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INSERT INTO `wp_posts` VALUES (129,1,'2016-12-19 18:34:51','2016-12-19 17:34:51','PRESS RELEASE:\r\n\r\nRIO BRAVO Fine Art presents\r\n\r\nGregory Montreuil: “UNTIL NOW”\r\n\r\nMarch 11,–April 29, 2017\r\n\r\nReception for the Artist: March 11, 2017 6:00-8:00PM\r\n\r\nRio Bravo Fine Art is proud to present a selection of works by Gregory Montreuil from the early 1980s until the present. This will be Montreuil’s second solo show at Rio Bravo Fine Art.\r\n\r\nLawrence Durrell wrote; “Human Beings are expressions of their landscapes.”  Similarly, the artworks created by Montreuil reflect the various places in which he has made them. While they are not themselves landscapes they walk us along Montreuil’s trajectory, beginning with formative years in the Midwest where he was born and studied art. He then moved to the urban environment of New York City, where he lived and worked for more than 30 years. While living in New York, Montreuil was simultaneously extending roots to the Southwestern United States and overseas to France. He now lives and creates art in New Mexico and Marseille, France.\r\n\r\nMontreuil has always worked within the nonobjective definition of abstraction and has created in several mediums: oil paintings, drawings, collage, and mixed media. With intentionally reduced constructs, his early work used color, while the middle period of more than a decade was intentionally limited to black, white, and gray. The use of color has come back recently.\r\n\r\nThe exhibition surveys Montreuil’s work chronologically and the artist jokes that “it will consist of Greg’s Greatest Hits.” Seeing works from various overlapping periods together will clarify the parameters and the influence of his immediate environment on the process of making art. Montreuil works with contradictions, such as speed and control, chance and decision, the structured as opposed to the chaotic. He maps different paths through the dilemmas posed by these polarities, seeking both to resolve them and to pull them into focus.\r\n\r\nWith the metaphor of life and work as a journey, this exhibition will provide a map of the road one artist had taken thus far. Montreuil sums up his attitude in a quote by Susan Sontag: “I haven’t been everywhere, but it is on my list”','Until Now - Gregory Montreuil at Rio Bravo Fine Arts','','publish','open','open','','129','','','2016-12-19 18:36:48','2016-12-19 17:36:48','',0,'http://gregorymontreuil.com/?p=129',0,'post','',0),(5,1,'2016-11-07 22:02:23','2016-11-07 21:02:23','','logo-gregory-montreuil','','inherit','open','closed','','logo-gregory-montreuil','','','2016-11-07 22:02:23','2016-11-07 21:02:23','',0,'http://gregorymontreuil.com/wp-content/uploads/2016/11/LOGO-GREGORY-MONTREUIL.png',0,'attachment','image/png',0),(124,1,'2016-12-06 23:29:45','2016-12-06 22:29:45','','slider-2','','inherit','open','closed','','slider-2','','','2016-12-06 23:29:45','2016-12-06 22:29:45','',0,'http://gregorymontreuil.com/wp-content/uploads/2016/12/SLIDER-2.jpg',0,'attachment','image/jpeg',0),(123,1,'2016-12-06 23:29:07','2016-12-06 22:29:07','','slider-1','','inherit','open','closed','','slider-1','','','2016-12-06 23:29:07','2016-12-06 22:29:07','',0,'http://gregorymontreuil.com/wp-content/uploads/2016/12/SLIDER-1.jpg',0,'attachment','image/jpeg',0),(97,1,'2016-11-29 23:14:32','2016-11-29 22:14:32','<a href=\"https://fr.calameo.com/read/0039888648f73778adf1e\" target=\"_blank\">Catalogue</a>\n\n<a href=\"http://observer.com/2013/10/julian-pretto-gallery-at-minus-space/\" target=\"_blank\">New York Observer - Julian Pretto Gallery at Minus Space</a>\n\n<a href=\"http://www.worldcat.org/title/abstract-100-exhibition-31-artists-abstract-art-southern-red-river-valley-1954-2010/oclc/698477465\" target=\"_blank\">Abstract 100</a>\n\n<a href=\"http://www.thefmextra.com/metro-lights-april-25-may-1/\" target=\"_blank\">Metro Lights</a>\n\n<a href=\"https://issuu.com/msumoorhead/docs/cah_newsletter_2012-13\" target=\"_blank\">Arts &amp; Humanities News</a>\n\n&nbsp;','PRESS','','inherit','closed','closed','','12-autosave-v1','','','2016-11-29 23:14:32','2016-11-29 22:14:32','',12,'http://gregorymontreuil.com/?p=97',0,'revision','',0),(9,1,'2016-11-07 22:28:36','2016-11-07 21:28:36','EDUCATION:\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\nBorn: Crookston Minnesota, USA\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n2018  “Why Not” (a window installation,) ProArts, Oakland, CA\r\n2017  “Until Now, A Retrospective,”Rio