Miles Cleveland Goodwin

Melted Gas Can

2016

After a tour of duty in the US Navy, Miles Cleveland Goodwin earned a BFA from Pacific Northwest College of Art in Portland, Oregon, in 2007, and eventually returned to coastal Missi...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

In Hyperallergic (April 8, 2017) Edward M. Gómez writes of Miles Cleveland Goodwin, his "portraits and images of nature or people in nature... capture moments of heightened awareness...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

oil on canvas (stretched)

Richard Andres American, 1927-2013 acrylic and ink on paper mounted on canvas 12 x 10 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Instit...

Born in Moscow, Idaho,and raised in Seattle, Robert Jessup received his BFA from the University of Washington in 1975 and his MFA from the University of Iowa in 1979. His work has be...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper...