ROBERT MIREK R
E
C
e s s a y
E
b y
N
T
W
r i c h a r d
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C A E L U M G A L L E R Y • N E W YO R K • 2 0 0 3
“…a personal armory against the absurd.”
I NTRODUCTION Robert Mirek’s Aluminum Series combines seamlessly his interests in space, form, and texture with his figurative and narrative ambitions. The pieces are finely detailed studies in figuration and form, shade and texture, geometry and symmetry. And, they are eloquent evocations of our communal past, as well as our shared concern for nature’s continuity and the human community. The series is elegant, beautiful and commanding of attention. Although monochromatic, the work is supremely painterly, richly layered and complex. Several of Mirek’s aluminum pieces are abstract studies in geometry and symmetry. Although these abound with shapes and forms, they contain no figurative or narrative content. In them, Mirek is concerned only with the manipulation of planar space. He uses drawing and painting techniques to articulate compositional forms, to manipulate their spatial relationships and to create illusions of three-dimensionality. But for these few purely abstract pieces in the aluminum opus, Mirek’s spatial studies are complemented by a clever integration of abstract symbols and images with which he develops textual and narrative themes. Most of the aluminum compositions are figurative, but only a few are explicitly narrative. Mirek’s influences are eclectic and expansive, painterly and literary. Among his greatest influences are Paul Klee and James Joyce. Like Klee, Mirek exploits in his art the evocative powers of myth and symbol.
He has developed a rich vocabulary of abstract symbols and icons to articulate and expand textual themes with which he has been working for more than twentyfive years. His use of myth and symbols reflects his admiration of Joyce, whose wry whimsy, manipulation of myth and symbol, and use of stream of consciousness techniques influence significantly Mirek’s expressive style. Like Joyce, his symbolic allusion draws its strength from repeated use of a handful of images symbolic of universal themes: earth, water, fire, and air; nature’s equilibria; human psychology, fraternity. Symbolic images of these elemental concepts underpin the figurative allusions in much of Mirek’s work. The textual and thematic structure of the work resembles that
“…abstracted symbols that
of Joyce’s Finnegans Wake. It is more allusive than narrative. The figurative references do not combine to tell a story, or even to stimulate consciousness of the ideas to which they refer.
retain an
Rather,
they
create
a
mood
subliminal,
evocative
and
evocative
are viewed collectively. In his recent work, including the
stimulating, a mood that gathers power when the compositions
Aluminum Series, his iconographic approach to figuration has
punch despite
matured significantly, enabling him to develop even his most narrative compositions allusively, using abstracted symbols that
their elusive meaning.”
retain an evocative punch despite their elusive meaning. Many of Mirek’s symbols and icons are geometric and symmetrical. These features of the symbols reflect the artistic and intellectual dialogue through which his abstract and narrative works enrich one another. Through this dialogue, he has
created
symbolically
potent
figures
enabling
him
simultaneously to create moods, evocations and allusions and express his painterly interest in space, form, symmetry, 1
Number 146
dimensionality, even in his most narrative pieces.
2
S TRUCTURE
AND
M ATERIAL
In the Aluminum Series, Mirek combines selected features of painting and sculpture to realize his artistic and expressive intentions. Like paintings, the pieces are designed for wall display. But, they are constructed using sculptural materials and structures. The substrates of the compositions are aluminum surfaces mounted on hidden frames or armatures, by which they are attached to the wall. The armatures suspend the aluminum edifices about an inch from the wall, allowing them to commune directly with the room and viewer, giving them the immediacy and intimacy of sculpture while magnifying the Float Drawing Number 110 - Š 2000
essential indeterminacy of painting, the unexpressed mystery lingering in the shadowy space between the aluminum surface and the wall. The expressive implications of these aluminum edifices are seen clearly when they are compared with Mirek’s earlier Float Drawings. The two series spring from the same artistic concerns. In both series, Mirek uses monochromatic materials, and various drawing techniques to explore space, form, texture
Float Drawing Number 121 - Š 2000
and dimensionality. Although these common techniques and artistic considerations give the two series an unmistakable stylistic kinship, their material compositions and structures give them very different voices and emotional impact. Aesthetically, the Aluminum Series is the extroverted brother to the Float Drawings, the more introverted and retiring twin.