Bravo Fine Art, Truth or Consequences, NM\r\n2016  ”Dynamic Force/True Colors,” Galerie Du Tableau, Marseille, France\r\n2014  “Control Alt Delete,” Galerie Du Tableau, Marseille, France\r\n2013  “ Wrestling With Space,” The Rourke Museum, Moorheard, MN\r\n2010  Rio Bravo Fine Art, Truth of Consequences, NM\r\n2008  Galerie Du Tableau, Marseille, France\r\n2005  Ou Gallery, Marseille, France\r\n2002  Galerie Du Tableau, Marseille, France\r\n2001  Galerie Du Tableau, Marseille, France\r\n1998  Jeffery Coploff Fine Art, New York, NY\r\n1996  “Fill Up,” Annika Sundvik Gallery, New York, NY\r\n1989  Julian Pretto Gallery, New York, NY\r\n1988  Julian Pretto Gallery, New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55<sup>th</sup>  Invitational,” Rourke Museum, Moorhead, MN\r\n“The Moby Project,” Neoteric Gallery, Amagansett, NY\r\n“Paper Mirror Torn,” Brian Morris Gallery, New York, NY\r\n2012  “The 53<sup>rd</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n“Group Show,” Tricycle, Marseille, France\r\n2011  “Carte Blanche,” Analix Forever Galerie, Geneva, Switzerland\r\n“Art in a Box,” Cheryl Pelavin Gallery, New York, NY\r\n“Benefit,” Samaritans, New York, NY\r\n“Summer Invitational,” Rourke Museum, Moorhead, MN\r\n“Collaboration with Yves Musard,” La Casita, Las Cruces, NM\r\n“The Real LR Word,” Ligne Roset, New York, NY\r\n“It’s All Good(Apocalypse Now),”Sideshow Gallery, Brooklyn, NY\r\n2010   “Power to the People,” Feature Gallery, New York, NY\r\n“Abstract 100,” Curated by Tim Ray, University of Minnesota, Moorhead, MN\r\n“It’s A Wonderful Tenth,” Side Show Gallery, Brooklyn, NY\r\n2009  “Art and Democracy IV,” Visual Artists Guild, Gallery H, New York, NY\r\n“Open Studio,” Tricycle Marseille, France\r\n“Group Show,” Tandem Global Partners, New York, NY\r\n“Viewing Program,” Sierra Vista Hospital, Truth or Consequences, NM\r\n2007  “Group Show,” Entre Arts, Grenoble, Group Show\r\n2002  “Blobs Wiggles and Dots, Webs and Crustillions,” curated by Lucio Pozzi, The Work\r\nSpace, New York, NY\r\n2001  “New Acquisitions,” Weatherspoon Museum, University of North Carolina at\r\nGreensboro, NC\r\n1999   “Group Show,” Margaret Thatcher Projects, New York\r\n“Fur Trans,” Kunstlerhaus Hamburg, Germany\r\n1998   “Group Show,” Galerie Barrouyer, Paris, France\r\n“Acquiring Art in the 90’s: The Julian Pretto Collection,” Wadsworth Athenaeum,\r\nHartford, CT\r\n1993   ”Artists from the Richard Brown Baker Collection,” The Century Club,\r\nNew York, NY\r\n“Contemporary Surfaces,” Curated by Rick Ward, Pamela Auchincloss Gallery,\r\nNew York, NY\r\n1991   “A question of Paint,” Curated by Charles Wright Jr., Hallwalls Contemporary Art\r\nCenter, Buffalo, NY\r\n1990    “Color” University of Maine Gallery of Art, Orono, ME\r\nPUBLICATIONS:\r\n2013  New York Observer, “Julian Pretto At Minus Space” Oct 1, 2013 by Andrew Russel\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead, MN (Cover\r\nAnd Feature)\r\nThe Fargo Forum, “The Main Event,” April 28, 2013\r\nCrookston Times, “Crookston Native, Montreuil’s Art on Display,” June 4<sup>th</sup> 2013\r\n2012  Yale University Press, “Get There First, Decide Promptly, The Richard Brown Baker\r\nCollection of Postwar Art” (Book)\r\n2011  INK, Las Cruces, NM “Black and White” by Kathleen Sloan\r\n2010  The Herald, Truth or Consequences, NM “Black and White and Felt All Over,”\r\nBy Kathleen Sloan, November 24<sup>th</sup>, 2010\r\n2006  “560 Broadway: A New York Drawing Collection at Work, 1991-2006,” by\r\nAmy Eshoo (book)\r\n2001  “A Question of Paint,” Essay by Charles Wright Jr., Hallwalls, Buffalo, NY\r\n1998   Art Papers, “Amanda Church and Gregory Montreuil” by Elisabeth Condon\r\nThe Boston Globe, “Art Grounded in Earth; Bursting Out and In,”\r\nBy Cate McQuaid\r\nM/E/A/N/I/N/I/N/G #20, New York, NY\r\n1995  M/E/A/N/I/N/G #16, New York, NY\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS:\r\nWadsworth Athenaeum, Hartford, CT\r\nPrudential Insurance, Newark, NJ\r\nThe National Gallery, Washington, DC\r\nWeatherspoon Museum, Greensboro, NC\r\nYale University, New Haven, CT\r\nThe Rourke Museum, Moorhead, MN\r\nThe Wurlitzer Foundation\r\n\r\n&nbsp;\r\n\r\nART INSTRUCTOR:\r\n1997-2015 Goddard Riverside Community Center, New York, NY\r\n2012-2015 Council House, New York, NY\r\n2013-2015 S.T.A.R. Center, New York, NY\r\n1992 Parson School of Design, New York, NY Guest lecturer\r\n“Materiality and Social Sculpture”\r\n\r\n&nbsp;\r\n\r\nART WRITER:\r\nFreelance articles for:\r\nFlash Art International, Milan Italy,\r\nNew Art Examiner,  Chicago, IL.