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.

Sitting with Discomfort: Christina Quarles Interviewed by Jareh Das
A colorful swirl of female bodies in a mix of figuration and abstraction titled,  For a Flaw / For a Fall / For the End, Christina Quarles

Paintings and installations that unfix the body.

Mel Kendrick by Kiki Smith
Woodblock Carving Studio Image

Kendrick owns five chainsaws and calls his radical sculptural interventions a form of “anti-carpentry,” but he’s ultimately invested in revealing and repairing forms, thereby discovering new dimensions of wholeness.

The Ongoing Present Moment of Making: Jule Korneffel Interviewed by Hannah Bruckmüller
Blue yellow and red circles at the bottom of a pink painting titled, Honey Sugar Pop, by Jule Korneffel

Mark-making as internal landscaping.

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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