3
Number 157
4
The Float Drawings are pencil on drafting mylar and have a delicate, fragile character. The fragility of the drawings is attenuated by the stout, protective frames behind which they hang in relief, safe from the world outside. The frames have a presence apart from that of the compositions per se, a presence that shapes the mood of the drawings. From around these artifices, the drawings seem to peek shyly out at the frightful world, like Kilroy behind the wall. The Aluminum Series is more assertive than the Float Drawings. The pieces derive strength from both their industrial material and their sculptural construction. The absence of an external frame emphasized the material strength of the
“…confident and self-possessed. Their effect is
aluminum, making it an essential element in the visual and emotional effect of the compositions. Suspended from the wall with strength of spine, the edifices are confident and self-possessed. Their effect is striking and imposing, frequently amusing. Although bold in relation to Mirek’s Float Drawings, the
striking and imposing, frequently
monochromatic sheen on their planar surfaces gives the aluminum pieces an air of aged sagacity, a quiet introspective character. They hang from the wall in alluring contemplation, revealing themselves gradually to those with the patience and silence to mine the precious dust exposed in their subtle
amusing.”
details. They are poised, but introspective. Their mood is the melancholy of the lonely ego in thought, solitude’s exquisite mixture of joy and sadness. Their aluminum structures, resembling shields and body armor, offer a subtle, friendly reminder of the persistent need to protect the contemplating ego from external threats.
5
Number 164
6
D ESIGN
AND
T ECHNIQUE
Unconstrained by the rectangular structure of externally-framed paintings, Mirek conceives his aluminum surfaces figuratively and thematically, shaping them to participate directly and purposively in the compositions. The forms of the aluminum substrates are impressively varied, but most are symmetrical along the vertical center lines. Symmetry is an important expression of the general themes of the aluminum series. Though symmetrical, most are irregular shapes defined by overlapping compositional forms and spaces. The figurative design of the aluminum surfaces convey impressions and elicit emotions against which the remaining compositional elements
“Three layers
take their shape and meaning.
of expression
To these surfaces, Mirek applies imaginative drawing and painting techniques to redefine the structural space; to develop
complete the
themes and texts; and, to create internal spaces, manipulate their dimensionality, and articulate the interrelationships
compositions.�
between them. Three layers of expression complete the compositions. In the first, Mirek uses rich bold lines of black silicone rubber to outline, and to delineate a series of spaces and forms on, the aluminum surface. Within the spaces created by the first layer, he dilutes black paint and pours it over the surface. As it dries, it leaves a fine paint powder or dust on the aluminum surface. He manipulates the density of the paint wash to produce richly textured painted surfaces that resemble Japanese landscapes in their pastoral subtlety. In the final layer, Mirek uses nails and a rotary tool to etch forms and images. In most cases, the etchings comprise varying patterns of small, detailed shapes within the subspaces delineated by the silicone rubber.
7
Number 167
8
The pieces are painstakingly conceived and brilliantly realized. There is an intimate relationship between the form of the aluminum surfaces, the shapes of the spaces defined by the silicone layer, and the density and texture of the etching and paint wash. Often, the internal lines traced by the silicone rubber are implied by the shape of the aluminum surface itself. In Number 184 (p 15), for example, the lines of the ellipse-like forms that flank the work conform to the lines of the aluminum surface, producing an organic integration of the compositional elements. In Number 215 (p 29), subtle variations in the line of the aluminum edge suggest the five somewhat parabolic shapes that span the breadth of the surface. Though visually
“…painstakingly
small, the complementarity of the composition’s aluminum form and internal lines is crucial to its balance and serenity.
conceived and
The relationship between the subspaces created by the lines of
brilliantly
silicone rubber, and the etched patterns and paint wash also is
realized.”
etching specifies the spatial relationships between the several
highly structured and purposive. The form and density of the
subspaces outlined by the silicone rubber, enriching both the narrative and abstract compositions. The compositional role of the paint wash varies from piece to piece. In most of the aluminum works, the paint washes contribute to the primary geometric and narrative motifs, combining with the etching to create
textures
and
shadings
that
contribute
to
the
compositions’ dimensionality or textual content. In others, the paint washes are unrelated to the primary themes and narratives.
