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Mike Howard
Leon Trotsky: Murder Scene in Mexico City,
2006.
Acrylic on canvas; 8'10" x 14'
Education:
M.F.A., Rutgers University, NJ; B.F.A., University
of Georgia, Athens, GA.
Selected Exhibitions:
Baby Doll
Lounge, NY; Gracie Mansion Gallery, NY; Whitney Museum
Art Resource Center, NY; New Museum, NY; The Queens
Museum of Art, NY
“
As a painter, it is the circumstances in which a painting is
developed and its formal terms that make up its presence.
These concerns intrigue me. The optical/visual image imports
a whole field of thought existing outside the work. The
painting, as a physical object, exports various circumstances,
conditions to be taken into the field of discourse surrounding
William Kentridge
Waldsee 1944: Budapest/Soweto,
2003.
Charcoal, ink on paper; 5 1/2" x 6"
Collection of Laura and Lewis Kruger
Education:
University of the Witwatersrand, Johannesburg Art Foun-
dation.
Selected Collections:
National Gallery of Canada; Art Institute
of Chicago; Museum of Modern Art, NY
Created to commemorate the deportation of Hungarian Jewry during
the Holocaust, Kentridge's work evokes the persecution of European
Jewry by the Nazis and relates it to the rigorous retrictions imposed
by the Afrikaaners on South Africa's non-white citizens.
Joyce Kozloff
American History: The Age of Discovery,
2004.
Etching, collage, watercolor, pigment print, acrylic,
and colored pencils on paper; 32 3/4" x 47 7/8"
Courtesy of DC Moore Gallery
Education:
M.F.A., Columbia University, NY; B.F.A.,
Carnegie Institute of Technology, Pittsburgh, PA.
Selected
Collections:
Metropolitan Museum of Art, NY; Museum
of Modern Art, NY; National Gallery of Art, Washington,
DC; Whitney Museum of American Art, NY
“
My map and globe works represent both physical and
mental terrain, and employ mutations to raise geo-political
issues. Often their figurations are places known only in the
imagination, composed of memories and fragments. With
an increasing urgency, I seek the physical corollaries be-
tween mapping, naming, and subjugation, while charting
and reflecting our earth. I have long rejected the academic dis-
dain for visual opulence. In fact, my dissident political
understanding can only be materialized through sensuous pro-
cessing, an offering of pleasure to the viewer.”
contemporary painting. Simply said, the real dynamic exists in
the relationship between the outside and the inside, the object
and the subject.”