Michael Krebber @ Greene Naftali Gallery, New York

Michael Krebber
Greene Naftali Gallery, New York
October 26 – December 15, 2018

"All languages being cousins beneath the skin, in other words?”

—Ian Watson, The Embedding

Greene Naftali presents Michael Krebber’s seventh solo exhibition at the gallery, and his first since the artist relocated to New York City. The exhibition features new paintings based on iterations of coded painterly gestures, executed in only two colors.

These gestures, which repeat and accrue across the exhibition, transform into an assembly of signifiers that read like a novel.

Michael Krebber’s practice has consistently been characterized by strategies that offer a distinct commentary on painting and art exhibitions, functioning by establishing and obliterating its own constitutive elements in order to tell a joke that continues again and again. With this new body of work the artist moves towards a blur of painterly and textual structures that establish a visual grammar through an abstract compositional method. The interlacing goes back and forth, interweaving the blank ground of the canvas into the painting, resurfacing fore- and background. The paintings in this exhibition play a dual role, as an essence in and of themselves. Yet with their contingency upon a highly coded system, these works do not offer to complete or resolve.

Born 1954, Cologne, Germany, Michael Krebber lives and works in New York. Recent solo exhibitions include The Living Wedge (Part II), Kunsthalle Bern, Bern (2017); The Living Wedge, Serralves Museum, Porto, (2016); Greene Naftali, New York (2015); Museum Ludwig, Cologne, 2015; Les escargots ridiculisés, CAPC musée d’art contemporain, Bordeaux, (2012); and Greene Naftali, New York (2011). His work is in the collection of Museum of Modern Art, New York; CAPC musée d'art contemporain, Bordeaux; Hamburger Bahnhof – Museum of Contemporary Art, Berlin; Museum Ludwig, Cologne; and Museum Brandhorst, Munich. He was awarded the Wolfgang Hahn Prize by the Museum Ludwig, Cologne, in 2015.

GREENE NAFTALI
508 West 26th Street, New York, NY 10001
www.greenenaftaligallery.com

Michael Scott @ Sandra Gering Inc, New York

Michael Scott: Recent Painting and Sculpture 
Sandra Gering Inc, New York

February 15 - April 21, 2017

Michael Scott: Recent Painting and Sculpture 

Installation view

Photo Courtesy Sandra Gering Inc, New York

SANDRA GERING INC presents MICHAEL SCOTT: Recent Painting and Sculpture. This is Michael Scott’s fifth solo exhibition with the gallery.

For this exhibition, Michael Scott pairs new free standing sculpture with paintings, both of which continue to explore the conceptual aspect of optics the artist has worked with since the mid 1980s.

Michael Scott’s interest in the sculptural nature of his work is brought to the foreground in this exhibition. Highly sensitive to materiality, Scott has always seen his paintings for their three-dimensional qualities. The enamel works in particular have, for the most part, been painted on aluminum grounds and projected off the wall on metal brackets, heightening their objectness. Adding to that, the striped surfaces have had multiple treatments, from matte to glossy and washy to textured. The pillar-like aluminum sculptures on view continue the stripe series, their verticality echoing the line work in a fully three-dimensional object.

Michael Scott’s history with linear abstraction dates back to contemporary art’s Neo-Geo movement. Using mathematics to build specific parameters for each work, he creates frisson by painting surfaces that can be difficult to look at. Color, contrast and scale all contribute to the overall optical effect. Michael Scott’s work is meticulous by nature. Fractions and progressions are highly meaningful, as are any diversions into expressionism or gestural mark-making. Taken as a whole, Scott’s stripe works show a sensitivity to nuance that can be likened to the work of Ad Reinhardt, Donald Judd, On Kawara and Josef Albers, as well as any number of Op-Art practitioners. 

Michael Scott has exhibited internationally since 1989. Venues have included Le Consortium, Dijon & Le FRAC, Nord-Pas de Calais, France; the Grand Palais National Galleries, Paris; Musée des Beaux Arts, La Chaux de Fonds, Switzerland; PS1, New York; Centre National d'art Contemporain de Grenoble, France; Centre Georges Pompidou, Paris; the Museum of Modern & Contemporary Art, Geneva, MAMCO, Geneva, and the Kunsthalle Bern, in Switzerland. A recent overview of Scott’s work was presented at the Centre d’art contemporain, Lausanne, Switzerland. Michael Scott lives and works in New York City.