9
Number 180
10
In these, the paint wash tends to soften the dominant geometrical and symmetrical lines; textually, they are like subconscious themes that bleed up from beneath the aluminum surface, voices of generations past, integral to the artist’s mind, vision and work. Reading the paint wash layers resembles a child’s afternoon entertainment, reading forms in the passing cumulus and the mysterious deep blue. The three techniques - silicone rubber, paint wash, and etching - combine with the aluminum substrate to produce complex, richly detailed, cogent compositions that recall the pencil and paint wash works of the masters of 16th century Florence. The silicone rubber and etching layers are interesting, almost
“…they are like subconscious themes that
industrialized applications of Mirek’s delicate and masterful drawing skills. As in the Florentine works, the paint wash enriches the aluminum compositions, but does not alter their essential character as drawings. His use of repeated etched images and paint wash produces textures yielding the same
bleed up from
illusion of three dimensionality achieved by the Florentines with penciled cross-hatching.
beneath the surface…”
In other pieces, he distorts familiar geometric shapes to produce the illusion of motion and pictorial depth. In Number 221 (p 33), his systematic distortion of parallel lines and rectangles give the forms motion. The texture worked into the background with paint wash adds pictorial depth and dimensionality. The impression I enjoy most in this piece is its cartoon-like attitude. The amusement and pleasure Mirek derives from his work springs forth from time to time in stylistic homage to popular animators. These subtle expressions of humor and playfulness are among the strongest elements in Mirek’s
11
Number 181
artwork, giving it a mood of wry whimsy and good will.
12
S UBJECTIVITY
AND
S YMBOL
Mirek’s belief that reality is essentially subjective has significant influence on his art. It underlies his reluctance to name his pieces and, thereby, impose on the viewer a particular meaning or interpretation of his work 1. It also underlies his narrative and figurative techniques, with which he strives toward two slightly antagonistic objectives. Like the martial arts master, Mirek uses his art to explore, comprehend and articulate meaningfully his own subjective experience, but he also strives to create work that facilitates the same experience for the viewer. His goal is to evoke in the viewer personal responses and impulses,
“…symbols he
impressions of himself rather than the artist. Mirek’s resolution of the antagonism between these goals
develops himself,
reflects his interest in mythology, symbols, and iconography, in which narrative allusions and meanings are attached by
imbuing selected images with narrative and
association, allegory and metaphor to specific words and images. To enable realization of both his compositional goals, Mirek has crafted a personal iconography representing his key compositional themes: order, continuity, and fraternity. Mirek’s includes in his symbolic alphabet ancient symbols deriving
figurative
from a variety of mythological and religious traditions. These he supplements with symbols he develops himself, imbuing
potency…”
selected images with narrative and figurative potency through repeated use in narrative compositions.
1
Although Mirek has titled some pieces, most are simply numbered, in order of the approximate date of conception.
13
Number 183
14
One frequently occurring symbol in Mirek’s work is the arch, which occurs in a variety of guises, from the severe curves of the classical arch to the more graceful parabolic form. In all its guises, the arch is a reference to the earth that derives from Mirek’s interest in Hinduism. The symbol evolved from an earlier body of work based on stories from the Upanishad, in particular, the Ramayana Upanishad in which the earth is divided and supported by four elephant deities: In the first pieces in which the elephant appeared, it was depicted explicitly; in Upanishad Series Number 61 using four small plastic elephants. In these early compositions, the elephant itself came to symbolize the earth. As he worked with the
“…he liberates
image, the elephant continued to accumulate for Mirek more associations, richer and subtler meanings. Meanwhile, he was
them of the
re-conceiving the elephant, reducing it to an abstraction, a complex geometric form: the arch or parabola. This reduction
symbolic and narrative baggage
is essential to Mirek’s art. Whatever their origins, Mirek gradually strips all his symbolic images of detail to reveal abstract, elemental forms.
bound to their
By smoothing over their identifying figurative characteristics, he liberates them of the
original form.”
symbolic and narrative baggage bound to their
original
form.
Not
being
elephants, the arches that occur frequently in his recent work do not conjure for me the Ramayana Upanishad Series Number 61 - ©1999
Upanishad, elephants, or the earth. Using this and other forms, Mirek has learned to express himself and leave the viewer free to find his own reading of the symbol.
