Michael Mulhern Press

  • Michael Mulhern – 9-11 PR

    Michael Mulhern in 9.11 Museum’s New Exhibition Rendering the Unthinkable

    by Cynthia Reeves
    CYNTHIA-REEVES Press Release, July, 2016

    Mulhern had a very personal connection to the towers and felt he could “reach out and touch the south tower” and he got to know the office workers across the way in Four World Trade Center, who would watch him at work in the studio. “It was like having an audience”, he recalled, “but we got used to each other.”

    The National September 11 Memorial and Museum at the World Trade Center in New York City opens a new exhibition on September 12, featuring seminal, mural-sized works from the estate of New York artist Michael Mulhern.

    read full article (pdf)

  • Michael Mulhern – Hudson Review 2004

    Michael Mulhern “Ash and Stone”

    by Karen Wilkin
    Hudson Review, March,  2004

     It is their raw, physical “abstractness” that carries these associations, the nuances of color and surface, the shifts of gesture and line, and the adjustments of interval and density that engage your eye… 

    Mulhern’s elusive paintings, both on canvas and paper, were continuations of his recent exploration of layering, concealment, and excavation as metaphors for lived experience and the construction of self. Subtly modulated expanses of dull, metallic, aluminum grey, applied with broad gestures, bury layers of wispy calligraphic marks, which survive mainly as memories but occasionally escape at the edges, haunt the thinnest passages, or are retrieved by scraping out.

    read full article (pdf)

  • Michael Mulhern – NYT 2002

    Searing Memories, Etched in Art; The Imprint of Sept. 11 Emerges, Sometimes Subtly

    by Randal C. Archibold
    The New York Times, April, 1,  2012

     “The previous work was very quite” Mr. Mulhern said during a break  at his temporary studio in Long Island City, Queens. “This is almost severe. I can’t believe it is not a response” 

    All around him are the large canvases of his art, filled with the seemingly haphazard but intricate black, gray, silver and sepia strokes and blotches that define his work.  Abstract Expressionism seems a fitting style to translate the chaos of the event, of crawling through the soot and muck to find his way out of his apartment and staggering through the moonscape that his neighborhood had become.

    read full article (pdf)