SANDRA GERING INC 
14 East 63rd Street, New York, NY 10065
www.sandrageringinc.com

Moira Dryer @ 11R, New York

Moira Dryer: Paintings & Works on Paper
11R, New York
January 11 – February 7, 2016

MOIRA DRYER

Untitled, 1991

Courtesy 11R, New York

11R (formerly Eleven Rivington) inaugurates its newly constructed and expanded 195 Chrystie Street location with an exhibition of paintings and works on paper from the 1980s and early 1990s by the late MOIRA DRYER (1957 – 1992).  This is the second solo exhibition of Moira Dryer’s work at 11R, and it presents abstract paintings on wood panel, along with a selection of never before exhibited watercolors, gouaches and collages. The show includes printed matter and past exhibition brochures, encouraging an in depth consideration of the artist and a fuller view of her practice.

The exhibition presents work spanning Moira Dryer’s exhibition career, beginning with the small casein on wood Target Landscape, 1985, painted a year before her first solo exhibition.  Two shaped paintings – including the instantly iconic The Debutante, 1987 – highlight the artist’s interest in contradicting the physicality and object-like quality of taut, painted plywood; in both works, Moira Dryer thrusts the picture plane towards the space of the viewer, dramatically altering our understanding of each work’s surface and support. 

A selection of works on paper – shown here for the first time – underscores the deliberateness of Moira Dryer’s methods, the offhand, yet specific touch of her paint application, and her pictorial considerations.  The works gathered here include painted and cut paper; collage; watercolors; and gouaches.  The work Untitled, 1989, is a cool gray field framed by the artist’s dark thumbprints. 

MOIRA DRYER was born in 1957, in Toronto, and moved to NY in the late 1970s to study at the School of Visual Arts, where she graduated with honors in 1981.  During her early years in the city, Dryer was a student of Elizabeth Murray; she would subsequently be a studio assistant to Murray as well as to Julian Schnabel, while also working freelance as a prop and set maker for local theaters.  Moira Dryer had her first solo exhibition in 1986 at John Good Gallery, NY, followed by two solos at Mary Boone Gallery, NY, and two exhibitions with Mario Diacono, Boston, among others.  During her lifetime, she had solo museum exhibitions at Boston’s Institute for Contemporary Art, in 1987, and at the San Francisco Museum of Modern Art, in 1989.  In 1993, a year after the artist succumbed to a five-year battle with cancer at age 34, a solo Projects exhibition of Moira Dryer’s paintings was presented at The Museum of Modern Art, NY.  Moira Dryer’s work is included in the permanent collections of The Solomon R. Guggenheim Museum, NY; Whitney Museum of American Art, NY; and Museum of Modern Art, NY.

11R
195 Chrystie Street New York, NY 10002
www.11rgallery.com

Tom Climent at BlueLeaf Gallery, Dublin, Ireland

Tom Climent, Final State
BlueLeaf Gallery, Dublin, Ireland
Through 13 december 2012

Irish artist Tom Climent’s most recent work is on view at Dublin's BlueLeaf Gallery. Most recent Tom Climent's paintings tends to focus on the creation of space, investigating the boundaries between abstraction and representation as a means of conveying this, exploring the dematerialised qualities that one does not actually see in reality and using spatial structures as a vehicle to make this quality solid and physical.

The perception of space is a complex phenomenon; we have not simply a mental apprehension of space but an experience of living space. The creation of space through perspective indicates a fixed point of view; a lived space contains a remembrance of past space and a longing for future spaces. The postion of the viewer is always shifting.

Tom Climent’s practice of art to date has been as a painter and one of his interests has been in how art addresses the body in space. For him a painting could become a window connecting an inside with an outside. In his work the devices of perspective and more abstract methods of reduction can create a pictorial surface which allows our bodily world in.

Tom Climent's initial enquiry was focused around spatial constructs and how they might provide a structured space for our existence. Taking a basic structure as an analogy for our place in the world, he started to create very rudimentary spatial structures; a fundamental shape or vessel that could contain a human presence. People organise space so that it meets their needs and supports their social interations. The space buildings create have an important part in how we live our lives. A body is a lived body and as such the spaces it inhabits are lived spaces.

From this original idea Tom Climent's paintings have become more intricate and complex in structure. As traces of memories and feelings accumulate and overlap on the canvas, construction and deconstruction become active tools in the creation of his paintings. His work reminds us of how our spatial ability becomes spatial knowledge as we navigate our world and with this knowledge we create a place for ourselves. Our expression of this place inheres in the kinds of structures we create for inhabitation. A building is a container - for ourselves.  Is this space then, our most basic root in the world; a footprint of our mode of being here? 