\r\nThe Villager, New York, NY,\r\nContemporary Magazine, London, England,\r\nGay City News, New York, NY\r\nAnd various catalogue essays','RESUME','','publish','closed','closed','','resume','','','2018-06-07 22:02:54','2018-06-07 20:02:54','',0,'http://gregorymontreuil.com/?page_id=9',0,'page','',0),(11,1,'2016-11-07 22:28:36','2016-11-07 21:28:36','Gregory Montreuil  PO box 473 Arrey, NM 87930  phone212 677-7256 <a href=\"mailto:MontreuilGregory99@gmail.com\">MontreuilGregory99@gmail.com</a>  website: GregoryMontreuil.com\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art In a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“ Benefit “,Samaratains , New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn , New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM , Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n&nbsp;\r\n\r\nArt Instructor Goddard Riverside Community Center, New York, NY\r\n\r\n1997-2012\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\nEDUCATION: BS Degree , University of Minnesota, Moorhead, MN Art Education\r\n\r\n&nbsp;\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','RESUME','','inherit','closed','closed','','9-revision-v1','','','2016-11-07 22:28:36','2016-11-07 21:28:36','',9,'http://gregorymontreuil.com/?p=11',0,'revision','',0),(12,1,'2016-11-07 22:36:13','2016-11-07 21:36:13','<a href=\"https://fr.calameo.com/read/0039888648f73778adf1e\" target=\"_blank\">Catalogue</a>\r\n\r\n<a href=\"http://observer.com/2013/10/julian-pretto-gallery-at-minus-space/\" target=\"_blank\">New York Observer - Julian Pretto Gallery at Minus Space</a>\r\n\r\n<a href=\"http://www.worldcat.org/title/abstract-100-exhibition-31-artists-abstract-art-southern-red-river-valley-1954-2010/oclc/698477465\" target=\"_blank\">Abstract 100</a>\r\n\r\n<a href=\"http://www.thefmextra.com/metro-lights-april-25-may-1/\" target=\"_blank\">Metro Lights</a>\r\n\r\n<a href=\"https://issuu.com/msumoorhead/docs/cah_newsletter_2012-13\" target=\"_blank\">Arts &amp; Humanities News</a>\r\n\r\n<a href=\"http://www.crookstontimes.com/article/20130603/LIFESTYLE/130609968\" target=\"_blank\">Crookston Times</a>','PRESS','','publish','closed','closed','','press','','','2016-11-29 23:20:37','2016-11-29 22:20:37','',0,'http://gregorymontreuil.com/?page_id=12',0,'page','',0),(13,1,'2016-11-07 22:31:20','2016-11-07 21:31:20','https://fr.calameo.com/read/0039888648f73778adf1e','PRESS','','inherit','closed','closed','','12-revision-v1','','','2016-11-07 22:31:20','2016-11-07 21:31:20','',12,'http://gregorymontreuil.com/?p=13',0,'revision','',0),(14,1,'2016-11-07 22:36:13','2016-11-07 21:36:13',' ','','','publish','closed','closed','','14','','','2018-06-09 01:45:08','2018-06-08 23:45:08','',0,'http://gregorymontreuil.com/?p=14',11,'nav_menu_item','',0),(15,1,'2016-11-07 22:36:13','2016-11-07 21:36:13','<a href=\"https://fr.calameo.com/read/0039888648f73778adf1e\" target=\"_blank\">Catalogue</a>\r\n\r\n&nbsp;','PRESS','','inherit','closed','closed','','12-revision-v1','','','2016-11-07 22:36:13','2016-11-07 21:36:13','',12,'http://gregorymontreuil.com/?p=15',0,'revision','',0),(16,1,'2016-11-07 22:41:31','2016-11-07 21:41:31','[si-contact-form form=\'1\']','CONTACT','','publish','closed','closed','','contact','','','2016-11-07 22:41:31','2016-11-07 21:41:31','',0,'http://gregorymontreuil.com/?page_id=16',0,'page','',0),(17,1,'2016-11-07 22:36:34','2016-11-07 21:36:34','','CONTACT','','inherit','closed','closed','','16-revision-v1','','','2016-11-07 22:36:34','2016-11-07 21:36:34','',16,'http://gregorymontreuil.com/?p=17',0,'revision','',0),(18,1,'2016-11-07 22:41:21','2016-11-07 21:41:21','[si-contact-form form=\'1\']','CONTACT','','inherit','closed','closed','','16-revision-v1','','','2016-11-07 22:41:21','2016-11-07 21:41:21','',16,'http://gregorymontreuil.com/?p=18',0,'revision','',0),(19,1,'2016-11-07 22:41:31','2016-11-07 21:41:31',' ','','','publish','closed','closed','','19','','','2018-06-09 01:45:08','2018-06-08 23:45:08','',0,'http://gregorymontreuil.com/?p=19',12,'nav_menu_item','',0),(21,1,'2018-06-07 22:00:01','2018-06-07 20:00:01','EDUCATION:\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\nArt Education\nBorn: Crookston Minnesota, USA\n\n&nbsp;\n\nSOLO &amp; TWO PERSON EXHIBITIONS:\n2018  “Why Not” (a window installation,) ProArts, Oakland, CA\n2017  “Until Now, A Retrospective,”Rio Bravo Fine Art, Truth or Consequences, NM\n2016  ”Dynamic Force/True Colors,” Galerie Du Tableau, Marseille, France\n2014  “Control Alt Delete,” Galerie