</p> Thu, 16 Oct 2014 15:29:47 +0000 Sui Park - Denise Bibro Fine Art - October 30th 6:00 PM - 8:00 PM <p><strong>Denise Bibro Fine Art</strong>, in Chelsea, New York is pleased to announce the solo exhibition of Sui Park, <em>Contour Sculptures</em>. Running from October 30<sup>th</sup>- December 13<sup>th</sup>, 2014. Park is one of two artists chosen from the <em>Art in the Boros</em> Competition that exhibited 50 artists from over 500 plus initial submissions.</p> <p>Park&rsquo;s deftly crafted 3D organic contour sculptures are made from repurposed inorganic materials. Using plastic zip ties and mono filaments, Park creates intricate refined contours and shapes.</p> <p>Her inspiration stems from the idea of creating abstract representation of objects and nature that we see every day. Her work can be described as living and breathing as it assimilates into its surroundings, evoking a mystical and illusionary feeling. Her provocative biomorphic natural forms are often singular and others are organized into environments and landscapes.</p> <p>Park has an MFA in Fiber Arts and a BFA from the Ewha Womans University in Seoul, South Korea. She also has a Master in Design in Interior Architecture from the Rhode Island School of Design, Providence, RI.</p> <p align="center">&nbsp;</p> Thu, 16 Oct 2014 15:48:43 +0000 Mark Strodl - Denise Bibro Fine Art - October 30th 6:00 PM - 8:00 PM <p><strong>Denise Bibro Fine Art</strong>, in Chelsea, New York is pleased to announce the <em>Art from the Boros</em> artist Mark Strodl&rsquo;s solo exhibition, <em>Wall Street and New York State of Mind</em>, in the Platform Gallery. Running from October 30<sup>th</sup>- December 13<sup>th</sup>, 2014.</p> <p>Strodl&rsquo;s images capture the modern day struggles of men and women in New York. With his mysterious play on a variety of social situations he reveals issues that many New Yorkers deal with on a daily basis; the endless rat race of wealth and poverty. Wall Street is fodder for Strodl&rsquo;s ammo, depicting his interaction and commentary on the status quo. He touches on compelling taboos that very few artists seek to tackle.</p> <p>Strodl spends his time wandering the greater streets of New York City finding interesting images to capture. He then distorts and manipulates his images in order to create the effect and story he is looking for. What is unique to his work is the contrast between fantasy and reality he presents. By implementing his computer skills as his paintbrush, he contorts his realistic backgrounds of popular well-known areas of New York. He adds his own eerie whimsical and quirky characters creating his unique social commentary.</p> <p>Mark Strodl is no stranger to the streets of New York; He is a true New Yorker. He attended The School of Visual Arts for Media. He has had a successful commercial career as an illustrator having worked for well known companies as BBDO and magazines such as Harpers, and Vogue to name a few.&nbsp;</p> Thu, 16 Oct 2014 16:19:28 +0000 Markus Baenziger - Edward Thorp Gallery - October 30th 6:00 PM - 8:00 PM <p>The Edward Thorp Gallery is pleased to announce an exhibit of recent works by Swiss-born artist Markus Baenziger. This will be his third one-person exhibition with the gallery.</p> <p>Baenziger&rsquo;s sculptures integrate the artist&rsquo;s love of nature with a vision of a gritty, imperfect and industrialized world, constructed with a mastery of design and an exacting attention to detail.</p> <p>Employing synthetic materials, such as plastic resins with found objects and various casting and modeling techniques, he creates both lyrical and psychologically complex works. These orchestrated hybrids are seemingly in decay yet are also flourishing.</p> <p>These organic elements and technological debris vie for existence: ferns emanate from flattened cardboard boxes, fauna mutates from cast iron coil, thicket embraces and transforms discarded plastic bottles. A monumental leaf becomes imbued with the patina of rusted iron.</p> <p>Beauty emanates from these contradictions, the imperfect and incomplete, familiar yet unconventional. These works makes us acutely aware of the reciprocity of decay and growth, neglect and preservation, seductive objects both transient and imposing.</p> <p>The artist is a graduate of Yale University and currently Associate Professor of Fine Arts at Haverford College, Pennsylvania.</p> <p><br />For more information visit</p> Tue, 21 Oct 2014 20:42:06 +0000 Group Show - Friedman Benda - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;"><em>Apocryphal Times </em>is an exhibition that presents the work of eleven international artists who grapple with the ultimate-elusive concept of time.</p> <p style="text-align: justify;">Striving to grasp time&rsquo;s essence, these artists were invited to reflect on traditional temporal notions and to create narratives that defy, fictionalize, or capture &lsquo;time&rsquo; as we know it. Organized by Thorsten Albertz, gallery director at Friedman Benda, and artist Tamara Kostianovsky, the exhibition will be on view from October 30 through December 13, 2014.</p> <p style="text-align: justify;">Through sculptures, performative works, installations, and drawings, the artists in the exhibition demonstrate a common preoccupation with clocks, memory, ruins, the aging body, and anxiety about the future. Informed by the power of history, myths, scientific theories, and personal experiences, the selection of works ultimately challenge the idea that &lsquo;time&rsquo; is what keeps everything from happening at once.