Previous solo shows of TOM CLIMENT works include Between Chance and Rhyme at The Hunt Museum, New Paintings at The Fenton Gallery, Pure at The Temple Bar Gallery & Studios, Dust at Garter Lane Arts Centre, Hansels House at Kevin Kavanagh Gallery, A Light Enters The Land at BlueLeaf Gallery, Dancing Parade at Triskel Arts Centre, Ashlar at The Alley Theatre Arts Centre, Harvester House at The South Tipperary Arts Centre and more recently his MA by Research exhibition at The Wandeford Quay Gallery.

TOM CLIMENT is a recipient of the Tony O’Malley award and Victor Treacey award. The artist work is in the collections of  The Central Bank, The National Treasury Management Agency, University College Cork, AIB Bank, The National Self-Portrait Collection, NCB Stockbrokers, The Cork Opera House, Cork City Council , The Office of Public Works, Cork Institute of Technology & Private Collections in Ireland, UK,USA, Spain & Canada.

Ciara Gibbons, Director
Lorna Sweeney, Gallery Manager

BlueLeaf Gallery
Whitaker Court, Whitaker Square
Dublin - Ireland
www.blueleafgallery.com 

Thomas Scheibitz: A Panoramic VIEW of Basic Events at Tanya Bonakdar Gallery, New York

Thomas Scheibitz: A Panoramic VIEW of Basic Events
Tanya Bonakdar Gallery, New York
Through February 18, 2012

A Panoramic VIEW of Basic Events is an exhibition of new paintings, sculptures, drawing/collages, and prints by THOMAS SCHEIBITZ on view through February 18 at the Tanya Bonakdar Gallery . For his seventh solo show with the gallery, Scheibitz continues to draw from classical painting and architecture, the contemporary urban landscape, and the influence of popular culture. Filtering these sources through his own lens, he creates evocative and powerful pieces that blur the line between abstraction and figuration.

In a palette of murky grays, smoky purples, and pale blues, paired with sharp primaries and vivid neons, the new paintings and sculptures in A Panoramic VIEW of Basic Events are full of recognizable componentsÑthe numeral "1," a backwards comma, a peering eye - interwoven with the artist's own invented geometric assemblages. Culled from his archive of ephemera, which includes newspaper clippings, snapshots, magazine ads, plates from art books and historical texts, as well as other cultural artifacts, Scheibitz's imagery is pared down to its barest formal properties, then recombined, layered, and expanded upon. For the first time, Thomas Scheibitz shows the viewer how he works with his cache of source material to build compositions: pairing seemingly incongruous found images in collages, he then adds drawings that riff on their formal properties, and hint at how all these components might be synthesized into a painting or sculpture. These "worksheets," and in fact the installation as a whole, serve as an investigation of composition across disparate media, as the artist shows us how each element of his practice relates to the others. Breaking down his formal vocabulary into its constituent parts, Scheibitz lets us into his creative cosmos, showing the viewer the connections within this new constellation of works.

Organizational systems, such as maps, graphs, and charts, have long been of interest to Thomas Scheibitz, and have served as the starting point for many of his most iconic pieces. In this new body of work, instead of using the map as a formal point of departure from which to create an abstract composition, Scheibitz creates a map of his own process -- an overview that demonstrates how each piece fits into a cohesive whole. While existing autonomously, each image can also be connected to the other works in the show. The collaged drawings are displayed on a table made by the artist that resembles both an independent sculpture and a pedestal, and each of these collages reference one of the sixteen small paintings installed on the walls of the main space. In some of the collages the finished painting even appears as an element, complicating the notion that the works on paper are studies for the paintings. Rather, each is its own related but independent final product.

Installed in the back room, and seemingly a composite of the smaller works in the front gallery, the main work in the exhibition, unfurls across the wall. In this piece, from which the show takes its title, Scheibitz explores how imagery can be recombined; compositional elements that might have existed autonomously as small paintings become details within a larger work. The endless reconfiguration of imagery is the basis of the series of prints installed in the gallery's entryway as well. Titled for A.G.C.T., the four nucleic base acids that make up human DNA, these pieces similarly represent the foundations of Scheibitz's practice. In lush color, the prints depict combinations of objects and images from Scheibitz's archive, precisely arranged in unexpected combinations and juxtapositions. These prints also refer to the concept of "Schlagbild" or pictorial slogans images that convey as much meaning as a headline, or a block of text. While each image is important, its arrangement is equally crucial; and in his careful composition of these pieces, Thomas Scheibitz references Aby Warburg, a 20th century professor who created a non-heirarchical approach to image classfication. Like Warburg, Scheibitz employs his own methods of visual organization to create works that are at once readable and enigmatic.