Du Tableau, Marseille, France\n2013  “ Wrestling With Space,” The Rourke Museum, Moorheard, MN\n2010  Rio Bravo Fine Art, Truth of Consequences, NM\n2008  Galerie Du Tableau, Marseille, France\n2005  Ou Gallery, Marseille, France\n2002  Galerie Du Tableau, Marseille, France\n2001  Galerie Du Tableau, Marseille, France\n1998  Jeffery Coploff Fine Art, New York, NY\n1996  “Fill Up,” Annika Sundvik Gallery, New York, NY\n1989  Julian Pretto Gallery, New York, NY\n1988  Julian Pretto Gallery, New York, NY\n\n&nbsp;\n\nSELECTED EXHIBITIONS:\n2016  “The 57<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\n2015  “The 56<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\n“The 55<sup>th</sup>  Invitational,” Rourke Museum, Moorhead, MN\n“The Moby Project,” Neoteric Gallery, Amagansett, NY\n“Paper Mirror Torn,” Brian Morris Gallery, New York, NY\n2012  “The 53<sup>rd</sup> Invitational,” Rourke Museum, Moorhead, MN\n“Group Show,” Tricycle, Marseille, France\n2011  “Carte Blanche,” Analix Forever Galerie, Geneva, Switzerland\n“Art in a Box,” Cheryl Pelavin Gallery, New York, NY\n“Benefit,” Samaritans, New York, NY\n“Summer Invitational,” Rourke Museum, Moorhead, MN\n“Collaboration with Yves Musard,” La Casita, Las Cruces, NM\n“The Real LR Word,” Ligne Roset, New York, NY\n“It’s All Good(Apocalypse Now),”Sideshow Gallery, Brooklyn, NY\n2010   “Power to the People,” Feature Gallery, New York, NY\n“Abstract 100,” Curated by Tim Ray, University of Minnesota, Moorhead, MN\n“It’s A Wonderful Tenth,” Side Show Gallery, Brooklyn, NY\n2009  “Art and Democracy IV,” Visual Artists Guild, Gallery H, New York, NY\n“Open Studio,” Tricycle Marseille, France\n“Group Show,” Tandem Global Partners, New York, NY\n“Viewing Program,” Sierra Vista Hospital, Truth or Consequences, NM\n2007  “Group Show,” Entre Arts, Grenoble, Group Show\n2002  “Blobs Wiggles and Dots, Webs and Crustillions,” curated by Lucio Pozzi, The Work\n\nSpace, New York, NY\n2001  “New Acquisitions,” Weatherspoon Museum, University of North Carolina at\n\nGreensboro, NC\n1999   “Group Show,” Margaret Thatcher Projects, New York\n“Fur Trans,” Kunstlerhaus Hamburg, Germany\n1998   “Group Show,” Galerie Barrouyer, Paris, France\n“Acquiring Art in the 90’s: The Julian Pretto Collection,” Wadsworth Athenaeum,\nHartford, CT\n1993   ”Artists from the Richard Brown Baker Collection,” The Century Club,\nNew York, NY\n“Contemporary Surfaces,” Curated by Rick Ward, Pamela Auchincloss Gallery,\nNew York, NY\n1991   “A question of Paint,” Curated by Charles Wright Jr., Hallwalls Contemporary Art\nCenter, Buffalo, NY\n1990    “Color” University of Maine Gallery of Art, Orono, ME\n&nbsp;\n\nPUBLICATIONS:\n2013  New York Observer, “Julian Pretto At Minus Space” Oct 1, 2013 by Andrew Russel\nArts and Humanities Newsletter, University of Minnesota, Moorhead, MN (Cover\nAnd Feature)\nThe Fargo Forum, “The Main Event,” April 28, 2013\nCrookston Times, “Crookston Native, Montreuil’s Art on Display,” June 4<sup>th</sup> 2013\n2012  Yale University Press, “Get There First, Decide Promptly, The Richard Brown Baker\nCollection of Postwar Art” (Book)\n2011  INK, Las Cruces, NM “Black and White” by Kathleen Sloan\n2010  The Herald, Truth or Consequences, NM “Black and White and Felt All Over,”\nBy Kathleen Sloan, November 24<sup>th</sup>, 2010\n2006  “560 Broadway: A New York Drawing Collection at Work, 1991-2006,” by\nAmy Eshoo ( book)\n\n2001  “A Question of Paint,” Essay by Charles Wright Jr., Hallwalls, Buffalo, NY\n\n1998   Art Papers, “Amanda Church and Gregory Montreuil” by Elisabeth Condon\n\nThe Boston Globe, “Art Grounded in Earth; Bursting Out and In,”\n\nBy Cate McQuaid\n\nM/E/A/N/I/N/I/N/G #20, New York, NY\n\n1995  M/E/A/N/I/N/G #16, New York, NY\n\n&nbsp;\n\nRESIDENCIES:\n\n2001 The Wurlitzer Foundation, Taos, NM\n\n&nbsp;\n\nCOLLECTIONS:\n\nWadsworth Athenaeum, Hartford, CT\n\nPrudential Insurance, Newark, NJ\n\nThe National Gallery, Washington, DC\n\nWeatherspoon Museum, Greensboro, NC\n\nYale University, New Haven, CT\n\nThe Rourke Museum, Moorhead, MN\n\nThe Wurlitzer Foundation\n\n&nbsp;\n\n&nbsp;\n\nART INSTRUCTOR:\n\n1997-2015 Goddard Riverside Community Center, New York, NY\n\n2012-2015 Council House, New York, NY\n\n2013-2015 S.T.A.R. Center, New York, NY\n\n1992 Parson School of Design, New York, NY Guest lecturer\n\n“Materiality and Social Sculpture”\n\n&nbsp;\n\n&nbsp;\n\nART WRITER:\n\nFreelance articles for:\n\nFlash Art International, Milan Italy,\n\nNew Art Examiner,  Chicago, IL.