</p> <p style="text-align: justify;">Literal attempts to mark the passage of time are seen in <strong>Aili Schmeltz</strong>&rsquo;s meticulous &ldquo;hour glass&rdquo; drawings, where charcoal lines intermittently mark and discount time, and with <strong>Jessica Lagunas&rsquo;s </strong>presentation, where her own greying hair is incorporated yearly into discrete works, creating an ongoing personal calendar of aging.</p> <p style="text-align: justify;">Reflections of the past figure prominently in the show as a number of artists delve into the collective or personal histories to re-interpret, dispel, or propose new constructs; <strong>Cesar Cornejo</strong>&lsquo;s elongated skulls made out of tiny bricks simultaneously refer to the sculls of pre-Columbian nobility of the Paracas Culture of Ancient Peru and to the construction materials of shanty-towns that surround Peru's capital today in Lima. His work addresses social issues and time as a continuum where parallel realities coexist.</p> <p style="text-align: justify;"><strong>Tamara Kostianovsky </strong>is inspired by the anthropomorphic myths of Mother Earth in South America; her world maps made of dehydrated meat integrate the body with the land in works that reflect on the history of colonization, displacement, and migration. <strong>Valerie Hegarty</strong>'s recreation of her parents&rsquo; room captures the vanishing memories of her childhood, translating feelings of remembrance and loss into extant reality.</p> <p style="text-align: justify;"><strong>Julien Salaud </strong>creates a "Grotte Stellaire;&rdquo; a dark dome within which he draws images reminiscent of Paleolithic Cave Paintings with cotton threads illuminated by black light. By doing so, he brings together the cosmological, the animistic, and the religious in a mysterious work that makes us think of the role of magic as a way that early humans ordered their world. In 2012, a similar work was presented at the Palais de Tokyo, Paris, France.</p> <p style="text-align: justify;">Conceptual constructs of time, or time in our consciousness, are explored by a final group of artists; Alaskan-born <strong>Mark Lawrence Stafford </strong>uses common construction materials to explore the effects of time and consciousness on the landscape. Through images of glaciers, mountains and ocean waves, he conjures patterns that lie between consciousness and cosmos, while reclaiming the notion of the &ldquo;American sublime.&rdquo; Syrian-born artist <strong>Diana Al-Hadid </strong>intervenes on a gallery wall - using gypsum and her signature &ldquo;frozen drips&rdquo; to create a sitespecific work suspended between decay and construction, which defies gravity and time as it appears to float in space. <strong>Hedwige Jacobs </strong>makes drawings that capture the collective experiences of isolation, inertia, and desperation prevalent in modern societies. The artist presents a group of drawings that mirror our existence while striving to find the essence of a wider temporal and spatial awareness in our ordinary lives.</p> <p class="Default" style="text-align: justify;">Leaps into the realm of the unknown include New York-based <strong>Lars Fisk</strong>'s futuristic sculptures. Imagining a future for common objects while blending transportation concerns with cosmologies, Fisk shows a vehicle conflated into a ball &ndash; both strangely familiar and completely alien. The digital prints of Spanish artist <strong>Juanli Carrion </strong>postulate further on peripatetic projections of time and the hierarchy of memory in e virtual realm, by using thousands of layered images of &lsquo;ruins&rsquo;, downloaded from Google.</p> Thu, 09 Oct 2014 10:22:14 +0000 Dan Mills - George Billis Gallery- NY - October 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">George Billis Gallery is pleased to welcome Dan Mills and his work to the New York location. The exhibition will run from October 28th through November 22nd, 2014. The opening reception will be held at the gallery located at 525 West 26th Street between 10th and 11th avenues on Thursday, October 30th, from 6-8 pm.&nbsp; </p> <p style="text-align: justify;">Dan Mills&rsquo; work is a direct reflection of what interests him. Currently, his work has included cartography and abstract ways of codifying information while including history, humour, political and cartoon portraits, and abstraction. Mills uses maps and transforms them to create something new. The abstractions and colors are eye-catching, and they remind the viewer of the deception of mapping systems.</p> <p style="text-align: justify;">He has had numerous solo exhibitions spanning across the world from Manhattan to Chicago, Los Angeles and Tianjin, China. He is currently the director of the Bates College Museum of Art and is the lecturer in the humanities in Lewiston Maine since 2010. An Artist who is a museum director / curator, Mills has lead dynamic college art museums and their programs in order to bring a world of ideas to their campus and communities. His projects have traveled to nearly three dozen institutions throughout the US and in China. Also, Mills is a frequent lecturer, curator, guest critic, juror and officer of the Association of Academic Museums and Galleries (AAMG).</p> <p style="text-align: justify;">Mills is the son of E.Andrew and Virginia Ward Mills, both painters from Upstate New York. He recieved a BFA from Northern Illinois University in 1981. He and his wife, artist Gail Skudera, lived and worked in Chicago where they both exhibited their works and actively lived in the art community. Now they work and reside in Maine.</p> Tue, 21 Oct 2014 15:20:28 +0000