Patrick Wilson

PATRICK WILSON

PATRICK WILSON

MILES McENERY GALLERY

PATRICK WILSON

MILES M c E N E RY G A L L E RY

520 West 21st Street New York NY 10011

tel +1 212 445 0051 www.milesmcenery.com

525 West 22nd Street New York NY 10011

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PATRICK!WILSON"!PLANE!AS!DAY

By Peter Frank

Patrick Wilson’s painting invites consideration of both what is seen in it and what is known behind it. His work operates at an odd historical cusp: It inheres and reflects the heritage of Geometric Abstraction, notably as such abstraction has manifested in his native California, and it also engages in a questioning of audience—or, if you would, human— perception, a phenomenon that is even more particular to California art. The “hard-edge” painting of John McLaughlin and Karl Benjamin (among others) at least indirectly spawned the “perceptualism” of Robert Irwin and James Turrell; but the two movements were, and remain, as distinct from each other as are Minimalism and Conceptualism. What occurs in Wilson’s painting is the fusion—or, if you would, reunification—of McLaughlin’s search for the lucid and Irwin’s revelation of the invisible.

The history of modernist practice on the West Coast has been subjected to ongoing revision, and we have come to understand that the dynamics of style and substance were as stable and clearly defined in postwar San Francisco and Los Angeles as they were in postwar New York. California, we now realize, didn’t just mirror modernist practice in New York; it variously spun off it, anticipated it, and ignored it, all within a rooted discourse that capitalized richly on genius loci. In particular, the emergence of a geometric painting “movement” in Southern California, identified by vanguard critics and curators in the late 1950s, turned to Europe rather than New York for its formal and ideological grounding, and directly prefigured similar practice in New York (notably introduced by painters who had spent time in postwar Paris). Several painters, identified as “abstract

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John McLaughlin Untitled, 1956 Oil on canvas 36 1⁄8 x 44 1⁄8 inches 91.76 cm x 112.08 cm Gi$ of Dr. Ludwig Uri Collection of the Long Beach Museum of Art Karl Benjamin Raw Umber Thalo Green, 1959 Oil on canvas 51 x 31 inches 78.7 x 29.5 cm

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classicists,” who worked in an unusually open and reductive manner, with crisp forms and clear, smoothly rendered color, gained international recognition for devising such a seemingly anti-Abstract-Expressionist style. This style clearly took its cue from European models of simplicity, such as Kazimir Malevich and Piet Mondrian, and it reflected the influence of Pacific Asian cultures on West Coast aesthetic tastes. It also posited a mutability of image and structure that didn’t just defy or evade rigid partisan argument, but led directly to a broad questioning of perception per se.

By now, “Abstract Classicism” has spawned several generations that have mutated broadly in California’s heady, multifarious art scene. European and East Coast Modernism are regarded in the West as equally exotic and equally familiar—and, thus, equally accessible.

Geometric and minimalist formalities are not simply adhered to; they are improvised upon. The enforced distance the original California hard-edge painters worked under is now an elective distance, collapsed readily with a click on a link. Just as important, West Coast museums and institutions feature prime examples of Modernism of all kinds, from all places. It is now, arguably, as easy to select and cultivate one’s artistic heritage as it is to isolate one’s corporeal DNA. An artist can no longer be distinguished by source; they must be distinguished by sensibility as well. One must choose one’s ancestors honestly.

Richard Wilson Maradalfos, 1989 Acrylic on paper 26 x 26 inches 67.31 x 67.31 cm Piet Mondrian Composition with Red, Blue, Black, Yellow, and Gray, 1921 Oil on canvas 29 7⁄8 x 20 5⁄8 inches 76 x 52.4 cm Gi$ of John L. Senior, Jr.

Patrick Wilson has chosen his geometric and geometricizing ancestors from deep inside both his heart and his eye. In part, this is because he has inherited the mantle literally: His father, Richard, is a hard-edge painter very much in the tradition of the original abstract classicists, save that he works in Northern California rather than in the Southland.