\n\nThe Villager, New York, NY,\n\nContemporary Magazine, London, England,\n\nGay City News, New York, NY\n\nAnd various catalogue essays','RESUME','','inherit','closed','closed','','9-autosave-v1','','','2018-06-07 22:00:01','2018-06-07 20:00:01','',9,'http://gregorymontreuil.com/?p=21',0,'revision','',0),(22,1,'2016-11-15 19:45:34','2016-11-15 18:45:34','<h2>Gregory Montreuil</h2>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nART INSTRUCTOR\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\n&nbsp;\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','RESUME','','inherit','closed','closed','','9-revision-v1','','','2016-11-15 19:45:34','2016-11-15 18:45:34','',9,'http://gregorymontreuil.com/?p=22',0,'revision','',0),(23,1,'2016-11-15 19:46:02','2016-11-15 18:46:02','<h2>Gregory Montreuil</h2>\r\n&nbsp;\r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nART INSTRUCTOR\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\n&nbsp;\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;','RESUME','','inherit','closed','closed','','9-revision-v1','','','2016-11-15 19:46:02','2016-11-15 18:46:02','',9,'http://gregorymontreuil.com/?p=23',0,'revision','',0),(25,1,'2016-11-27 17:46:11','2016-11-27 16:46:11','','Derry 2016  8X5 Inches','','publish','open','closed','','derry_2016_8x5_inches-jpg','','','2016-11-27 17:46:11','2016-11-27 16:46:11','',0,'http://gregorymontreuil.com/?gmedia=derry_2016_8x5_inches-jpg',0,'gmedia','image/jpeg',0),(26,1,'2016-11-27 17:46:11','2016-11-27 16:46:11','','RECENT WORK','','publish','open','closed','','recent-work','','','2016-11-27 17:46:11','2016-11-27 16:46:11','',0,'http://gregorymontreuil.com/?gmedia_album=recent-work',0,'gmedia_album','',0),(27,1,'2016-11-27 17:46:20','2016-11-27 16:46:20','','Garfield 2016 7X5inches','','publish','open','closed','','garfield_2016_7x5inches-jpg','','','2016-11-27 17:46:20','2016-11-27 16:46:20','',0,'http://gregorymontreuil.com/?gmedia=garfield_2016_7x5inches-jpg',0,'gmedia','image/jpeg',0),(28,1,'2016-11-27 17:46:29','2016-11-27 16:46:29','','New Large 2016','','publish','open','closed','','new_large_2016-jpg','','','2016-11-27 17:46:29','2016-11-27 16:46:29','',0,'http://gregorymontreuil.com/?gmedia=new_large_2016-jpg',0,'gmedia','image/jpeg',0),(29,1,'2016-11-27 17:46:34','2016-11-27 16:46:34','','New Number 1','','publish','open','closed','','new_number_1-jpg','','','2016-11-27 17:46:34','2016-11-27 16:46:34','',0,'http://gregorymontreuil.com/?gmedia=new_number_1-jpg',0,'gmedia','image/jpeg',0),(30,1,'2016-11-27 17:46:36','2016-11-27 16:46:36','','New Number 2','','publish','open','closed','','new_number_2-jpg','','','2016-11-27 17:46:36','2016-11-27 16:46:36','',0,'http://gregorymontreuil.com/?gmedia=new_number_2-jpg',0,'gmedia','image/jpeg',0),(31,1,'2016-11-27 17:46:39','2016-11-27 16:46:39','','New Number 3','','publish','open','closed','','new_number_3-jpg','','','2016-11-27 17:46:39','2016-11-27 16:46:39','',0,'http://gregorymontreuil.com/?gmedia=new_number_3-jpg',0,'gmedia','image/jpeg',0),(32,1,'2016-11-27 17:46:44','2016-11-27 16:46:44','','New Number 4','','publish','open','closed','','new_number_4-jpg','','','2016-11-27 17:46:44','2016-11-27 16:46:44','',0,'http://gregorymontreuil.com/?gmedia=new_number_4-jpg',0,'gmedia','image/jpeg',0),(33,1,'2016-11-27 17:46:48','2016-11-27 16:46:48','','New Number 5','','publish','open','closed','','new_number_5-jpg','','','2016-11-27 17:46:48','2016-11-27 16:46:48','',0,'http://gregorymontreuil.com/?gmedia=new_number_5-jpg',0,'gmedia','image/jpeg',0),(34,1,'2016-11-27 17:52:02','2016-11-27 16:52:02','','RECENT WORK','','publish','open','closed','','recent-work','','','2016-11-27 18:05:35','2016-11-27 17:05:35','',0,'http://gregorymontreuil.com/?gmedia_gallery=recent-work',0,'gmedia_gallery','',0),(35,1,'2016-11-27 17:54:16','2016-11-27 16:54:16','This Portfolio is divided into five sections:\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=83\">Recent Work</a>: was created between 2014 until present\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=54\">Black &amp; White</a>: pieces were created between 2002-2014\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=107\">Works on Paper</a>: span 1995 until present\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=89\">Installations</a>: were done in 2005 and 2014\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=86\">Greatest Hits</a>: are selections from 1995-2001','PORTFOLIO','','publish','closed','closed','','galleries','','','2020-10-18 23:23:06','2020-10-18 