15
Number 184
16
His symbolic lexicon is abstract enough to allow him to work out his own narrative quietly, beyond the vantage of the viewer. As a result, the compositions are both articulate and elusive; the narrative indirect and allusive. Mirek’s iconography is an impressive manipulation of the rhetorical potential of symbols. Effective rhetoric stirs ideas with emotions. Rhetorically useful symbols are enriched with associations that evoke virtually elemental or innate human responses. Mirek’s icons are just such symbols. In the process of reduction, Mirek succeeds in isolating the evocative; he stirs our hearts and minds vaguely to stimulate in different viewers a variety of freely associated images.
“…compositions Consider Number 191 (p 17). The composition is laid out in
are both articulate
horizontal panels. Within each panel Mirek has etched and painted elongated figures that recall both the flowing forms of
and elusive…”
Jackson Pollock’s 1943 Mural for Peggy Guggenheim and the haunting sculptures of Alberto Giacometti. Like those of Giacometti, the figures seem absolutely alone, unaware of one another. They are pained and terrified, desperate for reprieve or escape. My immediate and enduring reading of the composition is as a representation of Dante’s Inferno depicting the nine levels descending into hell. It is a disturbing representation of the soul’s struggle against the inevitable. I mentioned this to the artist, who told me that the piece is for him an exposition of the dove’s return to Noah’s Ark with the olive branch, indicating proximate land and symbolizing salvation. Perhaps in his representation of the birds he also was depicting subconsciously the unfortunate beasts who failed to keep the surface as the waters rose.
17
Number 191
18
I MAGES
AND
T HEMES
Encountering a wall displaying works from the Aluminum Series is like entering the salon of a noble family with a long and illustrious heritage. They have an aristocratic bearing. Arrayed along the wall they resemble a portrait gallery documenting the patriarchal lineage of the noble family in residence. One can hear faintly the voice of the contemporary bearer of the family herald as he guides us through the past, “and here is my great grandfather...” Like the family portrait gallery, Mirek’s aluminum work is an evocation of the past. Structurally, the pieces resemble body armor, battle shields, coats of arms and escutcheons, that inevitably conjure images of knights, gallantry and magic. Note, also, the illusion of rope and ancient Celtic knots he creates with the flow of the silicone rubber. If the Aluminum Series resembles a family portrait gallery, the portraits must be patriarchal, for Mirek’s
aluminum
series
is
fundamentally
masculine. The basic materials of which they are Florentine and Venetian escustcheons
composed are cold and industrial. They create an initial impression that is martial, medieval and feudal.
19
Number 200
20
But, the martial impressions conveyed by the overall structure of the compositions are muted by Mirek’s humor and humanity. We quickly realize that his work resembles more the modern martial arts than feudal martial traditions, eastern or western. Like the modern martial arts, Mirek’s work encourages the journey into deeper, richer levels of human consciousness. Though archaic, martial traditions retain an evocative and symbolic power that the masters of modern martial arts exploit to coax the practitioner into the battle of self-discovery, the struggle to master mind and body, to realize the deeper realities of human consciousness. In similar fashion and for similar reasons, Mirek exploits the evocative powers of familiar
“…Mirek’s work encourages the journey into
heraldic and martial symbols of medieval European society, reconstructs their social and spiritual potential, and tools them into evocative statements that entreat the viewer into the compositions, and inward toward the self. Mirek signifies his call to self reflection partially through
deeper, richer levels of human
repeated representations of the human body. The human torso is an important figure that occurs frequently among the aluminum pieces.
consciousness.”
21
Number 201
22
Indeed, the aluminum surface in Number 146 (p 1) is an explicit representation of the torso. In several pieces, more abstract structural spaces acquire human form through the other elements of the compositions. Internal forms articulated by the silicone rubber suggest physiological features that transport us inside the torso, suggesting the journey inward. Lines of silicone rubber trace images of the human heart and circulatory system, jointed limbs, and digestive systems. Number 164 (p 5) is an especially poignant example. In the composition, Mirek creates not only the illusion of a torso, but identifies the grail itself, the objects of the journey, by centering of the concentric arrays at the heart and articulating
“…suggesting the unknown and unexpressed…”
at the bottom of the torso, the seca tunda, the locus of chi, the vital life energy. These allusions are potentiated by the endoskeletal structure and the shadowy space between the wall and the composition, suggesting the unknown and unexpressed, the road to the human heart. Mirek often expresses organic themes with the etching as well. In Number 180 (p 9), densely situated circular shapes suggest the cellular structure of living tissue. In Number 219 (p 31), repeating lines and linear shapes crossing the internal spaces that flank the composition, suggest the membranes separating muscle strands as they are revealed in vivisection. Since childhood, he has been fascinated with living forms and repeating patterns in nature. This fascination is evident in the relaxed and somewhat playful character of the etched images.