There have, in fact, been hard-edge painters working in Northern California almost as long as in Southern California, and the elder Wilson is their peer. His investigations into near-Minimalism and the dimensionality of the canvas reflect the o$en experimental nature of his region’s geometric painting.

Patrick Wilson—a northern California native but a Los Angeleno for his entire career—has tempered that radicalism, refining his approach into a consistent and deliberately restrained format. (He was influenced early on, for instance, by the intimate, meditative work and thought of Agnes Martin.) But Wilson’s refinement goes only so far; within his self-imposed strictures, many idiosyncratic phenomena occur. And these are phenomena not just of artistic decision-making, but of audience apprehension. Wilson’s geometric painting, born of Modernism, takes up to the postmodernist question of perception.

What happens, then, when looking at a Wilson painting? Planes of color—themselves o$en indescribable blends and inter-hues—interpenetrate and shi$ across one another,

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Agnes Martin Night Sea, 1963 Oil, crayon, and gold leaf on linen 72 x 72 inches 182.9 x 182.9 cm Josef Albers Homage to the Square: Starting, 1968 Oil on masonite 48 x 48 inches 121.92 x 121.92 cm

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articulating the facture of the picture plane and the presence of, or at least the potential for, nether planes whose own relative depth keeps shi$ing. Wilson establishes an overall composition per se, defined by the limits of the canvas, but its gestalt is tenuous; it threatens constantly not so much to break down completely into the sum of its parts as to unhinge its components so that they move independently. What those parts never do is move erratically: They are assigned precise positions and roles, as if they were figures poised on a stage as the curtain goes up. But they do move actively, assigned as they are to a wide array of functions within the context of the composition. Some of these color planes, a$er all, physically advance off the canvas, built up out of so many layers of acrylic, while others, materially thinner, physically withdraw—the colors all the while playing a different, complementary game of advance-recede. Hans Hofmann provides the guiding hand here, but Wilson obviously does not emulate the German-American painterpedagogue’s expressionist brushwork, choosing instead to explore a hypo-tactile kind of push-pull.

There is another important Teutonic didact, however, whose stringent work places itself directly in Wilson’s artistic family tree. For the bulk of his career (certainly in the States), Josef Albers was content to make his one big point over and over again, averring the

endless refraction of his color theory in his series “Homage to the Square.” One of the twentieth century’s monumental projects, Albers’s “Homage” looked in myriad ways at how colors interact and co-affect each other. This, in a nutshell, is what Wilson does with color—although what he does with color, much less form, can’t be tucked in a nutshell.

Wilson’s own formula, on which he has wrung variations galore for the past twenty-plus years, is designed as both a signature style and as a practice that, like “Homage to the Square,” allows for limitless possibilities but counters the predictable.

Color theory is nothing if not an admission of perceptual slippage. What we see, Albers and so many others postulate, is not all that we see, nor is it quite what is there. The buzz of complementary colors against one another does not happen in nature; it happens in our eyes. Similarly, a tone or value does not necessarily stay as such as someone stares at it; indeed, even the physical boundaries of a color area can dissolve before the eyes.

Color, shape, and light itself are not absolutes in the world or in our retinas. What we see is not necessarily what we’re seeing—a postulate that gently contradicts the obduracy of Frank Stella’s proto-minimalist declaration, but that suits the reverse-conceptualism of West Coast Light and Space art. We think of Light and Space (and its corollary Finish Fetish) as embodied in inductively hewn sculpture and “magic” light in a room. But painting can challenge basic perception as well—and has been doing so, as suggested above, ever since the advent of “color theory.”

Patrick Wilson can be claimed, then, as a West Coast perceptualist in good standing, even though he relies on a medium and discipline hundreds of years old. His work concerns what is being seen in it, and, like Albers, he has pushed aside formal and compositional factors that might obscure such a concern. That said, “what is being seen” includes metaphorical associations: sliding patio doors, for instance, or computer-screen windows.

More than one commentator has identified a sense of landscape, or at least of landscape

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space—not to mention architecture—in Wilson’s paintings, and the artist does not reject this association. He admits, however, only to the properties of such visual space, properties that connote rather than describe vistas and rooms. Where Wilson becomes overtly engaged with prosaic space, in fact, is not in his structure(s) but in his color.

