David Nolan Gallery is pleased to present a solo exhibition of work by Wardell Milan at The Art Show 2018. Throughout his practice, Wardell Milan (b. 1977, Knoxville, Tennessee) sustains a thoughtful inquiry into the nature of beauty and the unconscious, touching on topics such as body modification and gender performance.
From a recent group of significant works on paper, two approximately six- by eight-foot drawings (both 2018) present dynamic groups of enigmatic individuals cast within idyllic scenery, which the artist animates with an architectural swirl of geometric patterning. In making these works, Milan also takes a journey through the history of photography - invoking Henri Cartier-Bresson, Nobuyoshi Araki, Robert Mapplethorpe, and others - seeking out compositional ideas and physiognomic cues in an array of iconic imagery.
Works by the artist may be found in the collections of The Art Institute of Chicago; Museum of Contemporary Photography, Chicago; Denver Art Museum; Brooklyn Museum, New York; Hessel Museum of Art, Bard College, New York; The Museum of Modern Art, New York; The Morgan Library & Museum, New York; The Studio Museum in Harlem, New York; Whitney Museum of American Art, New York; UBS Art Collection; Daniel & Florence Guerlain Contemporary Art Foundation, Paris; Hall Art Foundation; and San Francisco Museum of Modern Art. Milan lives and works in New York.
Fewer dealers than in recent years chose to unveil new bodies of work. However, Lehmann Maupin mounted new Yosemite landscape photographs by Catherine Opie, paired with the artist’s first forays into forest-themed ceramics. At David Nolan Gallery, Wardell Milan's collages exploring gender identities came fresh from the framer. Nicole Eisenman contributed new drawings inspired by a group of 1950s pre-Pop works by Andy Warhol, both of which were on offer at Anton Kern ($18,000-$26,000 for Eisenman’s; $35,000-$100,000 for Warhol’s).
At David Nolan the artist Wardell Milan reprises his recent breakthrough into panoramic, subtly dystopian paintings of figures in gardens, building on his drawing skill with color, collage and a touches of Cubism.