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Michael Mulhern Press

  • Michael Mulhern USA Today 2016

    USA TODAY

    9/11 museum to open first art exhibit for 15th anniversary of attacks
    by Cynthia Reeves, July 2016

    Through the lens of art, we reflect on the raw emotion we all felt on that unforgettable Tuesday morning 15 years ago.

    New York’s 9/11 Museum unveils its first ever special exhibition. ‘Rendering the Unthinkable’ brings together artworks inspired by the attacks of 11 September 2001, the 15th anniversary of which falls this month. It is the first time the museum has put together an exhibition outside of its permanent collection.

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  • Michael Mulhern – 9-11 PR

    PRESS RELEASE

    Michael Mulhern in 9.11 Museum’s New Exhibition Rendering the Unthinkable
    by Cynthia Reeves, 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.

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  • Michael Mulhern – Hudson Review 2004

    HUDSON REVIEW

    Michael Mulhern “Ash and Stone”
    by Karen Wilkin, 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.

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  • Michael Mulhern – NYT 2002

    NEW YORK TIMES

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

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