Easton Awesome Miller is an artist, curator, writer, and Renaissance man. He received the presidential scholarship from the School of the Art Institute of Chicago in 2004, and completed his BFA in 2008 with a double major in Fine Arts and Art History. Shortly after graduating he built and ran Thrones Gallery for the next year. He has been actively showing his work nationally and internationally since 2008. He currently lives in Los Angeles where he enjoys working in his studio, hanging out with his two dogs, and eating pizza.
Brian Robertson’s paintings are executed with the precision of a surgeon, but beneath this graphic hard-edged aesthetic is an honest and delicate appraisal of humanity that subtly reveals itself the longer you spend with the work. The human condition could be defined in many ways – our never ending attempts to understand the meaning of life, the ongoing search for gratification, our sense of curiosity, the inevitability of isolation, or the innate knowledge of our eventual demise. Robertson’s practice dives headfirst into this existential quagmire with a level of honesty and playfulness that is rarely executed so well.
Oddly familiar (yet simultaneously foreign) worlds showcase a variety of anthropomorphized structures that seem to exist in a place just outside of reality.Recognizable elements in the paintings serve to ground the otherworldly figures as they traverse unknown environments. These moments of certainty establish a point of reference for the viewer, but the tightly organized chaos surrounding these moments forms a whole new set of questions. What are these strange objects? Do they serve a purpose? Where are they? In each case, there is no definitive answer, but the carefully constructed scenes lend themselves toward metaphorical interpretation. Certain paintings evoke a quiet solitude while others maintain a sort of liveliness, as the structures attempt to understand their current environments.
Robertson’s paintings all seem to function as a metaphor of humanity’s ongoing quest to navigate our way through an uncertain world. In that respect, we are very much like the futuristic amalgamations depicted in these works.
I recently met David O’Brien through a mutual friend while checking out various openings in the Culver City gallery district of Los Angeles. This type of event draws a specific demographic, and the likelihood that you will end up discussing various aspects of art/the art world is exactly one hundred percent. Often times these discussions involve an exchange of websites, and an eventual glance into the practice of your recently met acquaintance. I would be lying if I said that I am generally impressed by the endeavors of my newly made friends, but this time was a pleasant surprise. Not only is David O’Brien a genuinely funny and nice human being – his work is just as engaging to be around.
In his ongoing series Human Entropy O’Brien continues to build a collection of mass portraits using a series of hyper-collage diagrams that investigate personal relationships in a truly unique way. Much in the same way a painter (in the romantic sense of the word) may have many colors on their palette – O’Brien continues to photograph and amass an array of different people/poses as a personal visual vernacular for composing dynamic large-scale photographs. O’Brien begins establishing the structure of each piece by placing one figure down at a time, and then repeating this process until the work reaches a level of depth and space that serves his aesthetic and conceptual needs. Patterns begin to organically emerge from these localized interactions between individual forces to create some very compelling images.
I grew up in rural Indiana, but Justin B. Hansch’s exhibition GIRLS & GRILS gives me a sense of nostalgia for a beach-based coming of age story that I never lived. Hazy memories of lazy days and sexy babes drive the content of the show, and a similarly instinctual application of paint is the perfect pairing for this type of imagery. Tight edged graphic elements punctuate luscious gestural moments with a natural ease. It is clear that Hansch has a solid grasp of what a well-designed painting is capable of.
The exhibition is organized in a Pac-man-esque timeline of girl, grill, girl (and so on) – which allows the paintings to operate individually and collectively as one larger installation. As summer comes to a close GIRLS & GRILS functions as “the last word” from America’s most romanticized season, and a welcome reminder that days like those portrayed will be back again next year with the same casual expectations as years past. The show will be on view at Steve Turner Contemporary until October 6th, and I encourage you to make time for it during these busy opening weeks of the fall gallery season.
P.S. I’ve included a few examples of Hansch’s previous work to give you a more well rounded representation of his practice.
At this point there’s no use denying the ridiculous amount of time most of us spend on a computer each day, and artist Bea Fremderman is among a growing number of contemporary artists that use this reliance as a tool in their practice. Much of (arguably all of) the imagery we see on a computer is an illusion. A digital fabrication or manipulation meant to simulate or document reality. But as our physical and digital worlds continue to fold in on one another – who decides what is real? We must become our own authorities on reality, and Fremderman seems keenly aware of this.
Fremderman may be young, but the elegance with which she blurs lines is anything but amateur. A range of objects and textures shift contexts as they face-off with their own physical and virtual counterparts. The end result of which is an aesthetically and conceptually dynamic body of work. Her practice is multifaceted, but focused. Fremderman chooses her media/mediums based on what will most effectively convey the ideas in her work, and I am eager to see what she comes up with next.
Mikie Poland does what he wants, and that is awesome. Some might read this and think that it’s juvenile, but in a world where most people play a passive role in their own lives – I’m truly inspired by someone who is willing to pursue their passions with everything they have at their disposal. Poland is on the road about half the year touring with one of the two bands he plays in (Giving Up or State Champion), and spends much of his remaining time working odd jobs and helping to promote Sophomore Lounge Records in whatever way he can. As the web manager, primary art director, and right-hand-man of the label’s creator (Ryan Davis) you might wonder where he finds time to do much else. As it turns out, there is a good amount of “downtime” in the van in between gigs, and Poland often spends this time productively. Whether he is drawing posters for upcoming shows or clever illustrations referencing everything from Jazz to Dracula – Poland stays busy.
