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CLC25 George Lawson Gallery announces gallery artist John Millei's exhibition at Marjory Barrick Museum | UNLV. This exhibition titled John Millei: If 6 Turned Out To Be 9, Selected Work comprises twenty nine large scale paintings and will open on March 20, with the reception from 6-8pm and continue until June 6, 2015. John Millei will be in attendance.

Los Angeles-based painter John Millei has maintained an extensive career with exhibitions of his work seen throughout the U.S. and in Europe, and has shown in the past with Gerhard Richter, Helmut Federle and Helmut Dorner. His critically recognized paintings have been described as a mixture with historical roots and contemporary application. His work was recently noted by distinguished art critic Donald Kuspit for his, "ingenious recapitulation of Abstract-Expressionism…" in his article, "Through History to Authenticity: John Millei’s Paintings."

Millei pairs the dead matte of Flashe acrylic with oleo-glosses, and leaps from stylistic motif to motif. He has for some time anticipated the attitudes of a younger generation of painters who freely meld historical homage with divergent methods and materials in their work. Millei has collaborated on two occasions with the late poet Robert Creeley and his work is documented in two shorts by Full Figured Films, "Maritime" and "Woman in a Chair".

This is the first time for Millei’s paintings to be shown in Las Vegas.

Marjorie Barrick Museum | UNLV
4505 S Maryland Pkwy
Las Vegas, NV 89154
702-895-3381

The exhibition is accompanied by a full color catalog
Published by Marjorie Barrick Museum | UNLV
10.75 x 8.25 in., 64 pp., 24 color plates
foreword by Jerry Schefcik; commentary by Julia Couzens

View full PDF online

John Meyer The installation at Lawson permits visitors to see that the incidence of light on the paintings’ surfaces matters crucially to their definition, or self-definition. Yet even the surest perception of such aspects, under what seem close to ideal viewing conditions, feels tentative, subject to vagaries of changing daylight, viewing angle and our common incapacity finally to see as others see. Explicitness and elusiveness converge in Meyer’s work with an intensity we seldom see in contemporary art, irrespective of style. That flavor of experience can reach an exquisite, almost excruciating intensity in paintings where Meyer brought color into play, such as “Untitled Diptych #6 (Blue/White)” (1994). Meyer brought color into play, such as “Untitled Diptych #6 (Blue/White)” (1994).

- Kenneth Baker, SF Chronicle

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JMX03 Sentiment rarely surfaces in the competitive, fast-paced art world, but the recent passing of the doyenne San Francisco gallerist Paule Anglim has occasioned respectful consideration by the art community of her stalwart championing of art as serious intellectual endeavor, albeit embodied in wood, gesso and paint. One of her artists, John Meyer (who died, aged fifty-eight, in 2002), is being given a solo show, dedicated to Anglim, at George Lawson Gallery, featuring thirteen of his monochrome diptychs, with their slow-art “appreciation of silence.”

- DeWitt Cheng, ArtLtd. Magazine

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JMX01 John Meyer was an American contemporary artist best known for his involvement with the Radical, or Fundamental painting movement in the 1980s and 1990s. It’s not easy to classify his work; in the period when he created some of his masterpieces, many similar art movements were popular. Someone would link his work with minimalism (check out our top 10 Minimalist Artists), others with strict abstractionism.
Although John Meyer was never a part of conceptual art movement, it is worth mentioning that all his works were based on a clear idea and concept. He never stopped painting, so he used this art medium for expressing philosophy of art. We could say that he had chosen more difficult path – it would be easier for him to use other medium (even sculpture). Therefore, his amazing paintings are even more valuable – they are not product of aesthetical contemplation of the artist, rather an expression of his working process.

- Lorenzo Pereira, WideWalls

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NAH28 Small, coolly brushed abstractions, consisting of little but gradations of hue and value that produce illusions of fugitive light, they seem to whisper of the depth of studio experience that lies behind them. Haynes has made paintings by similar means for years and their family resemblances serve to intensify their individuality rather than minimize it. Studying "Yesterday (from the 'ma' series)" (2013-14), a viewer can sense the pressure of the brush on the surface, gauge its load of pigment where first and last touches show for what they are, feel their micro-level merger with strokes already laid down: sensations that not even the most faithful reproduction can simulate.

- Kenneth Baker, SF Chronicle

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CLC25 "Brooklyn painter Michael Voss presents work at George Lawson’s that contrasts with Tran’s in nearly every respect. Viewed back to back, the two shows will remind any visitor what an accommodating — or vague — concept “painting” is.

Voss keeps the measure of his work to 15 inches square or under. His spontaneity manifests not in go-for-broke gestures, but in small adjustments that respond to developments on the surface as he works. In this, his work resembles that of Bay Area painter John Zurier, on view at the Berkeley Art Museum."

- Kenneth Baker, SF Chronicle

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GAS02 miami projectmiami project


We will be showcasing: Stephen Beal, Judith Belzer, Jake Berthot, Sara Bright, Clem Crosby, Justine Frischmann, Nancy Haynes, Tama Hochbaum, Erin Lawlor, Jacob Melchi, Fabiola Menchelli, John Meyer, Susan Mikula, John Millei, Lucas Reiner, Paul Rickert, Gary Stephan and Michael Voss.

CLC25 Ellipse, a partial inventory from the West
curated by Erin Lawlor & Katrin Bremermann
a3 gallery, Moscow, Russia
October 16 - November 2, 2014
with Olivia Bax, John Beech, Stephen Beal, Katrin Bremermann, Steven Day, Vincent Hawkins, Erin Lawlor, Lael Marshall, Jacob Melchi, John Millei, Kévin Monot, Jaanika Peerna, Guillermo Pfaff, David Rhodes, Maibritt Ulvedal Bjelke, Wilma Vissers, Don Voisine, Michael Voss

CLC25 "Clem Crosby’s exceptional show of eleven paintings and oil stick drawings answers complaints in the art world blogosphere about the sorry, generic state of current abstract painting. These modestly scaled, loose-limbed paintings create elegant, seemingly effortless tablets of paint tracks, trails, blots, and drools."

- Julia Couzens, Square Cylinder

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CLC25

"The recent works of British painter Clem Crosby look monumental in reproduction. The initial shock of his show at George Lawson's comes in seeing how small they are, considerably less than 3 feet square. As objects, they seem ideally proportioned to Lawson's intimate rooms. That good fit somehow highlights their mask-likeness and ventriloquism."

- Kenneth Baker, SF Chronicle

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JAM47 On September 1 the gallery will launch a new project in Brooklyn, New York, ART AT DONNA, a series of two-month installations in collaboration with Leif Huckman's Bar Donna in Williamsburg.

Inaugurating the program, Jacob Melchi will be showing selected paintings.

JAM47 "Set in sand that is both beautiful and claustrophobic, the 1964 Japanese film The Woman in the Dunes is one of the most haunting dramas ever made about circumstance, struggle, and adaption. George Lawson Gallery pays homage to the movie's title with "Women in the Dunes," a group exhibit of 10 female artists — nine of them painters, one of them (Jennah Ward) a photographer who produces painterly work."

-Jonathan Curiel, SF Weekly

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New Summer Hours

Beginning July 2, 2014, George Lawson Gallery will be open:

Tuesday by appointment
Wednesday, noon-6pm
Thursday noon-7pm
Friday noon-6pm
Saturday 11am-6pm