21:23:06','',0,'http://gregorymontreuil.com/?page_id=35',0,'page','',0),(36,1,'2016-11-27 17:53:06','2016-11-27 16:53:06','[gmedia id=3]','GALLERIES','','inherit','closed','closed','','35-revision-v1','','','2016-11-27 17:53:06','2016-11-27 16:53:06','',35,'http://gregorymontreuil.com/?p=36',0,'revision','',0),(38,1,'2016-11-27 17:57:59','2016-11-27 16:57:59','','GALLERIES','','inherit','closed','closed','','35-revision-v1','','','2016-11-27 17:57:59','2016-11-27 16:57:59','',35,'http://gregorymontreuil.com/?p=38',0,'revision','',0),(37,1,'2016-11-27 17:54:16','2016-11-27 16:54:16',' ','','','publish','closed','closed','','37','','','2018-06-09 01:45:06','2018-06-08 23:45:06','',0,'http://gregorymontreuil.com/?p=37',2,'nav_menu_item','',0),(57,1,'2016-11-28 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WORK','','publish','closed','closed','','recent-work','','','2016-12-19 16:49:06','2016-12-19 15:49:06','',35,'http://gregorymontreuil.com/?page_id=83',1,'page','',0),(84,1,'2016-11-28 18:25:18','2016-11-28 17:25:18',' ','','','publish','closed','closed','','84','','','2018-06-09 01:45:06','2018-06-08 23:45:06','',35,'http://gregorymontreuil.com/?p=84',3,'nav_menu_item','',0),(85,1,'2016-11-28 18:25:18','2016-11-28 17:25:18','[envira-gallery id=\"58\"]','RECENT WORK','','inherit','closed','closed','','83-revision-v1','','','2016-11-28 18:25:18','2016-11-28 17:25:18','',83,'http://gregorymontreuil.com/?p=85',0,'revision','',0),(86,1,'2016-11-28 18:26:04','2016-11-28 17:26:04','[envira-gallery id=\"66\"]','GREATEST HITS','','publish','closed','closed','','greatest-hits','','','2016-11-28 18:26:24','2016-11-28 17:26:24','',35,'http://gregorymontreuil.com/?page_id=86',4,'page','',0),(87,1,'2016-11-28 18:26:04','2016-11-28 17:26:04',' ','','','publish','closed','closed','','87','','','2018-06-09 01:45:07','2018-06-08 23:45:07','',35,'http://gregorymontreuil.com/?p=87',7,'nav_menu_item','',0),(88,1,'2016-11-28 18:26:04','2016-11-28 17:26:04','[envira-gallery id=\"66\"]','GREATEST HITS','','inherit','closed','closed','','86-revision-v1','','','2016-11-28 18:26:04','2016-11-28 17:26:04','',86,'http://gregorymontreuil.com/?p=88',0,'revision','',0),(89,1,'2016-11-28 18:27:02','2016-11-28 17:27:02','[envira-gallery id=\"76\"]\r\n\r\n“Why Not?” March 2-30 2018 ProArts Oakland CA\r\n\r\n\"The only constant is change.” - Heraclitus\r\n\r\nGregory Montreuil’s installation/exhibition; titled “Why Not?” challenges the viewers to step outside of limitations and boundaries and embrace possibility and potential. The installation which speaks to the broader public though its central downtown Oakland, CA, placement will be a combination of paintings and text, creating an opportunity to question current perceptions both personal and political. Montreuil invites viewers to think big and outside the box. This questioning could lead to empowering and expansive ideas and a possible remedy and counter point to the contained contracting cycle Montreuil perceives prevalent at the moment.\r\n\r\nAs one whorls through life, it is obvious that there are windows of time, some more open, some less. Ones placement and position within these pockets of time are not necessarily obvious or visible within the continuums of perception and persistence of memory. The mirrored text facing outward toward the public and viewer is a paradox which contradicts the confines of the Gallery window, a metaphor for both limitation and infinite possibilities.\r\n\r\nThe paintings, considered the “exhibition” will be on display between the outer panels of text.  The paintings embrace the history of abstraction, are process based and use serendipity, chance and decision to seek an active resolution. Though the use of color, line, movement and gesture, Montreuil maps the moves of the combined elements as they race toward determined resolve.  Montreuil hopes to deliver to the viewers a sense of the moment. It is moments in time, traveling in cycles that in the end make up life.','INSTALLATIONS','','publish','closed','closed','','installations','','','2018-06-09 01:39:32','2018-06-08 23:39:32','',35,'http://gregorymontreuil.com/?page_id=89',3,'page','',0),(90,1,'2016-11-28 18:27:02','2016-11-28 17:27:02','[envira-gallery id=\"76\"]','INSTALLATIONS','','inherit','closed','closed','','89-revision-v1','','','2016-11-28 18:27:02','2016-11-28 17:27:02','',89,'http://gregorymontreuil.com/?p=90',0,'revision','',0),(91,1,'2016-11-28 18:27:43','2016-11-28 17:27:43','11[envira-gallery id=\"58\"]','RECENT WORK','','inherit','closed','closed','','83-revision-v1','','','2016-11-28 