Susan Inglett Gallery, Booth A6 Ocean Drive and 12th Street / South Beach VIP/Press Preview 1 PM – 8 PM Open to Public 11 AM – 7 PM Open to Public 11 AM – 7 PM Open to Public 11 AM – 7 PM Open to Public 11 AM – 7 PM Open to Public 11 AM – 5 PM
12/5 12/6 12/7 12/8 12/9 12/10
ARTISTS Allison Miller + Beverly Semmes with work by Bruce Conner, Hope Gangloff, and Ryan Wallace
ALLISON MILLER and BEVERLY SEMMES each have their way with color. Miller’s rooted in the formal while Semmes’ the conceptual. It is only natural that Allison Miller, the abstractionist, should use color with an eye towards visual and technical effect, color working in tandem and, perhaps more interestingly, in opposition. There is no denying that Miller makes thrillingly bad color choices. Working directly on the canvas, each “false” move invites inspection. Drips, erasure, glaringly bold colors that clash in cognitive dissonance, bright shapes that run headlong towards balancing a composition but stopping just shy of equilibrium. There is an uncanny quality to Miller’s work, an awkward humanity that engenders empathy. David Pagel writes, “Rather than assuming or insisting or pretending that resolution and harmony and wholeness are the point and purpose of art, Miller’s internally conflicted compositions suggest that the lives of people (and paintings) are too multilayered (and nuanced) to be conceived in such simple (and one- dimensional) terms.” While it may seem counter-intuitive to equate color and composition with relationships in the work of a formal abstract painter, Pagel’s response on both an intellectual and personal level confirms Miller’s mastery of the medium and of her audience. Color in the service of content is, or should be, stock-in-trade for a conceptualist such as Beverly Semmes. Semmes came to our attention in the Nineties with her voluptuous fabric works: monumentally scaled dresses pinned high on the wall, sleeves and skirts cascading to the floor below. The dresses act as metaphor for the corporeal or more precisely corporeal absence. With heavy trains, constricting bodices, and strait-jacket sleeves it’s a wonder any woman would ever willingly return. Naturally color plays a role in Semmes mise-en-scene deepening the reading and reinforcing our experience of the work. Fabrics range from a velvet blood red to hair-shirt brown to the most recent, the itchy baby blue netting favored by Disney princesses. Semmes uses color and material to conjure up memories and associations in support of her larger feminist agenda. She does not however deny the visual seduction of color and material, after all seduction is a primary element of any honey-trap. Semmes and Miller clearly know how to set the bait.
ALLISON MILLER Corner, 2016 Oil, oil stick, acrylic and pencil on canvas 64 x 82 in. $24,000.00
ALLISON MILLER Grove, 2017 Oil, oil stick, and acrylic on canvas 30 x 28 in. $10,000.00
ALLISON MILLER Pyramid, 2017 Oil, oil stick, and acrylic on canvas 60 x 51 (top width)/60 in. (bottom width) $20,000.00
BEVERLY SEMMES Bow (Blue Curtain), 2016 Tulle 109 x 32 in. Complete set of 18 units available as single installation or will be divided as a set of 3 @ $30,000, 6 @ $50,000.00 (shown here) or 9 @ $65,000.00
BEVERLY SEMMES Brown Gown, 1992 Mohair and hanger 72 x 48 x 4 in. $30,000.00
BACK ROOM
BEVERLY SEMMES Dalmatians, 2013 Ink on magazine Page 17 7/8 x 14 7/8 in. Framed $2,400.00
BEVERLY SEMMES Yellow Jacket, 2013 Ink on Magazine Page 15 1/2 x 13 1/2 in. Framed $2,400.00
BEVERLY SEMMES One Green Leaf, 2013 Ink on Magazine Page 18 1/8 x 14 5/8 in. Framed $2,400.00
BEVERLY SEMMES Violet, 2009 Ink on magazine page 17 1/4 x 13 1/2 in. Framed $2,400.00
BEVERLY SEMMES Piano, 2013 Ink on Magazine Page 15 1/2 x 12 in. Framed $2,400.00
BEVERLY SEMMES Seven Handles, 2009 Ink on Magazine Page 18 x 14 5/8 in. Framed $2,400.00
BEVERLY SEMMES Tall Orange, 2004 Paint on magazine page 19 x 13 1/4 in. Framed $2,400.00
ALLISON MILLER Flush Arch, 2015 Oil, oil stick, acrylic and pencil on canvas 60 x 58 1/2 in. $20,000.00
ALLISON MILLER Lock, 2013 Oil/canvas 30 x 30 in. $10,000.00
ALLISON MILLER Front, 2015 Oil, oil stick and acrylic on canvas 30 x 28 in. $10,000.00
ALLISON MILLER Omnivore, 2012 Acrylic and oil/canvas 30 x 26 in. $10,000.00
HOPE GANGLOFF Ryan Hart, 2017 Acrylic and cut paper on canvas 62 x 36 in. $25,000.00
RYAN WALLACE Surveyor IX, 2016 Enamel, acrylic, aluminum, rubber, paper, tape, canvas, polyester 58 x 48 x 4 in. $15,000.00
