Wes Mills

BOMB 64 Summer 1998
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Discover MFA Programs in Art and Writing

64 Mills 01 Body

Wes Mills, No title, 1997, graphite, pigment, paper, 5 ¾ x 6 inches. Courtesy Joseph Helman Gallery.

In the Platonic cave shadows dance with the visceral world. Making art of the simplest of materials—graphite, pigment, paper, gessoed bard—Mills’s drawings dance with the shadows. Seemingly about nothing more than the intrinsic act of playing with these materials, his work has the wit and enigmatic pull of a Richard Tuttle piece, or an Agnes Martin painting. The world they insinuate, because it is ambiguous, takes place between what we know and what we sense. It is this seeming sleight of hand that lends the drawings their uncanny ability to transmit ideas. We get them; but what we get, what we see, conversely, is the permanent shadow and the impermanent world.

64 Mills 02 Body

Wes Mills, No title, 1997, graphite, pigment, paper, 6 5/8 x 6 ¾ inches. Courtesy Joseph Helman Gallery.

Does Abstraction Belong to White People? by Miguel Gutierrez
Movement Study Abstract

Thinking the politics of race in contemporary dance. 

Studio Visit: Margaux Ogden by Matthew J. Abrams
Margaux Ogden1

Painting as disappearance.

One Piece: Untitled by Johnny Abrahams
Johnny Abrahams Untitled Studio One Piece

The artist talks about the genesis, composition, and execution of a recently completed work.

Originally published in

BOMB 64, Summer 1998

Featuring interviews with Tracey Moffatt, Aharon Appelfeld, Eric Kraft, Maurice Berger, Patricia Williams, Richard Powers, Stellan Skarsgard, Jesus “Chucho” Valdes, and Lou Reed. 

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