Based in Berlin, THOMAS SCHEIBITZ has upcoming solo exhibitions at MMK, Museum für Modern Kunst, Frankfurt, Germany and at the Wexner Center for the Arts in Columbus Ohio. Notable recent exhibitions include Thomas Scheibitz: Lineage ONE / Stilleben & Statistics, Jarla Partilager, Berlin, 2011-2012 (solo); Thomas Scheibitz: Il flume e le sue fonti/ The River and its Source, Collezione Maramotti, Reggio Emilia, Italy, 2011 (solo); Surveyor: An exhibition of human exploration, observation, and construction of the landscape, organized by Curator Heather Pesanti, Albright-Knox Art Gallery, Buffalo, NY, 2011 (group); If Not in This Period Of Time - Contemporary German Painting 1998-2010, Museu de Arte de São Paulo, Brazil, 2010-2011 (group); A moving plan B - chapter ONE, Selected by Thomas Scheibitz, The Drawing Room, London, 2010 (group); Der ungefegte Raum, Galerie im Taxispalais, Innsbruck, Austria, 2010 (solo); among others.

TANYA BONAKDAR GALLERY, New York, NY 10011
www.tanyabonakdargallery.com

Brian Ormond - Foley Gallery, NYC

Exhibition: Brian Ormond, IIIII
Foley Gallery, New York
January 11 - February 19, 2011

Inspired by the natural lines of the urban environment, BRIAN ORMOND creates networks of lines that might resemble delicate systems of order and balance.  Through spontaneous gestures, marks are made to create a movement and flow of energy  choreographing a dance of fine white lines.

Each painted panel is layered with oil, which is then meticulously removed by etching with soft and hard strokes, creating a variety of markings.  Sometimes scratched beyond recognition, Ormond tests the ability of the line to sustain and guide us through the painting.

Muted in their palette of dark and cool tones and energized by frenetic line work, Ormond's paintings both gently soothe in their color and create strong movement with their line.

BRIAN ORMOND studied at NY University, The National academy and the Art Students League.  He has previously had solo exhibitions in New York and Los Angeles. Ormond was born in Cork, Ireland and currently splits his time between there and New York City.

FOLEY GALLERY
www.foleygallery.com

Sotheby’s Turkish Contemporary Art Sale 2011

Sotheby’s Next Annual Turkish Contemporary Art Sale to take place on 7 April, 2011

 

MUBIN ORHON, Untitled, oil on canvas, 1977, 130 x 97cm.
Estimate: £50,000 - 70,000
Image courtesy of Sotheby's

 

Following the huge successes achieved by Sotheby’s in the field of Turkish Contemporary Art since pioneering international auctions in this collecting category in 2009, Sotheby’s confirm that its next sale of Turkish Contemporary Art will take place in London on 7 April, 2011.

Among the modern and contemporary highlights already consigned for sale is Mubin Orhon’s 1977 oil on canvas Untitled which is estimated at £50,000-70,000.

ELIF BAYOGLU Appointed Head of Sale

Sotheby’s also announce that Elif Bayoglu, who joined the company in 2008 and has played an instrumental role in each of Sotheby’s auctions  in this increasingly important field, has been appointed Head of Sale. Elif Bayoglu will continue to be supported by Dalya Islam, Sotheby’s Consultant in Modern and Contemporary Turkish, Arab and Iranian Art, Oya Delahaye, Head of Sotheby’s Turkish Office, and Edward Gibbs, Senior Director and Head of Sotheby’s Middle East, India and Turkey Department.

Commenting on Elf Bayoglu’s appointment, Edward Gibbs said:  “We are delighted that Elif has taken on responsibility as Head of Sale for our auctions of Turkish Contemporary Art. Sotheby’s auctions in this field are an extremely important part of the company’s business and we are very pleased that Elif will now play an even more central role in developing this collecting field at Sotheby’s.”

Charlotte Lichtblau at The 8th Floor Space, NYC (Chelsea)

CHARLOTTE LICHTBLAU: A World of Its Own
Art exhibition @ The 8th Floor Space, NYC (Chelsea)
October 23 - 31, 2010

Charlotte Lichtblau: Trisselwand (1963)
oil on canvas
Courtesy of the artist and The 8th Floor Space, NYC

 

Painter Charlotte Lichtblau will have an exhibition of her paintings and drawings, beginning October 23, 2010 at the 8th Floor Space, a private gallery located at 17 West 17th Street.  The show, entitled A WORLD OF ITS OWN, runs through October 31st. 