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Wilson’s pale'e is strange and vast. It comprises a cornucopia of gorgeous but peculiar tones; troubling chroma; colors and quasi-colors that you’ve either never seen before or know exactly where you saw them before, whether in a Edvard Munch landscape, a derelict lawn, a corner of fabric in a Diego Velázquez, or in the sky right over your head during a temperature inversion. So many of these oddly amped hues soothe or stimulate the eye, however fugitive the eye may find them, but their allure tends to be that of the mineral of gemstones and alloys or the meteorological frisson of storm clouds and winddriven dust, not the biological warmth of vegetation. These colors tend to be unse'ling (and, indeed, more unse'ling when placed next to the occasional “normal” color). They inhere a beauty laced with toxin, as if mined rather than cultivated—sulfurs, coppers, cadmiums, leads. Further, Wilson renders these elemental and industrial colors not as “pure,” isolated substances, but as particulates suspended in air or water—in other words, stuff we might drink and breathe. It gradually dawns on the viewer that Wilson is painting the environment in which we live and breathe. He would besot the eyes the way ecological degradation besots the body.

In this, Wilson’s closest forerunner is a fellow Los Angeleno, one a generation older, who until recently was misleadingly categorized as a pop artist. Joe Goode’s references to real-world objects notwithstanding, his preoccupation has always been the condition of his environment. He has done many series of near-monochrome paintings that are in fact renditions of the sky—yes, the light-blasted, notoriously compromised Los Angeles sky, the same sky under which Wilson lives and breathes. Working thus with available light,

Goode can be identified as a perceptualist of a sort.

Do you see the same sunset, the same smog, he sees? Do you see the same stuff in the air that Wilson sees? Do Goode and Wilson, who live on opposite sides of town (and at different altitudes), even see the same thing when they look upward, or even outward, at the same time?

Wilson works more in parallel with than in response to Goode, but that parallel is telling. Their modes of abstraction, distinctly different in touch, scale, pale'e, and other aspects of appearance, still share a more-than-mundane engagement with extra-artistic concerns, an engagement that takes the form of perception-bending and perception-challenging color-based abstraction. Wilson’s painting has been compared to East Coast Color Field painting, but Goode’s open, normally near-monochrome expanses be'er support the equivalency. Goode’s painterly minimalism does not share Wilson’s debt to prewar geometric painting.

That debt, along with his painstakingly calibrated pale'e, is what truly distinguishes Wilson’s art. His geometric style is the first characteristic we notice, if only because it immediately provides us with the certainty of a familiar formal language (which the diffident hybrid colors do not). It is also the undercarriage for the qualities of experience he wants most to convey. The colors, as noted, facilitate a choreography of advance and recede; but the lines and boundaries provide the armature for lateral movement, which Wilson, by his own admission, conflates with time and the passage of incident. Note, though: Wilson is not marking time in his painting, he is le'ing time flow, and incident with it. In this regard, he takes inspiration not so much from other visual examples, but

Joe Goode Air Tears (Untitled 11), 2011 Acrylic on Archival Foam Board 42 x 38 inches 106.7 x 96.5 cm

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Artist studio, 2019

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from a musical model and one from sports. A jazz aficionado and a longtime baseball fan (Giants, of course), Wilson sees the nature of time at the heart of these pursuits—at least the kind of time he wishes to inhabit. As in baseball games, whose duration is determined by play rather than by stopwatch, or in the process of jazz improvisation, most notably in bebop and post-bop ensemble performances, the composition and production of the paintings unfold according to their own needs, and retain an elastic sense of passage to our eyes (even allowing the color panels to dri$ back and forth, in and out). In both jazz and baseball, the beat is implied but not stated; there is a pulse, but there is no grid.

(Wilson has understood Agnes Martin from the inside out.) The forms, and the colors they contain, are never at rest, but they are never in states of agitation, either. Things are in constant flux.

