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.

The Ongoing Present Moment of Making: Jule Korneffel Interviewed by Hannah Bruckmüller
Honey Sugar Pop Jule Korneffel1

Mark-making as internal landscaping.

Back to the Cave: Tracy Thomason Interviewed by Emily Kiacz
White Rabbit Tracy Thomason1

Paintings that embody a love of materials.

Brenda Goodman by Clarity Haynes
Passing Through 72X60 Oil On Wood 2019

The painter looks back on five decades of experimentation and how that’s generated new levels of confidence and clarity in her art.

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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