RYAN WALLACE Surveyor X, 2016 Enamel, acrylic, aluminum, rubber, paper, tape, canvas, polyester 58 x 48 x 4 in. $15,000.00
ANONYMOUSE UNTITLED DRAWING MAY 22, 2000, 2000 Ink and graphite/paper 23 1/8 x 29 in. Sheet 26 ½ x 31 in. Framed $40,000.00
BRUCE CONNER UNTITLED, JANUARY 17, 1993, 1993 Ink/Strathmore Bristol paper 23 x 22 7/8 in. 31 x 30 ½ in. Framed $40,000.00
ALLISON MILLER Allison Miller was born in 1974 Evanston, IL and lives and works in Los Angeles. She has shown extensively with work appearing most recently at The Pit, Los Angeles. Earlier presentations include “Left Coast: Recent Acquisitions” at the Santa Barbara Museum of Art; “NOW-ism : Abstraction Today” at the Pizzuti Collection, Columbus; "...six memos for the next," curated by Tilo Schulz and Jorge van den Berg, Bregenzer Kunstverein, Austria; "Painting in Place," curated by Shamim Momin and LAND, Los Angeles; and "Made in L.A. 2012," organized by the Hammer Museum, Los Angeles. Her work is included in the collections of the Orange County Museum of Art; The Santa Barbara Museum of Art and Vassar College among others.
BEVERLY SEMMES Semmes was born in Washington, D.C. and lives and works in NYC. A large scale work from 1993, “Blue Gowns,” was on loan from the Rubell Family Collection earlier this year to “Revival” at the National Museum of Women in the Arts in Washington D.C. A recent traveling solo exhibition of Semmes work, “FRP,” organized by Ian Berry, Director of the Tang Museum, debuted at the Tang in 2015 and traveled to the Weatherspoon Art Museum and the Faulconer Gallery at Grinnell College in 2016. Over the course of her career Semmes has had many solo exhibitions, including exhibitions at the Museum of Contemporary Art, Chicago; Camden Art Centre, London and the Wexner Center for the Arts, Columbus, Ohio. Her work is included in numerous museum collections, including the Albright Knox Art Gallery; the Hirshhorn Museum; the Whitney Museum of American Art; the Denver Art Museum; and the Los Angeles Museum of Contemporary Art.
BRUCE CONNER Bruce Conner (1993-2008) is considered among the foremost artists of the postwar era. Considered a pioneer in avant-garde film, he was equally revered for his work in painting, on paper, assemblage and performance. Conner was recently honored with a major museum retrospective organized by the San Francisco Museum of Modern Art traveling to the Museum of Modern Art, NYC and Museo Reina Sofia, Madrid. The work is included in the collections of the Metropolitan Museum of Art; the Museum of Modern Art, NYC; the Los Angeles Museum of Contemporary Art; the San Francisco Museum of Modern Art; and the Walker Art Center, Minneapolis among others.
HOPE GANGLOFF Hope Gangloff was born in 1974 in Amityville, NY and lives and works in NYC. She attended The Cooper Union School of Art and Science. Gangloff has exhibited internationally, most recently in solo shows at the Cantor Arts Center at Stanford University with earlier solo museum exhibitions at the Broad Art Museum at Michigan State; the Aldrich Contemporary Art Museum, Ridgefield and a three person show at the Kemper Museum of Contemporary Art, Kansas City. Reviews of her work have appeared in Art in America, ARTnews, The New York Times, The Paris Review and The Village Voice among others. Her work is included in the collections of the Broad Art Museum at Michigan State; the Cantor Arts Center at Stanford University; the Kemper Museum, Kansas City and the Wadsworth Atheneum, Hartford.
RYAN WALLACE Ryan Wallace was born in 1977 in New York City, and lives and works in Brooklyn and East Hampton, New York. He received his BFA from Rhode Island School of Design. His works will be part of an upcoming two person exhibition with Rosy Keyser early 2018 at the ICA, Maine College of Art, Portland. Recent solo exhibitions include 56 Henry, NYC; Cooper Cole Gallery, Toronto; Romer Young Gallery, San Francisco; and Mark Moore Gallery, Los Angeles. His work has been exhibited at BAM, Brooklyn; Gerhard Hofland Gallery, Amsterdam; Boeske & Hofland, Leipzig; V1 Gallery, Copenhagen; Jerome Pauchant Gallery, Paris; and Rachel Uffner Gallery, NYC. Wallace’s works can be found in the collections of the Museum of Modern Art, NYC; San Francisco Museum of Modern Art; Watermill Center, Watermill; and the Museum of Contemporary Art, San Diego, among others.
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