Resultingly, Wilson’s color relationships are not fixed, either. They move back and forth, in and out, against and with one another. They overlap, completely or partly obscuring one another. But, curiously, they never reveal one another; that is, they never reach a state of transparency in which other color planes take over or even run under their spaces. There is no hierarchy in Wilson’s efficiently described, gracefully balanced

choreography, there is only potential—perhaps fixed on canvas, but continuing in the eye of the beholder. Again, perception, in all its inexactitude, allows the viewer to “complete the work of art,” in Marcel Duchamp’s words, as the viewer is wont.

The group of paintings Wilson shows here maintains the above-described tenets with, if anything, even more of the focus and grace that have characterized his work for so many years. He acknowledges that these forms and their implied movement are more emphatic than ever, as he seeks to bring the sense of musical and sports play to the fore—“unrolling” the paintings, in his words. He calls them “slow-motion action painting,” indicating that, for all his debt to Abstract Classicism and even perceptualism—and for all his adherence to an easel-sized format, free of abstract expressionist “arrogance”—Patrick Wilson is no purist. His lineage, finally, evinces both intimacy and grandeur, the still-small voice and the theatrical one, European temper and American expansivity. “Each act has a relationship to what came before and what comes next,” Wilson observes of his work—the newest in particular—and with this he betrays his debt to Dionysius as well as to Apollo. It’s not a marriage of reason and squalor, as Stella might have it; nothing happens by accident, much less abandon, in Wilson’s work. But it is a courtship of the peculiar by the efficient, set against the throb of an imperiled but persistent civilization.

Los Angeles July 2019

Peter Frank is a writer, curator, and associate editor of Fabrik magazine.

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Above Gray Lake, 2018 Acrylic on canvas 35 x 80 inches 88.9 x 203.2 cm

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Archaeology, 2018

Acrylic on canvas 22 x 22 inches 55.9 x 55.9 cm

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Bass Pro (Self Portrait), 2018

Acrylic on canvas 35 x 80 inches 88.9 x 203.2 cm

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Country Living, 2018

Acrylic on canvas 33 x 35 inches 83.8 x 88.9 cm

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Dead Red, 2018 Acrylic on canvas 33 x 35 inches 83.8 x 88.9 cm

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Dream House (Bird’s Eye), 2018

Acrylic on canvas 41 x 37 inches 104.1 x 94 cm

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Evening Glow, 2018

Acrylic on canvas 66 x 57 inches 167.6 x 144.8 cm

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Gatekeeper, 2018 Acrylic on canvas 37 x 41 inches 94 x 104.1 cm

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Ghost Story, 2018 Acrylic on canvas 22 x 22 inches 55.9 x 55.9 cm

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Gold Rush, 2018 Acrylic on canvas 35 x 80 inches 88.9 x 203.2 cm

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Heat Check, 2018 Acrylic on canvas 86 x 70 inches 218.4 x 177.8 cm

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Icebox, 2018

Acrylic on canvas 66 x 57 inches 167.6 x 144.8 cm

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Large Weather Event, 2018 Acrylic on canvas 86 x 70 inches 218.4 x 177.8 cm

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Polite Conversation, 2018

Acrylic on canvas 33 x 35 inches 83.8 x 88.9 cm

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Pool Party, 2018 Acrylic on canvas 37 x 41 inches 94 x 104.1 cm

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Quick Draw, 2018 Acrylic on canvas 22 x 22 inches 55.9 x 55.9 cm

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Road Trip, 2018 Acrylic on canvas 35 x 80 inches 88.9 x 203.2 cm

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Sea Ranch, 2018 Acrylic on canvas 22 x 22 inches 55.9 x 55.9 cm

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Side Door, 2018 Acrylic on canvas 35 x 80 inches 88.9 x 203.2 cm

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Small Weather Event, 2018 Acrylic on canvas 22 x 22 inches 55.9 x 55.9 cm

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Sonoma Coast, 2018

Acrylic on canvas 66 x 57 inches 167.6 x 144.8 cm

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Space Heater, 2018 Acrylic on canvas 66 x 57 inches 167.6 x 144.8 cm

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Split Decision, 2018 Acrylic on canvas 66 x 57 inches 167.6 x 144.8 cm

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Stock Room, 2018 Acrylic on canvas 41 x 37 inches 104.1 x 94 cm