23
Number 202
24
These textual themes tend to obscure the initial martial impressions the work conveys. A structure that initially suggested a battle shield is morphed into a human torso, on which are represented in the etchings the complexity of the multi-cellular life of the human being. Human allusions are only one of several organic themes in the work, which includes various images of life: grains and plants, animals and insects. One of the most striking features of his work is the organic quality of its lines. Like nature, Mirek seems to distrust the straight line and square corner; they appear only infrequently in his work. When they do occur, straight lines suggest artifice, man’s intervention in nature. Consider Number
“One of the most striking features of his work is the
180 (p 9), in which straight lines connect the earthlike surface at the bottom of the composition with a series of points above. These lines suggest the work of astronomers mapping the skies, navigators measuring distances from shore, even astrologers estimating the position of the planets at various times of the
organic quality
year. Indeed, astronomical and astrological images - star charts and sky maps - comprise another figurative theme in Mirek’s
of its lines.”
25
Number 204
work.
26
G EOMETRY, S YMMETRY
AND
F RATERNITY
It is interesting to consider Mirek’s geometric and symmetrical design in the context of the humanitarian themes he develops in his work. In the context of the biological and physiological imagery with which Mirek peppers the compositions, Mirek’s symmetrically arranged geometric shapes resemble complex biological systems in equilibrium, conveying a sense of wellbeing that strengthens his humanitarian themes. It gives the pieces human warmth and kindness. This theme is expressed in Number 201 (p 21), in which multiple references to the animal world are given stability and security by compositional symmetry. By contrast, the slightly asymmetrical forms in Number 183 (p 13) throw the composition a little off balance, giving it a pained air, a feeling of discomfort. Mirek’s whimsical impulse frequently colors the impressions of well-being he creates with symmetrically ordered geometrical spaces to convey beautifully and precisely the mood of good will. Number 181 (p 11), for example, consists of an oval torso and four series of concentric circles suggesting arms and legs. For me, the composition evokes immediately and precisely the image of Buddha’s manifestation as Hotei, the god of good Hotei
fortune and the guardian of children. The rectangular appendages at each side easily conform to my image of the bags of good fortune with which he is often represented. There he stands: belly bursting in joy, arms shooting high in jubilation and mouth a-smile. In compositions like this one, Mirek inspires a bemused acceptance of the silly, beautiful human race.
27
Number 208
28
A FTERWORD Robert Mirek’s art is complex and amusing. It is an assault against indifference, indifference to justice, art and beauty. The work embodies a resilience rooted in strident selfdetermination, acceptance and humor. It is a testimony to the essential subjectivity of experience and a personal armory against the absurd.
— Richard Scott, May, 2003
29
Number 215
30
A CKNOWLEDGMENTS Karen Larson Sally Averill Mason Mirek Robert Edwards Kip Kowalski Nelson Smith Gerry Craig Lester Johnson Joseph Bernard Charles McGee Harry Smallenburg Dennis Nawrocki Arnold Klein Karen Klein Stephanie Mirek Harry Mirek Ronald Mirek Gregory Mirek Lorraine Ven Zuch Richard Scott Miles Scott Victoria Neale Giorgio Stolz John Cynar Debra Clayton Paola Trevisan John Spike Quirina Kryger Nicholas Bergman Misuzu Takemoto Andrey Martynov
31
Number 219
32
“No painting stops with itself, is complete of itself. It is a continuum of previous paintings and is renewed in successive ones.” — Clifford Still
33
Number 221
2003 Michigan Guild Gallery - Ann Arbor, Michigan USA Cass Cafe Gallery - Detroit, Michigan USA
p 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 146 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14” x 17” (36cm x 43cm)
Arnold Klein Gallery - Royal Oak, Michigan USA V Salon Internacional de Arte Digital - Havana, CUBA
p 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 157 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15” x 19” (38cm x 48cm) p 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 164 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm) p 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 167 – ©2001 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm) p 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 180 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 29” (58cm x 74cm) p 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 181 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 28” (58cm x 71cm) p 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 183 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 31” (61cm x 79cm) p 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 184 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 31” (61cm x 79cm) p 17 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 191 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 29” (58cm x 74cm) p 19 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 200 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 31” (61cm x 79cm) p 21 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 201 – ©2002 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 31” (58cm x 79cm) p 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 202 – ©2002
. . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 28” (58cm x 71cm)
p 25 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 204 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 29” (61cm x 74cm) p 27 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 208 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24” x 29” (61cm x 74cm) p 29 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 215 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 30” (58cm x 76cm) p 31 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 219 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm) p 33 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Number 221 – ©2003 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23” x 32” (58cm x 81cm)
All pieces shown in this catalog are reproductions from original artwork constructed of aluminum, rubber, oil paint and are surface etched.
