SELECTED EXHIBITIONs

 Mollie McKinley, "Cholla Bag with Toe Hole Stocking, Reaching," 2018. Archival Inkjet print on Canson Baryta. 32" x 40"

Mollie McKinley, "Cholla Bag with Toe Hole Stocking, Reaching," 2018. Archival Inkjet print on Canson Baryta. 32" x 40"

"Time travelers" at the samuel dorsky museum of art

June 16—nov 11, 2018

A group of my recent Priestess photographs will be on view at the Dorsky Museum in the exhibition "Time Travelers." The majority of the works on view are 32 x 40 inches and are photographed in the Joshua Tree desert. The series envisions a mythical Priestess in staged settings, using Western landscapes as a theatre. She is part playful, camp fantasy, and part dark, puritanical allegory. The Priestess acts as defiant and absurdist existential power broker between liminal thresholds; her rituals and gestures are performed for her own pleasure and transcendence. She is a bridge between the ancient, the present, and an imagined utopic future.

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The Samuel Dorsky Museum of Art at SUNY New Paltz announces the opening of “TIME TRAVELERS,” the 2018 edition of The Dorsky’s annual Hudson Valley Artists series. The exhibition is curated by Anastasia James, curator of exhibitions and programs at The Dorsky Museum. 

 

The exhibition will run from June 16 – Nov. 11, 2018. A public opening reception will be held on Saturday, June 16, from 5–7 p.m.
 

“TIME TRAVELERS” presents work that draws inspiration from the concept of time travel and embraces the slippery notions of time. The works in the exhibition recognize the universal human desire to experience a time other than our own. They act as locations for explorations of, or challenges to, the standard chronological sequence.
 

Moving freely across artistic disciplines and mediums, including textiles, painting, installation, sculpture, performance and photography, “TIME TRAVELERS” promises to transform the Museum into a space-time continuum full of visual pleasures and conceptual delights.


Featuring works by Michael Bernstein, Lynn Dreese Breslin, Kyle Cottier, Daniella Dooling, Harry Leigh, Mollie McKinley, Alison McNulty, Tony Moore, Yvonne Muller, Antonella Piemontese, and Greg Slick.
 

ABOUT THE CURATOR
Anastasia James is Curator of Exhibitions and Programs at the Samuel Dorsky Museum of Art at SUNY New Paltz.  Among the shows she has curated are “Brigid Berlin: It’s All About Me” (INVISIBLE-EXPORTS Gallery, New York), and “Cary Leibowitz: Museum Show” (Contemporary Jewish Museum; ICA Philadelphia; CAM Houston). Prior to joining the Dorsky Museum, James worked for The Contemporary Jewish Museum in San Francisco; The Queens Museum in New York; and The Andy Warhol Museum in Pittsburgh, PA. She received her MA from The Center for Curatorial Studies at Bard College.
 

ABOUT THE MUSEUM
Tthe Samuel Dorsky Museum of Art at SUNY New Paltz serves as a center for Hudson Valley arts and culture. With more than 9,000 square feet of exhibition space distributed over six galleries, The Dorsky Museum is one of the largest museums within the SUNY system. It has presented in-depth studies of contemporary artists including Robert Morris, Alice Neel, Judy Pfaff, Carolee Schneemann, and Ushio Shinohara, and Hudson Valley luminaries Russel Wright and Dick Polich.


Museum Hours:
Wednesday–Sunday, 11 a.m. – 5 p.m.
Closed Mondays, Tuesdays, Holidays, and Intersessions.
 

For more information about The Dorsky Museum and its programs, visit http://www.newpaltz.edu/museum, or call (845) 257-3844.

 


 From left: Collapse Monolith, Support Monolith, and Cut Monolith, 2017—2018. Salt on rough hewn pine

From left: Collapse Monolith, Support Monolith, and Cut Monolith, 2017—2018. Salt on rough hewn pine

"Sea witch space witch" at the modern love club

June 21—Aug. 31, 2018

156 1st Avenue, New York City

A trinity of my salt on pine works are on view in the East Village through the summer. A selection of my small glass and salt works on Carrerra marble are on view as well.

Curated by Gabrielle Sirkin and hosted by Amy Doran.