Charlotte Lichtblau has painted the mountains, lakes and countryside in and around Altaussee, Austria, for more than seven decades.  Her range of work includes landscapes, fantasias, mythic figures, and biblical scenes transported to this remarkable world.  Over 60 works in oil, ink, watercolor, and mixed media are included in this retrospective of a major American and international artist.

CHARLOTTE LICHTBLAU BIOGRAPHY

Born in Vienna in 1925, Charlotte Lichtblau came to the United States in 1940 with her parents and sister. Since 1950, she has returned repeatedly to Austria, primarily to Vienna and to her childhood summer home in Altaussee, in Austria’s Salzkammergut region.

For the past five decades, Lichtblau has exhibited her works in galleries, museums, universities, and churches in New York City and throughout the United States. She has had two major career retrospective exhibitions in Austria, one at the Palais Palffy in Vienna (1994) and the second in the Pfarrheim Arts Center in Bad Aussee, near Altaussee (2002).

For the artist, the discipline of painting is a way of exploring, expressing and communicating the passion of human existence. A significant portion of her work is focused on biblical themes, most notably the Passion of Christ.  Here, the visual transformation into imagery addresses familiar religious themes internally and directly. While her paintings of religious subjects are boldly contemporary, they honor both the history of ecclesiastical imagery and the artistic traditions of German Expressionist painting.

A planned career retrospective in 2000 led to the publication of Origin and Transformation: Life and Art of the Painter Charlotte Lichtblau by Albert Lichtblau, who is no relation to the artist. Her drawings were published in Fr. Patrick Ryan’s books When I Survey The Wondrous Cross: Scriptural Reflections for Lent (1989) and The Coming of Our God: Scriptural Reflections for Advent, Christmas and Epiphany (1999). For more than four years, her drawings were published weekly in America Magazine.

Lichtblau was an art critic, as well, writing for The Philadelphia Inquirer, New York Herald Tribune, Arts Magazine, and other publications. Her collected reviews and other papers are archived at the Smithsonian Institution's Archives of American Art.

This exhibition, A WORLD OF ITS OWN, is curated by Bruce Payne. 

Charlotte Lichtblau’s work is represented in museums and private collections across the United States and Europe.

www.charlottelichtblau.com

The 8th Floor Space
17 West 17th Street, 8th Floor
New York NY 10011

Opening Reception: Saturday, October 23, 2-6 pm

Admission daily from 2:00 PM to 6:00 PM by appointment. 

Roy Lichtenstein, Museum Ludwig Cologne - Art as Motif

Roy Lichtenstein: Art as Motif 
Museum Ludwig Cologne
Through 3 October 2010

The halftone dots used by Roy Lichtenstein (1923-1997) are world famous. Taking motifs from the realms of comics and consumerism, Lichtenstein made paintings by piecing together dots and coloured surfaces. But a very different side of his work can be discovered at this exhibition in Museum Ludwig in Cologne (Germany). Around 100 exhibits, chiefly large-scale paintings along with a number of sculptures and drawings, reveal his fascinating explorations of style through the history of art – from Expressionism and Futurism to Bauhaus and Art Deco. Lichtenstein even appropriated works by his artist heroes - Picasso, Matisse, Mondrian and even Dali - and interpreted them in an often ironic and cryptic manner using his own visual language.

Poster of the exhibition at Museum Ludwig, Cologne

Many of his early works are based on historic American paintings, such as by Benjamin West. But he also painted after such models as Picasso, Braque and Klee, who according to his own words he worked into an “expressionist Cubism”.

Indeed, Lichtenstein even continued his takes on Picasso later on, once he had already begun to work with the half-tone dots. In his hands, Picasso’s works became a kind of comic and received a character all of its own. Painting a work that clearly resembled Picasso was, according to Lichtenstein, a liberating act.

With his Perfect and Imperfect Paintings Lichtenstein wanted to create abstract works purely for their own sake. According to him, the idea was to let the line start at some point and then to follow it, thus allowing it to draw all of the shapes in the painting. In his “Perfect Paintings” the line ended at the edge of the canvas, while in the “Imperfect Paintings” the line went beyond the bounds of the canvas; this was in fact a humorous play on the idea of the “shaped canvases”, which were very popular in the 1960s.