18:27:43','2016-11-28 17:27:43','',83,'http://gregorymontreuil.com/?p=91',0,'revision','',0),(92,1,'2016-11-28 18:30:00','2016-11-28 17:30:00',' ','','','publish','closed','closed','','92','','','2018-06-09 01:45:07','2018-06-08 23:45:07','',35,'http://gregorymontreuil.com/?p=92',6,'nav_menu_item','',0),(98,1,'2016-11-29 23:15:12','2016-11-29 22:15:12','<a href=\"https://fr.calameo.com/read/0039888648f73778adf1e\" target=\"_blank\">Catalogue</a>\r\n\r\n<a href=\"http://observer.com/2013/10/julian-pretto-gallery-at-minus-space/\" target=\"_blank\">New York Observer - Julian Pretto Gallery at Minus Space</a>\r\n\r\n<a href=\"http://www.worldcat.org/title/abstract-100-exhibition-31-artists-abstract-art-southern-red-river-valley-1954-2010/oclc/698477465\" target=\"_blank\">Abstract 100</a>\r\n\r\n<a href=\"http://www.thefmextra.com/metro-lights-april-25-may-1/\" target=\"_blank\">Metro Lights</a>\r\n\r\n<a href=\"https://issuu.com/msumoorhead/docs/cah_newsletter_2012-13\" target=\"_blank\">Arts &amp; Humanities News</a>\r\n\r\n<a href=\"http://www.crookstontimes.com/article/20130603/LIFESTYLE/130609968\" target=\"_blank\">Crookston Times</a>','PRESS','','inherit','closed','closed','','12-revision-v1','','','2016-11-29 23:15:12','2016-11-29 22:15:12','',12,'http://gregorymontreuil.com/?p=98',0,'revision','',0),(128,1,'2016-12-19 16:49:06','2016-12-19 15:49:06','[envira-gallery id=\"58\"]','RECENT WORK','','inherit','closed','closed','','83-revision-v1','','','2016-12-19 16:49:06','2016-12-19 15:49:06','',83,'http://gregorymontreuil.com/?p=128',0,'revision','',0),(101,1,'2016-12-06 16:50:37','2016-12-06 15:50:37','<strong>Gregory Montreuil</strong> is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;\r\n\r\n<strong>Artist Statement  Gregory Montreuil 2017</strong>\r\n\r\nI’m very interested in structure which is why I eliminate all extraneous compositional elements I could afford to jettison. I worked solely in black white and grey for many years but recently color has entered as an important structural element.  Working on either canvas or paper, the process resembles a wrestling match with the disparate elements thrown and forced into some kind of resolution. This may sound like a fairly ascetic process, but ultimately it’s quite freeing. No two works are ever alike in tone or emotion and the compositional possibilities are endless. What’s more, I can be in the moment, respecting the mark as it happens. It’s like having the decision-making process of a painting laid completely bare.\r\n\r\nThe lexicon of possible marks, too, seems endless. There are precise “strikes” of paint; crawling lines that change their thickness subtly, as they meander towards empty space; loaded brushmarks that start at the top of the surface full of pigment, then swoop down to nest or blend into each other-all of which I affect, thanks to a range of brushes I’ve grown attached to over the years. Generally I work quickly to establish the structure of the painting in the first secession; sometime later I go back to the work and amend, edit and sharpen the marks as needed. Affecting a sense of proportion and balance is very important to me.\r\n\r\nThat said, lately I’ve been using a wet-on wet working method. It is more daring and risky, (it creates a time constraint and is more difficult to alter). I do the latter works on stretched canvases, each titled and dated separately. I listen to snippets of conversation overheard in my travels which become open ended titles for my work. I’m always having a kind of dialogue, a conversation if you will, with chance and unpredictability in my works. Once the individual works are hung together, they’re able to have a larger, more concrete and tangible “conversation” with each other.\r\n\r\nAt this point, I should also note that I’m a published writer, (mostly of art criticism, for local weeklies and international monthlies), and that language plays a big part in how I see my world. It’s my desire to use my written criticism not to harshly deconstruct, so much as to open up a work of art to help people see and understand. Likewise, I also want to explore how verbal sounds resonate with my own work, particularly in their titles: “Just Wait,” “Who’s There,” “Four Times a Day,” “Make Me” - all are actual snippets of conversations I’ve overheard around me in the city or on the subway; some of them from one-sided cell phone conversations,. I write down these moments of open – ended conversation, because, like my painted work they seem so open to personal interpretation. These words sound really specific, and yet you can make of them what you wish. I like the notion that people are making up their own narratives to go with my abstract work.