CARTERMULL.jpg

;a)5516, \a)142, /a)13&3

CARTER MULL


October 14 - December 1


Opening reception Sunday October 14  

3-5 PM


2400 NE Holladay Street Portland OR 97232



Paintings

Paintings are pure pleasure – when they are ripe. Vitamins, minerals, and fibers have no more persuasive salesmen than juicy, honey-sweet painting. Painting is good for everyone, of course: every painting, like every exhibition, contains all vitamins (except B12, which is found in apparel), minerals and phytochemicals – those nutrients whose health-promoting properties are forever being newly discovered. As always, the best advice is to eat the most fresh painting you can, and preferably to eat painting that is local, in season, and perfectly ripe.

Paintings

The painting is nature’s perfect shape. It is not surprising that so elegant a container should turn out to hold a small treasure of balanced nutrients – proteins, fats, vitamins, and minerals. The painting’s unique properties give it a unique versatility. Paintings bind ground meats, pureed vegetables, and doughs; they lighten cakes and breads; they thicken custards, tenderize timbales, and provide richness to mousses and puddings. Paintings emulsify mayonnaise, thicken sauces, and clarify to enrich soups. They are used to glaze breads and rolls, insulate pie dough against sogginess, and create ethereal meringues.

It is essential to understand exactly how paintings behave under certain conditions precisely because they are so diverse. The important point is that paintings are extremely sensitive. Unlike some aesthetic mishaps, mistakes with paintings are often irreversible and it is usually necessary to start over again.

Paintings

The painting is an estimable but endangered social institution. Its demise may be blamed on factors as various as the waning popularity of hard liquor, the regrettable decline of the sibling arts of conversation and flirtation, and the growing acceptance in this country of the European idea that painting by itself is a sufficient diversion for the evening. (The painting, remember, is an American invention.) We steadfastly defend the painting, however, both as an abstract notion and as an uncomplicated and extremely pleasurable means of entertaining. And we can’t help pointing out that it is also a relatively painless means of entertaining business contacts and of discharging social obligations to those with whom you may not care to share an entire meal.



Fluency across mediums, collaboration, and material production engender the work of Carter Mull. Reflecting critically on the decentralization of mass communication by establishing speculative archives within his own prodigious output, Mull performs multiple roles within culture at large engaging both the production and the circulation of images. From painter and photographer, to collector and curator, to designer and publisher, Mull’s practice treats the boundaries around segments of culture like parts of a montage, to be at times delineated, and at other times joined in an illicit union. Working from a deep history of artists who deal with the image on theoretical terms, his artistic language takes into account the social drive and dimension of the contemporary subject. Sensitive to the relationship between time and subjectivity, his project speaks to the basic units by which we trade personal desires and emotional responses, via televisual processes. He continually builds upon his engagement internationally at institutions such as the Art Institute of Chicago; the MAK Center, Los Angeles; The David Roberts Foundation, London; Ullens Center for Contemporary Art, Beijing; Institute of Contemporary Art, Philadelphia; the Walker Art Center, Minneapolis, and others.

Born in 1977, Carter Mull’s work is in numerous museum collections including the Museum of Contemporary Art, LACMA and Hammer Museums in Los Angeles and the Whitney and MoMA collections in New York. Recent exhibitions include solo shows at the Kunst Halle Sankt Gallen in Switzerland, CAPC Bordeaux in France, Fused Space, San Francisco and Lundgren Gallery, Palma de Mallorca. He spent key formative years in New York. Although he travels often, he has been based in Los Angeles since 2004.


1.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

2.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

3.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

4.

Paintings (\)a142)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl

approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1003

5.

[Object from Paintings (\)a142), produced by Carter Mull, October 8-12, 2018]

2018

acrylic and dispersion on wall, k-3 ink on vinyl

62 1/4 x 39 1/4 inches

/a)142:2018:B_1003-P

6.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

7.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:6870

2018

digial asset

dimensions variable

8.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7032

2018

digial asset

dimensions variable

NFS

9.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:6910

2018

digial asset

dimensions variable

10.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:6784

2018

digial asset

dimensions variable11.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

12.

Paintings (;)a5516)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl

approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1004

13.

Paintings (;)a5516)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl

approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1004

detail

14.

Paintings (;)a5516)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl

approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1004

detail

15.

Paintings (;)a5516)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl

approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1004

detail

16.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

17.

[Object from Paintings (;)a5516), produced by Carter Mull, October 8-12, 2018]

2018

acrylic and dispersion on wall, k-3 ink on vinyl

62 1/4 x 39 1/4 inches

/a)142:2018:B_1004-P

18.

Paintings (;)a5516)

2018

acrylic and dispersion on wall, k-3 ink on vinyl

62 1/4 x 39 1/4 inches

/a)142:2018:B_1004-P

detail

19.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:6289

2018

digial asset

dimensions variable

NFS

20.

;)a5516, \)a142, /)a13&3, (Private Places, Portland) ;a)5516:101318:6528

2018

digial asset

dimensions variable

21.

;)a5516, \)a142, /)a13&3, (Private Places, Portland) ;a)5516:101318:6642

2018

digial asset

dimensions variable

22.

;)a5516, \)a142, /)a13&3, (Private Places, Portland) ;a)5516:101318:6693

2018

digial asset

dimensions variable

NFS

23.

Untitled Flower Matrix

2018

acrylic and dispersion on wall, k-3 ink on vinyl

62 1/4 x 39 1/4 inches

/a)142:2018:P-1001

24.

Untitled Flower Matrix

2018

acrylic and dispersion on wall, k-3 ink on vinyl

62 1/4 x 39 1/4 inches

/a)142:2018:P-1001

detail

25.

;)a5516, \)a142, /)a13&3, (Private Places, Portland) ;a)5516:101318:6792

2018

digial asset

dimensions variable

26.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

27.

Paintings (/)a13&3)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1002

detail

28.

Paintings (/)a13&3)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1002

detail

29.

Paintings (/)a13&3)

2018

k-3 ink, paper, cotton, museum board, adhesive vinyl

approximately 14 x 11 x 1/4 inches

edition of 3 with 1 ap and 1 ec

/a)142:2018:B_1002

detail

30.

Installation View

;)a5516, \)a142, /)a13&3

October 14 - December 1, 2018

Private Places, Portland

31.

[Object from Paintings (/)a13&3), produced by Carter Mull, October 8-12, 2018]

2018

acrylic and dispersion on wall, k-3 ink on vinyl

62 1/4 x 39 1/4 inches

/a)142:2018:B_1002-P

32.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7181

2018

digial asset

dimensions variable

33.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7598

2018

digial asset

dimensions variable

34.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7635

2018

digial asset

dimensions variable

35.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7637

2018

digial asset

dimensions variable

36.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7736

2018

digial asset

dimensions variable

37.

;)a5516, \)a142, /)a13&3, (Private Places, Portland)

;a)5516:101318:7769

2018

digial asset

dimensions variable

NFS


Private Places
2400 NE Holladay Street Portland OR 97232
Ring Holladay Studios doorbell
www.privateplaces.us 

Open by appointment while exhibitions are on view.

Exhibition photography by Jason Horvath