Roy Lichtenstein’s large-scale paintings from the series “Brushstrokes” show nothing more than gigantic, stylised, comic-like brushstrokes on canvas. This motif has great significance in the history of art: it is a symbol of painting or indeed art per se, and testifies to Lichtenstein’s reflections on paintings about painting.

Roy Lichtenstein also reworked classic motifs, such as the Laokoon group using stylised brushstrokes, which he sometimes applied to the canvas with stencils and sometimes by hand using expressive gestures. The brush stoke became the dominant motif and superimposed itself on the subject. So once again, his actual theme was painting as such.

Apart from this, Roy Lichtenstein also turned his mind to the classic genres of the still life and the landscape. His strongly simplifying style of painting allowed him to capture his subjects in a kind of cliché. Here again he continued to reference Picasso, as well as Matisse. And he also cited his fellow countrymen who specialised in marine still lifes. For his landscapes he took the background of comic drawings as his basis.

Museum Ludwig has the largest collection of American Pop Art outside of the USA, including numerous works by Roy Lichtenstein. Prior to the exhibition, the Peter and Irene Ludwig Foundation has managed to acquire another large-scale work from Lichtenstein’s late period. The 2.80 x 1.30 m canvas from 1996 comes from a series of works inspired by Asiatic motifs. During the mid-nineties Roy Lichtenstein took a long look at Chinese and Japanese landscape painting.

After completing the Lichtenstein exhibition it is worth taking a tour round the permanent collection at Museum Ludwig, which presents fascinating cross-connections and comparisons with works by Léger and Picasso and even Kirchner and Dalí.

The exhibition was organised in close co-operation with the Roy Lichtenstein Foundation. It was shown from January till May in a different form in Milan’s “Triennale di Milano” under the title “Roy Lichtenstein: Meditations on Art”. It was curated by Gianni Mercurio, who has worked with Stephan Diederich for the exhibition at Museum Ludwig.

A documentary film on Roy Lichtenstein is also on view at the exhibition containing hitherto unreleased material from international archives, as well as excerpts from Michael Blackwood’s film Roy Lichtenstein from 1976 and passages from interviews with Diane Waldman and Martin Friedman.

The exhibition is accompanied by an extensive catalogue with numerous reproductions published by DuMont.

The exhibition is generously supported by RheinEnergie AG as a Museum Ludwig Partner, and Ströer Out-of-Home Media AG as a Media Partner.

Related posts:

Roy Lichtenstein: Reflected, Mitchell-Innes & Nash, NYC, Through October 30, 2010

Other current exhibitions at Museum Ludwig Cologne: La Bohème. The Staging of Artists in photography of the 19th and 20th century, Through January 2011

Upcoming exhibition at Museum Ludwig Cologne: Suchan Kinoshita: In 10 Minutes, 9 October 2010 - 30 January 2011.

www.museum-ludwig.de

Greg Miller: Recent Paintings at Caldwell Snyder Gallery

Contemporary Art Exhibition > United States > California

 

Recent Paintings - Greg Miller

Caldwell Snyder Gallery, Saint Helena, CA

May 7 - 31, 2010

 

  Greg Miller, “For Love”, 48 x 48" Oil, Resin & Collage on Canvas
  © and courtesy : Greg Miller / Caldwell Snyder Gallery, St. Helena, CA

 

Greg Miller’s classic imagery explored the endless vacation- lounging poolside, mountain adventures in the snow, weekend trips to the movies. Images spanning from kitch popcorn bags to photorealistic swimmers intermingle with retro text, reminding us that such picture perfect memories only exist in the past, their flaws faded by the passage of time. Greg Miller longs to recreate these faded memories. The images worn down on the surface are sprinkled with odd collage objects, sporadic moments that create puzzles for the viewer to piece together.

Greg Miller never ceases to surprise with his tireless quest for nostalgic moments. His work is infused with optimism, a space where endless possibilities are explored.

“My work is sexy, thought provoking, and Angeleno inspired art, where unspoken heroes, and the lure of women casually mingle together. I offer the excitement of discovery mixed with the unexpected thrill of recovering something long lost. Bold contemporary images and popular themes are intermingled with text and presented in billboard-like simplicity, offering a varied and often surprising look at the timelessness of American historical and cultural events. The merging of pop culture, American Art, and the conceptual art movement of the 60s and 70s provide the content that is found throughout my art, paintings, and films.” – Greg Miller .

 

Caldwell Snyder Gallery
1328 Main Street
St. Helena, CA 94574

Hours: Open Daily 10 am - 6 pm

 

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