Michelle Grabner Exhibition Opens at Inova's Kenilworth Gallery Today, 7/27
The Institute of Visual Arts (Inova) opens the University of Wisconsin-Milwaukee (UWM) Peck School of the Arts' Year of the Arts with two prominent UWM alumni. Chicago-based artist, writer, teacher and curator Michelle Grabner (BFA '84, MA '87) presents a selection of paintings, prints, sculpture and video spanning her formidable career. Guest curated by artist and gallery director John Riepenhoff (BFA '04), this exhibition will also include a selection of work by Grabner's former students who have gained prominence over the years, as well as the work of five pivotal mentors and professors who have had an impact on Grabner's artistic practice.
Grabner is currently a Professor and Department Chair at The School of the Art Institute of Chicago, visiting Professor at Yale University and with her husband Brad Killam runs The Suburban (est. 1999) in Oak Park, Illinois and the Poor Farm (est. 2008) in Waupaca County, Wisconsin.
Dates: Today, July 27-September 23, 2012
Opening reception on Gallery Night, tonight, July 27, 5-8pm
Join us on Gallery Day, Saturday, July 28 for a conversation between the artist, guest curator John Riepenhoff and Inova's new director, Sara Krajewski, in the Inova screening room at 1:30pm.
Location: Inova/Kenilworth, 2155 N. Prospect Ave, Milwaukee, WI
Free and open to the public
This is a twenty-year survey exhibition that spans work from the early 1990s made while Grabner was living and working with her young family in Milwaukee to new work dating 2012. A range of paintings, prints, video, and sculpture will illustrate Grabner's investigations into the concepts of work, labor, and the aesthetics and social-dynamics of the domestic sphere. Repetition, pattern, and indexical systems of mark-making are her preferred language yet this accumulative exhibition will also feature examples of representational work less familiar to her public oeuvre. "Maturing as an artist in Pluralism, educated in the 1980's, and fusing conceptual practices with handcrafted objects, Grabner stands firmly in the gap between past and future" writes Molly Zuckerman-Hartung in her catalog essay. She goes on to say that, "Grabner grinds her teeth at night, and holds onto at least a semblance of conviction, while relentlessly evacuating any signs of passionate intensity. In every interview she critically refers to the "lurid" color of past work, the "optical bounce," the domestic references. Look at the history of her paintings and note the continuing effort to repress the hallucinogenic color, the wavering psychedelic opticality."