index
Caelum Galley - New York, New York USA 2002 Arnold Klein Gallery - Royal Oak, Michigan USA Sekanina Gallery - Ferrara, ITALY Cass Cafe Gallery - Detroit, Michigan USA Tengri Umai - Arts Festival - Almaty, Kazakhstan RUSSIAN FEDERATION Paint Creek Center for the Arts - Rochester, Michigan USA immedia 2002 - Ann Arbor, Michigan USA Gallery LeVall - Novosibirsk, Siberia RUSSIAN FEDERATION 2001 Museum of New Art - Detroit, Michigan USA Arnold Klein Gallery - Royal Oak, Michigan USA Paint Creek Center for the Arts - Rochester, Michigan USA TRIAD Gallery - Seal Rock, Oregon USA 2000 Museum of Contemporary Art - Detroit, Michigan USA Detroit Contemporary Gallery - Detroit, Michigan USA GALLERY B.A.I. - Barcelona, SPAIN Arnold Klein Gallery - Royal Oak, Michigan USA Caelum Gallery - New York, New York USA OPEN STUDIOS - Bielefeld, GERMANY Galerie GORA - Montreal, CANADA 1999 Ward-Nasse Gallery - New York, New York USA World Fine Art Gallery - New York, New York USA Arnold Klein Gallery - Royal Oak, Michigan USA Galerie BLU - Pontiac, Michigan USA Nicolet College Gallery - Rhinelander, Wisconsin USA Nexus Gallery - New York, New York USA Galerie BLU - Pontiac, Michigan USA Arnold Klein Gallery - Royal Oak, Michigan USA Lindenberg Gallery - New York, New York USA Biennale Internazionale dell’ Arte Contemporanea - Massa e Cozzile, ITALY The Art Gallery a Casa di Giorgio - Tuscany, ITALY Orensanz Foundation Center for the Arts - New York, New York USA 1996 The Gallery at Marygrove - Detroit, Michigan USA 1995 Arnold Klein Gallery - Royal Oak, Michigan USA 1985 CADE Gallery - Royal Oak, Michigan USA Detroit Institute of Arts - Detroit, Michigan USA 1982 Xochipilli Gallery - Birmingham, Michigan USA Detroit Artists Market - Detroit, Michigan USA 1981 Awful Truth Gallery - Detroit, Michigan USA 1978 Gallery 7 - Detroit, Michigan USA Detroit Focus Gallery - Detroit, Michigan USA 1977 Detroit Institute of Arts - Detroit, Michigan USA Detroit Artists Market - Detroit, Michigan USA Gallery 7 - Detroit, Michigan USA
Robert Mirek 8 1 0 4 W. N i n e M i l e R o a d Oak Park, Michigan 48237 voice: 313.410.7322 email: mirek@lmstudio.com w w w. l m s t u d i o . c o m / c a e l u m
Richard Scott Richard Scott is a gardener and cook who creates h i s o w n i c o n o g r a p h y i n B e r k l e y, M i c h i g a n . CAELUM GALLERY was established in 1996 by its Co-Directors, N i c h o l a s B e r g m a n a n d M i s u z u Ta k e m o t o .
Cover: Number 202 (detail)
Frontispiece: Robert Mirek in studio, February 2002 photo by Mason Mirek
©2003
CAELUM GALLERY 526 W. 26TH ST. SUITE 315 • NEW YORK, NY 10011 • VOICE: 212.924.4161