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Nikko Mueller: I’m Ok, You’re Ok
September 20, 2019 @ 6:30 pm – 8:30 pm
JOSEPH CLAYES III GALLERY:
NIKKO MUELLER: I’M OK, YOU’RE OK
Opening Reception: Friday, September 20, 6:30–8:30 p.m.
On view September 21–November 2, 2019
The event is FREE to attend for both Athenaeum members and the public.
In I’m OK, You’re OK, Nikko Mueller presents a new body of work exploring patterns, systems, and transformations through the formal language of color and geometric abstraction. In an unobstructed nod to Frank Stella and Joseph Albers, Mueller’s paintings and painted objects begin with simple prescribed devices: fundamental divisions of the field and diagrammatic forms with direct visual logics. These initial relationships between context, image, and canvas are then confronted by tectonic disruption, mutation, and reconciliation—revealing compromised compositions that are cheekily human in their condition. Mueller’s formalism is informed by a political sensibility. The pieces examine and reconsider the underlying structures and dynamics of abstraction. The exhibition’s title is appropriated from Thomas Harris’ popular self-help book on Transactional Analysis. I’m OK, You’re OK serves as substrate for Mueller’s investigation into how formal relationships adapt, persist, and deform/transform in the face of change.
Mueller received his MFA from Claremont Graduate University and has exhibited at Angles Gallery, Sam Lee Gallery, Southwestern College Art Gallery, and also in numerous group exhibitions at art venues throughout the United States and in Europe, including Honor Fraser Gallery, Metro Union Station, Quint Contemporary, R.B. Stevenson Gallery, Indianapolis Museum of Contemporary Art, Dust Gallery, Sweeney Art Gallery, and Museum of Modern Fine Art, Minsk. He is currently a professor of art at Southwestern College.
ELLEN SALK: STUDIO PRACTICE
September 21–November 2, 2019
Opening Reception: Friday, September 20, 6:30–8:30 PM
Ellen Salk’s Studio Practice will exhibit the preparatory studio work which leads to the development of her newest series. In searching for new imagery which would allow her to introduce more color and break from the organizing principles of her previous body of work, she revisits prints done by the great Japanese artists of the Edo period, exploring complexity and reduction, and creating quick, intuitive collages. These precede her most recent paintings, a few of which will be included in this exhibition.