Wardell Milan At Fraenkel Gallery

WARDELL MILAN, Michael Ross, 2018, cut-and-paste printed paper. © Wardell Milan, courtesy Fraenkel Gallery, San Francisco and David Nolan Gallery, New York
WARDELL MILAN, Michael Ross, 2018, cut-and-paste printed paper. © Wardell Milan, courtesy Fraenkel Gallery, San Francisco and David Nolan Gallery, New York

Incorporating drawing, painting, photography and collage, Milan’s Parisian Landscapes: Blue in Green introduces the artist’s figurative works in a variety of media. In scenes of freedom and desire, conflict and violence, Milan situates fractured bodies in ambiguous spaces. Often titled after songs, and using the color blue, Milan’s Parisian Landscapes reference sources as wide-ranging as Miles Davis’s Kind of Blue and Maggie Nelson’s lyrical essay bluets. Milan’s blue also alludes to the historical use of lapis lazuli: from Egyptian tomb paintings to illuminated Renaissance manuscripts, as well as to the Taliban’s current control of lapis lazuli mines in Afghanistan. Other intensely hued works inspired by the 17th-century Dutch tulip craze reflect Milan’s long-running obsession with the flower’s form and layered symbolism.

Milan’s collages often incorporate cut-out photographs from works by Diane Arbus and Robert Mapplethorpe, as well as Charles Hoff’s images of boxers in The Fights. He has been inspired by such varied sources and artists as Francis Bacon, Robert Gober, the films of Federico Fellini, bodybuilding magazines, the plays of Eugène Ionesco, and E.J. Bellocq’s portraits women in the Storyville district of New Orleans from the early 1900s.

Wardell Milan (b. 1977, Knoxville, Tennessee) studied photography and painting at the University of Tennessee and Yale University.

Wardell Milan: Parisian Landscapes: Blue in Green
Exhibition Dates: January 3 – February 16, 2019
Artist’s Reception:  Saturday, January 5, 1-4pm

Fraenkel Gallery
49 Geary Street
San Francisco, California


Wes Mills
(#153-18), 2018, paint, graphite and pastel on panel, 9.75 x 9.75 x .75 in.

Deeply personal visually spare, Mills’s drawings are inspired from daily experiences and the belief in things unknown. Made in moments of contemplation, Mills builds his subtle arrangement of organic forms in graphite and powder pigments, materials he chooses for their inherent quietness and delicacy. Seemingly simple marks bind pieces together. Drawing the eye with their complexity and restrained energy, they ask for careful observation.

Wes Mills: drawings
Exhibition Dates: January 2 – February 2, 2019

925 NW Flanders Street
Portland OR 97209

Caragh Thuring At Thomas Dane Naples

Caragh Thuring, Roger, 2018
Caragh Thuring, Roger, 2018

Utilising various fabrics as canvas, including sailcloth, Neapolitan tartan and woven images of her previous works, Thuring constructs fragments of submarines, figures, coins, plants, textiles and volcanoes into compositions that explore the spatial depth and vocabulary of painting.

Caragh Thuring
Exhibition Dates: January 22 – March 2 2019
Opening: Saturday, January 19, 2019 from 7pm – 9pm

Thomas Dane Gallery
Via Francesco Crispi, 69
Naples, Italy

Emily Fromm At 111 Minna Gallery

“IHOP” by Emily Fromm | Acrylic on Panel | 40” x 36” | 2018
“IHOP” by Emily Fromm | Acrylic on Panel | 40” x 36” | 2018

Emily Fromm employs a style reminiscent of vintage cartoons and comic books to illustrate the over-the-top yet seedy aesthetic of the American West. Her large-scale landscapes are rendered in flat, limited color palettes with bold hand- painted line work, and have centralized on subjects from forgotten corners of Los Angeles, seedy stops along highways in the Southwest, staples of downtown Las Vegas and of course, iconic locations in San Francisco. Her new series, No Vacancy, narrows her lens to focus on the unique qualities of the contemporary urban landscape, and the interaction between the city’s ever-changing physical construction and residents.