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The Organizer, 2018 Acrylic on canvas 33 x 35 inches 83.8 x 88.9 cm

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The Reunion, 2018 Acrylic on canvas 33 x 35 inches 83.8 x 88.9 cm

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Three Day Weekend, 2018 Acrylic on canvas 33 x 35 inches 83.8 x 88.9 cm

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Titan, 2018

Acrylic on canvas 86 x 70 inches 218.4 x 177.8 cm

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Triples Alley, 2018 Acrylic on canvas 35 x 80 inches 88.9 x 203.2 cm

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Trombone Solo, 2018

Acrylic on canvas 66 x 57 inches 167.6 x 144.8 cm

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Tuesday A!ernoon, 2018 Acrylic on canvas 22 x 22 inches 55.9 x 55.9 cm

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Winter Song, 2018 Acrylic on canvas 86 x 70 inches 218.4 x 177.8 cm

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Big Drama, 2019 Acrylic on canvas 86 x 70 inches 218.4 x 177.8 cm

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Caravan, 2019 Acrylic on canvas 21 x 27 inches 53.3 x 68.6 cm

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Caterpillar, 2019 Acrylic on canvas 21 x 27 inches 53.3 x 68.6 cm

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Catfish Hole, 2019 Acrylic on canvas 67 x 72 inches 170.2 x 182.9 cm

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Clam Dig, 2019 Acrylic on canvas 67 x 72 inches 170.2 x 182.9 cm

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Dolphin Dance, 2019 Acrylic on canvas 21 x 27 inches 53.3 x 68.6 cm

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Garden Pleasure, 2019 Acrylic on canvas 67 x 72 inches 170.2 x 182.9 cm

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Helen’s Place, 2019

Acrylic on canvas 30 x 72 inches 76.2 x 182.9 cm

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January Light, 2019

Acrylic on canvas 21 x 27 inches 53.3 x 68.6 cm

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Kite Hill, 2019 Acrylic on canvas 67 x 72 inches 170.2 x 182.9 cm

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Master Key, 2019 Acrylic on canvas 67 x 72 inches 170.2 x 182.9 cm

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Silver Lining, 2019 Acrylic on canvas 67 x 72 inches 170.2 x 182.9 cm

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Spin Rate, 2019 Acrylic on canvas 21 x 27 inches 53.3 x 68.6 cm

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Sunday Drive, 2019 Acrylic on canvas 30 x 72 inches 76.2 x 182.9 cm

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The Future, 2019 Acrylic on canvas 86 x 70 inches 218.4 x 177.8 cm

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Three Bars, Two Blocks, 2019 Acrylic on canvas 21 x 27 inches 53.3 x 68.6 cm

PATRICK!WILSON Born in Redding, CA in 1970 Lives and works in Los Angeles, CA

“Color Space,” Ameringer | McEnery | Yohe, New York, NY 2011 “Good Barbeque,” Susanne Vielme'er Los Angeles Projects, Culver City, CA

EDUCATION 1995 MFA, Claremont Graduate University, Claremont, CA 1993 BA, University of California, Davis, Davis, CA

2010 “The View From My Deck,” Marx & Zava'ero, San Francisco, CA 2009 “Slow Food,” Curator’s Office, Washington, D.C. “Always For Pleasure,” Susanne Vielme'er Los Angeles Projects, Culver City, CA

SOLO EXHIBITIONS

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2019 Miles McEnery Gallery, New York, NY 2018 Susanne Vielme'er Los Angeles Projects, Culver City, CA 2017 Ameringer | McEnery | Yohe, New York, NY 2015 Ameringer | McEnery | Yohe, New York, NY 2014 “Evolving Geometries: Line, Form, and Color,” Center for the Arts at Virginia Tech, Blacksburg, VA “Steak Night,” Susanne Vielme'er Los Angeles Projects, Culver City, CA 2012 “Patrick Wilson: Pull,” University Art Museum, California State University, Long Beach, Long Beach, CA “Slow Motion Action Painting,” Marx & Zavaterro, San Francisco, CA