From the curator: Transcend through four centuries of art. A rare collection of early 18th and 19th century prints, as well as contemporary art. Dead and living artists come together in a spiritual modern void. This multi-disciplinary exhibition features a spectacular array of artists from Man Ray, Michael Halsband, Mollie McKinley and Oliva Steele. The works in the exhibition explores the depths of the abyss and the heights of the ethereal. 


Featuring: Michael Halsband, Lowell Nesbitt, Olivia Steele, Julia Sinelnikova, Mollie McKinley, Daniel Martin Diaz, Sarah Alice Moran, Jason Akira Somma, Nico Ballesteros, Kyle Viis, Fafnir Adamites, Yasmina Nysten, Paul Lucido, Jess Bass and Man Ray.

On view weekends 12pm—7pm and by appointment on weekdays. 


 Installation view of "Salt Priestess," image courtesy of Pioneer Works 2017

Installation view of "Salt Priestess," image courtesy of Pioneer Works 2017

MOLLIE MCKINLEY: "SALT PRIESTESS"

PIONEER WORKS, BROOKLYN, NEW YORK

MAY 14—JUly 9, 2017

Curated by Pioneer Works Director Gabriel Florenz and Curator/Editor David Everett Howe

AN AUDIO TOUR WITH MOLLIE MCKINLEY & DAVID EVERETT HOWE OF THE SHOW IS FEATURED ON CLOCKTOWER RADIO.

 

Pioneer Works is pleased to present Mollie McKinley’s Salt Priestess, the artist’s first institutional solo exhibition in the United States. Comprised of photographs and salt and glass sculptures, the exhibition presents alchemical transmutations as a feminist clarion call, one in which female archetypes—situated in and around supernatural landscapes—hover in a strange, symbolic space of ritual and unknowable, primal drama.

Made with a wooden 4×5 camera, McKinley’s photographic tableaux typically portray “priestesses” inhabiting surreal American landscapes, such as desert dunes, abandoned parking lots, glacial lakes and weathered, wood cabins. Sometimes these settings stand in for themselves, as places of ritualized regeneration and resilience. At other times these locales become cinematic backdrops for the artist’s heroines, who are equal parts Barbarella and The Crucible, part playful camp fantasy and dark, puritanical allegory. Wearing ceremonial wigs, bathrobes, fur scraps, rags, and fishing nets, they present offerings of pineapples, snakeskins, and other objects to the mystic forces of nature. Relationships between the femme body and the inherent vacuity of capitalist objects are activated.

The salt sculptures—or monoliths, as McKinley calls them—symbolize time, existential phenomenology, and nature’s processes on physical material. They’re deconstructed from fifty-pound salt licks used for livestock supplements. Rigid and compact in their factory state, McKinley uses a hammer and chisel to geometrically work away at the salt in patterns before further eroding them with pressurized water. This erosion process is violent and intense. The finished works allude to textures of weathered stone canyons in the American West, of exaggerated bone marrow, and of glacial surfaces. If the photographs represent these natural forces, McKinley’s salt monoliths dramatically actuate them, in bodily form. Taken together, Salt Priestess twins this bodily preoccupation with the natural landscape; one functions as foil for the other.

Mollie McKinley studied photography at Bard College. Her work has also been shown at Ethan Cohen Fine Arts; Field Projects, New York; Los Angeles Contemporary Exhibitions; Anthology Film Archives; the MoMA Pop Rally; the New York Art Book Fair at MoMA PS1 presented by Independent Curators International and Limited Time Only; four Brucennials; the Index Art Center, Newark; the Wassaic Project Exhibition; SPRING/BREAK Art Show curated by Natalie Kovacs; Anna Kustera Gallery curated by Natalie Kovacs; Dimensions Variable Gallery, Miami; the Art Director’s Club of New York; the Humble Arts Foundation; the Fringe Arts Festival in Philadelphia; One Mile Gallery, Kingston; KUBE Beacon, NY; Matteawan Gallery, Beacon, NY; the Samuel Dorsky Museum of Art, New Paltz, and a host of others.

 

Read VICE's feature on Salt Priestess here

 Mollie McKinley, "Pineapple Liturgy II," 2017. 32 x 40 inches. Archival Inkjet Print, Edition 1/5

Mollie McKinley, "Pineapple Liturgy II," 2017. 32 x 40 inches. Archival Inkjet Print, Edition 1/5

All installation images courtesy of Pioneer Works