The show will also contain several paintings created for a public art project in conjunction with the San Francisco Arts Commission for San Francisco International Airport, to be installed in early 2020. These paintings will ultimately be adapted into ceramic tile mosaic to create large-scale wall-mounted vignettes of Fromm’s San Francisco-centric scenes, which will be installed in the redeveloped Terminal One upon its opening. The paintings will be available to view at 111 Minna, and some of the earlier concept paintings will be available for purchase.

Finally, No Vacancy will also include a smaller experimental project entitled Barry. Harkening back to her earlier career when she would paint on scrap wood discarded from construction sites and scavenged under freeway overpasses, this series is painted exclusively on found materials collected from the streets of San Francisco’s Sunset District and Ocean Beach, including pieces of broken furniture and planks of wood from a discarded fence. The focus of the series is on one character named Barry, who lives in an alternate version of San Francisco. Designed as an experiment to develop an identity for a single character, Barry has allowed Emily to part from direct depiction and to flesh out a slice of life for an imagined individual, allowing inspiration to come from friends, family and experiences in the city.

Emily Fromm is a Los Angeles-born artist, muralist and illustrator based in San Francisco, California.

Emily Fromm: NO VACANCY
Exhibition Dates: January 11 – February 23, 2019
Opening Reception: Friday, January 11, 2019 from 5pm – 11:30pm

111 Minna Gallery
111 Minna
San Francisco, CA

Small Works Show At Mercury 20 Gallery

mercury 20

20/20 Vision is an annual exhibition and sale of smaller works by Mercury 20 Gallery artists. Participating artists have been invited to respond to the theme of “20/20,” including the ability to see clearly, the number 20, mathematical formulas, and the year 2020. Artists have interpreted this theme with a variety of creative approaches:

ANDREW MIGUEL FULLER’s mixed media work “California Fever-Dreaming” is an absurdist self-reflection on the California psyche and the American West.

KATHLEEN KING’s “There’s Something in There” includes 20 objects wrapped in colored tape, their use and purpose obscured. The concealment challenges the viewer to reconsider the mysterious objects beneath and the space in which they exist.

PANTEA KARIMI is exhibiting a tribute to scientists in the field of optics and astronomy: Galileo, Kepler, Copernicus and Alhazen.

SARA LISCH’s “Breaking Through: Bumps, Holes and Crevices,” challenges our perceived notions of reality in an attempt to see things more clearly.

JILL McLENNAN’s “SeaWeed” paintings depict plastic entangled within seaweed, frightening visions of humanity’s indifference to the detrimental effects of micro plastics on wildlife.

CHARLIE MILGRIM’s kaleidoscopic photographs of viewers at Bill Ham’s light art installation at the De Young’s Summer of Love exhibition psychedelically documents the experience of viewing art while also being a part of it.

MARY CURTIS RATCLIFF’s photographic work, “Aquaflora,” explores how the normal resolution of our vision, seductive and satisfying as it is, can give way to ever finer and more granular perceptions of the hidden beauties of nature.

ELIZABETH SHER’s series “The Undisclosed Nature of Walls” consists of marks made on handmade paper, exploring the physical, emotional and metaphysical secrets that hide in plain sight.

RUTH TABANCAY has hand-embroidered a set of 20 different bacteria into Petri dishes, inspired by her studies in microbiology and work as a hospital laboratory technologist.

The running stitch in LEAH VIRSIK’s 20 little hand-embroidered works represent a meditation of sorts, each embroidered line an attempt to mimic the line next to it. Virsik’s mind desires a repeatable pattern, yet her hand seems to be doing its own thing, the resulting conflict “A Beauty of their Disagreements.”

Exhibition Dates: Decenber 6 – 29, 2018

– Thursday-Saturday, SPECIAL WINTER HOURS 12-5pm
– (510) 701-4620

– First Friday Art Murmur: December 7, 6-9pm
– Artists Reception: Saturday, December 8, 4-6pm

Mercury 20 Gallery
475 25th Street, between Telegraph & Broadway
Oakland, CA