2008 “Considering Truth and Beauty,” Marx & Zava'ero, San Francisco, CA “Selections from the Suite for Mount Washington: New Works on Paper,” Susanne Vielme'er Los Angeles Projects, Culver City, CA 2007 “Some Things I Like,” Rebecca Ibel Gallery, Columbus, OH 2006 “The Chandler Paintings,” Brian Gross Fine Art, San Francisco, CA “Hothouse Flowers,” Rebecca Ibel Gallery, Columbus, OH 2005 “The Course of Empire,” Susanne Vielme'er Los Angeles Projects, Culver City, CA “Two-Fold: Patrick Wilson - Richard Wilson,” (curated

by David Pagel), Claremont Graduate University, Claremont, CA “Patrick Wilson: West,” Fusebox, Washington, D.C.

2004 “New Paintings,” Brian Gross Gallery, San Francisco, CA “Oil Fields,” (with Stefanie Schneider), Susanne Vielme'er Los Angeles Projects, Culver City, CA 2003 “1:00pm,” Fusebox, Washington, D.C.

GROUP EXHIBITIONS 2018 “Michael Reafsnyder & Patrick Wilson,” Miles McEnery Gallery, New York, NY “Belief in Giants,” Miles McEnery Gallery, New York, NY

2002 “L.A.,” Susanne Vielme'er Los Angeles Projects, Los Angeles, CA Brian Gross Fine Art, San Francisco, CA

2017 “Pivotal: Highlights from the Collection,” Orange County Museum of Art, Newport Beach, CA “On the Road: American Abstraction,” David Klein Gallery, Detroit, MI

2001 Susanne Vielme'er Los Angeles Projects, Los Angeles, CA

2016 “Geometrix: Line, Form, Subversion,” Curator’s Office, Washington, D.C.

2000 Stefan Stux Gallery, New York, NY Brian Gross Fine Art, San Francisco, CA

2014 “NOW-ISM: Abstraction Today,” Pizzuti Collection, Columbus, OH

1999 Ruth Bachofner Gallery, Santa Monica, CA Brian Gross Fine Art, San Francisco, CA Stefan Stux Gallery, New York, NY

2013 “California Visual Music – Three Generations of Abstraction,” (curated by Marcus Herse and David Michael Lee), Guggenheim Gallery, Chapman University, Orange, CA 2012 “Local Color,” San Jose Museum of Art, San Jose, CA 2011 “Sea Change: The 10th Anniversary Exhibition,” Marx & Zavaterro, San Francisco, CA 2010 “California Biennial,” (curated by Sarah Bancro$), Orange County Museum of Art, Newport Beach, CA “Inaugural Group Exhibition,” Susanne Vielme'er Los Angeles Projects, Culver City, CA “Summer Selections,” Ameringer | McEnery | Yohe, New York, NY

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“Tomorrow’s Legacies: Gi$s Celebrating the Next 125 Years,” Crocker Art Museum, Sacramento, CA “Abstractive Measures,” Arena 1 Gallery, Santa Monica, CA 2009 “Broodwork,” Center for the Arts Eagle Rock, Los Angeles, CA “Electric Mud,” (curated by David Pagel), Blaffer Gallery, University of Houston, Houston, TX “Summer ‘09,” Rebecca Ibel Gallery, Columbus, OH 2008 “iCandy: Current Abstraction in Southern California,” (curated by Carl Berg), Cypress College Art Gallery, Cypress, CA “Swim,” Rebecca Ibel Gallery, Columbus, OH 110

2007 “Keeping it Straight: Right Angles and Hard Edges in Contemporary Southern California Art,” (curated by Peter Frank), Riverside Art Museum, Riverside, CA “Liquid Light,” DBA 256 Gallery, Pomona, CA 2006 “Claremont Connections: Selections from the Permanent Collection,” Long Beach Museum of Art, Long Beach, CA “Abstraction,” Mulry Fine Art, West Palm Beach, FL 2005 “Into the Light,” Scape Gallery, Corona Del Mar, CA “Fabulous,” Rebecca Ibel Gallery, Columbus, OH “Gyroscope,” Hirshhorn Museum and Sculpture Garden, Washington, D.C.