The nature of his practice could force a comparison to Raymond Pettibon, but Poland’s aesthetic is very much his own. There is certainly a gritty quality to the work, but his quick wit and keen understanding of texture and mark making have an intentionality to them that belies the crude manor in which many of his illustrations are fashioned. Having a fine arts degree from a conceptually oriented school like the School of the Art Institute of Chicago (where Poland received his undergraduate degree) often leads one down a path of pretention that can be hard to escape, but Poland manages to keep things in perspective. His observations are honest, the tone is real, and I enjoy looking at the work. If you scroll through these drawings and at least one of them doesn’t put a smile on your face I think it might be time to re-evaluate how seriously you take yourself. Giving Up will be on an east coast tour this June, and if you like what you see below I encourage you to check out their shows and pick up one of Poland’s expansive zines at the merch booth.
Until recently I was unfamiliar with the artist Alex Ebstein, but I am glad to have rectified my lack of awareness. There is an honesty to Ebstein’s work that I find readily engaging. The use of yarn or string in an artist’s practice can often shift the aesthetic towards a decidedly crafty end result, but Ebstein manages to use the material with such purpose that it might as well be a drawn line in an architectural blue print. The effectiveness of the work hinges on her ability to merge direct compositional tactics with a more playful approach to the selected materials. Ebstein’s use of string also elevates the intentionality of her mark marking, and then quickly reasserts itself as a method of creating illusory depth in what would otherwise be relatively flat pieces. Taught angular moments combined with purposefully relaxed textures start a visual conversation that I am more than happy to participate in.
I could have just included the ‘eye chart’ pieces because I found them extremely aesthetically pleasing, but the back-story provides a bit of insight that I think most would enjoy. Think of it as a ‘Director’s Commentary’ for the work. Courtesy of Miss Ebstein, “…then for the eye chart pieces. They are more of a weird reflection on (and obsession with) eyesight and my existing eye problems that force me to visit the doctor every month. I’ve had four eye surgeries in three years… I am always nervously checking my vision against things, one eye at a time, so these drawings were kind of my own dark humored joke about being an artist and constantly worrying about my vision.” I am of the belief that ‘going blind’ is one of (if not) the most terrifying things any artist could imagine, and I appreciate the candor with which she addresses what could be an immobilizing reality to those with a more pessimistic outlook on life. Ebstein will be starting grad school this fall, and I am eager to see how this focused environment will affect her work. I also encourage anyone interested in contemporary art to check out the consistently interesting programming at Nudashank – a gallery she co-runs with Seth Adelsberger in the Baltimore area.
Mark Hunter Brown is a truly dynamic individual. I have known Brown for the better part of a decade, and I am relatively positive that I will never meet another person quite like him. With each day functioning more like the next chapter in a bizarre novel, his zest for life is infectious. Luckily, Brown is also an amazing artist, and has managed to document his interests and experiences through countless drawings and paintings. Though he gains inspiration from his travels, the work is not limited to the places and people he has actually interacted with. Brown is also heavily influenced by the written historical accounts of different cultures and people, but the work is not about visually representing his source material. Instead, he chooses to focus on the importance of the moments recorded history has chosen to ignore. There is this dead zone in between the great scenes of history that also warrants consideration, and Brown is keenly aware of this. When asked why he is drawn to this type of situation Brown replied, “because life doesn’t look like a Delacroix painting – it’s just people walking around and eating sandwiches. These moments seem more real to me…they’re equally compelling.”
While these scenes are not infrequent in his work, Brown’s practice is not limited to this type of subject matter. There is far less literal material in Brown’s oeuvre, and his vivid imagination becomes readily apparent when looking at paintings of huge figurative fortresses or anthropomorphized coo-coo clocks snorting bones off of a table. When viewed in context these paintings start to function as some sort of bizarre allegory, but their meaning is never explicitly stated. There is such a rich diversity in the distinctive worlds that Brown creates, and no piece is less detailed than the last. Whether he is teaching at Columbia, backpacking through Morocco, or boar hunting with monks in the Italian countryside – the need to process the world into visually compelling images has remained consistent within Brown’s life. Lucky for us, his mind seems to function like an endless supply of Google image search results that I have no desire to stop looking at any time soon.
In the fall of 2009 artist Michael Anthony Simon left Chicago behind, and moved to the countryside of Korea. He wanted to experience a new place and culture that would hopefully inform a fresh body of work that could exist beyond the constraints of the western art world. In the spring of 2011, contemporary artist, Ai Weiwei was arrested on falsified charges of tax evasion by a notoriously conservative Chinese government. The claims were suspect to say the least, and many silent protests were organized throughout the world by major museums and institutions calling for his release. These silent protests became a louder gesture than anything anyone could have audibly said. This act of defiant solidarity became a source of motivation for Simon in the year to come. Realizing that by attempting to silence something you make it’s presence that much more apparent he commenced on a series entitled “The Silence Paintings”. Analyzing the design and significance of the word ‘silence’ in different languages lead him to the creation of an intuitive process that would allow for compositions to develop naturally, but with purpose and intention.