In the early to mid 2000s, Carter Mull was one of the first artists to address the space of the screen and its materialization in the field of art. Mull’s work is derived and conceptualized by the experience, theorization and processing of relationships both in the social field and in our shared, mediated landscape, transposing the social image to the exhibition context. Informed by sociology and writing on mediation, Mull’s project owes as much to contemporary popular, mass market fashion and chart topping Hot 100 songs. While his sculpture, installation and video have a temporality built into their form, his works for the wall assume the structure and appearance of painting in the traditional sense, yet also conjure a re-formation and re-structuring of art today. Although the use of drawing and photography, (as opposed to self identification with a given métier) provides no clear consensus as to how to objectify an artwork into a category, Mull’s inquiry into the rigid codes of medium, such as production process, substrate and material application, cultivates a new awareness of how art is produced and formatted in our ever changing present. Sensitive to the relationship between time and subjectivity, Mull’s artistic language takes into account the social drive and dimension of the contemporary subject. His work speaks to the basic units by which we trade connective desires and emotional responses, marking the moments that bind us together. Mull was born in Atlanta in 1977. He received his BFA from the Rhode Island School of Design and his MFA from CalArts in 2006. His work is in numerous American 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 Ludgren Gallery. Mull spent key formative years in New York. Although he travels often, he has been based in Los Angeles since 2004.
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