2004 “New,” Susanne Vielme'er Los Angeles Projects, Culver City, CA “A War Like People,” (curated by Laura Taubman), Shade Projects, Sco'sdale, AZ “Tremelo,” (curated by Dion Johnson), Rebecca Ibel Gallery, Columbus, OH 2003 “Place,” Harris Art Gallery, University of La Verne, La Verne, CA “Unstable,” Fusebox, Washington, D.C. 2002 “Chromophilia,” Fusebox, Washington, D.C. 2001 “Heat,” Margaret Thatcher Projects, New York, NY “New Work: LA Painting,” Hosfelt Gallery, San Francisco, CA “The Permanent Collection: 1970–2001,” Los Angeles County Museum of Art, Los Angeles, CA “Monochrome/Monochrome?” (curated by Lilly Wei), Florence Lynch Gallery, New York, NY 2000 “Cool Painting 2000,” Brian Gross Fine Art, San Francisco, CA “Maximal/Minimal,” Feigen Contemporary, New York, NY “2000 Anos Luz,” Instituto Óscar Domínguez de Arte y Cultura Contemporánea, Tenerife, Spain 1998 “Cool Painting,” Brian Gross Fine Art, San Francisco, CA “Four: Painting in the Abstract,” The Living Room, San Francisco, CA “Transcendence, An Exhibition Celebrating Works of Irish and Irish American Artists,” Mount San Antonio College, Walnut, CA

1997 “Generational Abstractions,” Ruth Bachofner Gallery, Los Angeles, CA “L.A. Emerging,” Marcia Wood Gallery, Atlanta, GA

SELECT COLLECTIONS

1996 “Drawn Conclusion, Southern California Drawing,” Riverside Art Museum, Riverside, CA “California Focus: Selections from the Collection of the Long Beach Museum,” Long Beach Museum of Art, Long Beach, CA “Time Splits Open: Fi$een Narratives,” Marcia Wood Gallery, Atlanta, GA

Columbus Museum of Art, Columbus, OH

1994 “Next,” California State University, Los Angeles, Los Angeles, CA

Achenbach Collection, Fine Art Museums of San Francisco, San Francisco, CA

Crocker Art Museum, Sacramento, CA Elmhurst Art Museum, Elmhurst, IL Frederick R. Weisman Art Museum, Minneapolis, MN Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Long Beach Museum of Art, Long Beach, CA Los Angeles County Museum of Art, Los Angeles, CA Minnesota Museum of American Art, Saint Paul, MN North Dakota Museum of Art, Grand Forks, ND Orange County Museum of Art, Newport Beach, CA Pizzuti Collection, Columbus, OH Phyllis and Ross Escale'e Permanent Collection of Art, Chapman University, Orange, CA San Jose Museum of Art, San Jose, CA University Art Museum, California State University, Long Beach, Long Beach, CA

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Published on the occasion of the exhibition

PATRICK!WILSON 10 October – 9 November 2019 Miles McEnery Gallery 520 West 21st Street New York NY 10011 525 West 22nd Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com

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Publication © 2019 Miles McEnery Gallery All rights reserved Essay © 2019 Peter Frank Photography by Robert Wedemeyer, Los Angeles, CA Christopher Burke Studio, New York, NY Jessica Haye and Clark Hsiao, Los Angeles, CA Color separations by Echelon, Santa Monica, CA Catalogue layout by McCall Associates, New York, NY photo credits p. 4: © Benjamin Living Trust, courtesy Louis Stern Fine Arts; p. 5, le$: © Richard Wilson, Private Collection, courtesy Louis Stern Fine Arts; p. 5, right: © The Museum of Modern Art / Licensed by SCALA / Art Resource, NY; p. 6, le$: © 2019 Agnes Martin / Artists Rights Society (ARS), New York; p. 6, right: © The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; p. 9 © Joe Goode ISBN: 978-1-949327-18-2 Cover: Three Bars, Two Blocks (detail), 2019

MILES M c E N E RY G A L L E RY

PATRICK WILSON

PATRICK WILSON

MILES McENERY GALLERY