Collection: Marc Mitchell

Marc Mitchell is an artist/curator that received a M.F.A from Boston University. His work has been featured in solo/two-person exhibitions throughout the United States at institutions such as the University of Wisconsin, Madison; University of Alabama, Tuscaloosa; REDUX Contemporary, Charleston; GRIN Gallery, Providence; and Laconia Gallery, Boston. His work has been reviewed in the Boston Globe, as well as featured in New American Paintings in 2014, 2017, and 2018. Mitchell has been a visiting artist/curator at numerous universities and he's been selected as a visiting artist at residencies such as the Banff Center for Arts & Creativity, Vermont Studio Center, and the Hambidge Center for the Arts. In Spring 2020, Mitchell will be a Fellow at the American Academy in Rome. In addition to his studio practice, Mitchell has curated exhibitions that feature artists such as Josef Albers, Mel Bochner, Louise Bourgeois, Mark Bradford, Tara Donovan, Sara Greenberger-Rafferty, Philip Guston, Trenton Doyle Hancock, Jenny Holzer, Rashid Johnson, Mary Reid Kelley, Allan McCollum, Richard Misrach, Thomas Nozkowski, Kay Rosen, Erin Shirreff, Jessica Stockholder, Hank Willis Thomas, Carrie Mae Weems, Lawrence Weiner, Wendy White, Molly Zuckerman-Hartung, and many others.

 

Artist's Statement


Over the past decade, I’ve been exploring themes such as appropriation, digital/screen culture, and failed avant-garde movements within my studio practice. While these topics may seem disparate, in fact, there is often a great deal of overlap with each genre.

Since 2016, my studio practice became influenced by dazzle camouflage and its history. Looking to mimic the angular compositions on the British Naval vessels, I have been utilizing shaped panels that could be viewed as a stand-in for the hull of a ship. In keeping with the traditional patterns used in dazzle camouflage, my work contains standard stripes, geometric shapes such as dots or circles, and other commercial produced patterns (plaid, moire, etc.).

By adhering to a limited color palette (black and white), as well simple patterns, I’m able to develop a visual language that flows between the historic and contemporary. The result are paintings and prints that simultaneously address universal trends such as popular culture and avant-garde movements with an aesthetic that is specific to the history of dazzle ship camouflage.

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