Digital Exhibition Catalogs for Greg Miller: True Romance & Jennifer Wolf: Utopalypse

William Turner Gallery currently has two solo shows on view: "Greg Miller: True Romance" and "Jennifer Wolf: Utopalypse". Jennifer Wolf’s art practice is deeply rooted in her personal connection to the Southern Californian landscape: she makes her own dyes and pigments, combining organic materials with state-of-the-art acrylic mediums. Her latest series –  “Utopalypse” – consists of highly evocative abstract pieces on silk mounted on wood. Greg Miller combines layered collages of ephemera collected from the 1950’s and 1960’s with large-scale, photorealistic paintings styled after the golden age of advertising and Americana. Much like an archaeologist delving into the layers of the earth to uncover fragments of the past, Miller digs into the layers of images and text to uncover hidden clues and meanings. Both “True Romance” and “Utopalypse” are ongoing through Saturday, August 16, and digital catalogs are available to view on the William Turner Gallery website.

Jennifer Wolf holds a BA in Art History from UCLA and an MFA from Otis College of Art and Design. A lifelong California resident, she has exhibited widely and has collaborated with William Turner Gallery since her first solo show in 2004.

Greg Miller (b. 1951) was born in Sacramento, California and holds a Master of Arts Degree from San Jose University. Once a long-time Venice, California resident, he currently resides in LA, CA & Austin, Texas. His work is featured in numerous museum and private collections, including those of: the San Jose Museum of Art, Newport Harbor Museum, Crocker Museum of Art, Los Angeles County Museum of Art, Laguna Art Museum, Riverside Art Museum,  Frederick R. Weisman Foundation and Charles Saatchi Foundation.  Greg Miller was the first exhibition at William Turner Gallery in 1991.  

ANDY MOSES - Three Concurrent Museum Exhibitions - ShoutOut LA

Gallery artist ANDY MOSES is currently in shows at Laguna Art Museum, Ronald H. Silverman Gallery at CalState LA, and the Armenian Museum of America in Boston.

Shout Out LA sits down with the busy artist to discuss his recent work and multiple museum exhibitions.

Be sure to check out all of these exhibitions and stop by the gallery to see an installation of a breathtaking new large scale painting installed in the gallery offices. We will be open this Saturday for the FALL OPEN and a talk by gallery artist LAWRENCE GIPE from 3-4PM.

OPENING NEXT SATURDAY - BLACK MADONNA - MARK STEVEN GREENFIELD

Collateral, 2020, Gold Leaf and Acrylic on Wood Panel, 30" X 56”

"For the faithful, the Black Madonnas represent the basis of theological mystery from which all possibility emanates. For the clergy, they provide cover for some unexplained religious dogma. For me, they held all the intrigue of confronting a blank canvas.” — Mark Steven Greenfield 

BLACK MADONNA
MARK STEVEN GREENFIELD

OPENING NEXT SATURDAY

We will be open from 11-7 next Saturday for an all day opening reception in full compliance with CDC-recommendations and social distancing protocol.

We look forward to welcoming you to view the exhibition virtually and by appointment from September 19 - November 28, abiding by all of the CDC-recommended precautions. 

BOOK AN APPOINTMENT

William Turner Gallery is pleased to present, Black Madonna, an exhibition of new and recent work by Mark Steven Greenfield. The exhibition explores aspects of the African American experience in American culture, often critiquing and offering unique perspectives on a society still grappling with the consequences of slavery and racial injustice. As Greenfield has stated, “My work incorporates irony, humor, tragedy, pathos, history, and a myriad of other tools, to challenge long-held notions of race in a different way." 

The exhibition highlights a striking new series of 17 Black Madonna paintings, which re-imagine these unique religious icons, that began appearing in the 13th and 14th centuries in churches throughout Medieval Europe. The origin and purpose of the Black Madonnas in religious iconography are somewhat of a mystery and the subject of much scholarly debate, which inspired Greenfield to infuse them with his own contemporary meaning and perspective. 

Mississippi Cookout, 2018, Gold Leaf & Acrylic on Wood Panel, 24”x18”

Greenfield's versions are rendered in the Byzantine style of their art historical predecessors, with the black Virgin Mother and Baby Jesus as the central focus within circular compositions, or tondos. These tondos float amongst abstract discs, set within fields of lustrous, gold leaf. The Madonnas predominate before a variety of backgrounds, which were traditionally innocuous. Greenfield, however, presents these backdrops as various revenge fantasies, where white supremacists are cast in the role of victims, suffering the fates they often inflicted. 

The effect is striking, the meaning unexpected. For Greenfield, a dedicated meditator, the discs symbolize the mantras one repeats during meditation, and often appear in his work. The Black Madonnas, seated innocently before the violence playing out behind, are the thoughts which come unbidden during meditation between mantras - to be acknowledged, then released. The Madonnas play their traditional role, conveying notions of maternal love, seemingly oblivious to these various scenes of retribution, where the rope is decidedly on the other neck. Yet these role reversals are less about revenge fantasies and more about creating contexts for shifts in perspective - for empathy. Tinged with humor, titles like, Mississippi Cookout, and Burnin’ Down the House, invite us to imagine an alternate reality, so that we might better understand the brutal realities of the past as we navigate our way forward. As Greenfield states, “Fear of the “other” often devolves into mindless hatred. Yet, sometimes the path to empathy lies in the visualization of one’s physical victimization—particularly when paired with a symbol that has come to be associated with universal love.” He adds, “The revenge fantasy exists in the darker regions of the subconscious in response to centuries of injustice. It is subdued by the higher aspiration that leads toward a more saintly life. As during the Renaissance, when Black Madonnas first gained prominence, they serve as metaphors for a spectrum of new beginnings.” 

Throughout his career, Greenfield's work has dealt with elucidating the African American experience - examining stereotypes and other acts of oppression, often by illuminating the most oppressive of acts - those of omission. Pieces like Escrava Anastacia , and Zong , are among a number of new works in the exhibition that present us with powerful images of figures and events neglected by history. Greenfield's images of a muzzled Anastacia, a legendary South American slave, known for her exceptional beauty and miraculous powers of healing, and the ill-fated souls cast to oblivion from the slave ship Zong, compel us to learn their stories. 

This exhibition was a year and a half in the planning, yet feels uncannily destined for this moment. It opens at a time of unprecedented upheaval, where a global pandemic and outrage over continuing racial inequality, have challenged our institutions, and our perceptions of them, to the core. With Black Madonna , Mark Steven Greenfield brings an important and timely perspective to the discussion. 

We look forward to welcoming you to view the exhibition virtually and by appointment, abiding by all of the CDC-recommended precautions. 

VIEW THE PRESS RELEASE & SCHEDULING PAGE FOR BLACK MADONNA