\r\n\r\nLast year I visited Cezanne’s studio in Aix-en-Provence, and what I saw there has stayed with me ever since. It’s a beautiful space. Preserved intact, as if the master had just left and would be back any moment: his hat and coat on a hook, canvases ready in his backpack, the exact grey of the walls in the tone he\'d chosen carefully for himself (Cezanne, saw the value of eliminating color when necessary, to see more clearly what he was trying to accomplish). Overall, the experience made me think: perhaps the real legacy an artist can leave behind is the here and now; a trace of the exact, and utterly subjective moment in which he lived.\r\n\r\n<strong> </strong>\r\n\r\n<strong>EDUCATION</strong>:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n<strong>SOLO &amp; TWO PERSON EXHIBITIONS</strong>:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n<strong>SELECTED EXHIBITIONS</strong>\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n<strong>RESIDENCIES</strong>\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n<strong>COLLECTIONS</strong>\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n<strong>ART INSTRUCTOR</strong>\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n.','ABOUT','','publish','closed','closed','','about','','','2016-12-06 22:09:00','2016-12-06 21:09:00','',0,'http://gregorymontreuil.com/?page_id=101',0,'page','',0),(103,1,'2016-12-06 16:50:37','2016-12-06 15:50:37','Gregory Montreuil is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM','About','','inherit','closed','closed','','101-revision-v1','','','2016-12-06 16:50:37','2016-12-06 15:50:37','',101,'http://gregorymontreuil.com/?p=103',0,'revision','',0),(104,1,'2016-12-06 22:07:40','2016-12-06 21:07:40','Gregory Montreuil is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\n\nMontreuil’s work is in the collections of:\n\nYale University, New Haven, CT.\n\nThe Wadsworth Athenaeum, Hartford CT.\n\nThe National Gallery, Washington, DC\n\nThe Weatherspoon Museum, Greensboro, NC\n\nThe Rourke Museum, Moorhead, MN\n\nPrudential Insurance, Newark, NJ\n\nThe Wurlitzer Foundation, Taos, NM\n\n&nbsp;\n\nArtist Statement  Gregory Montreuil 2017\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\nI’m very interested in structure which is why I eliminate all extraneous compositional elements I could afford to jettison. I worked solely in black white and grey for many years but recently color has entered as an important structural element.  Working on either canvas or paper, the process resembles a wrestling match with the disparate elements thrown and forced into some kind of resolution. This may sound like a fairly ascetic process, but ultimately it’s quite freeing. No two works are ever alike in tone or emotion and the compositional possibilities are endless. What’s more, I can be in the moment, respecting the mark as it happens. It’s like having the decision-making process of a painting laid completely bare.\n\n&nbsp;\n\nThe lexicon of possible marks, too, seems endless. There are precise “strikes” of paint; crawling lines that change their thickness subtly, as they meander towards empty space; loaded brushmarks that start at the top of the surface full of pigment, then swoop down to nest or blend into each other-all of which I affect, thanks to a range of brushes I’ve grown attached to over the years. Generally I work quickly to establish the structure of the painting in the first secession; sometime later I go back to the work and amend, edit and sharpen the marks as needed. Affecting a sense of proportion and balance is very important to me.\n\n&nbsp;\n\nThat said, lately I’ve been using a wet-on wet working method. It is more daring and risky, (it creates a time constraint and is more difficult to alter). I do the latter works on stretched canvases, each titled and dated separately. I listen to snippets of conversation overheard in my travels which become open ended titles for my work. I’m always having a kind of dialogue, a conversation if you will, with chance and unpredictability in my works. Once the individual works are hung together, they’re able to have a larger, more concrete and tangible “conversation” with each other.\n\n&nbsp;\n\nAt this point, I should also note that I’m a published writer, (mostly of art criticism, for local weeklies and international monthlies), and that language plays a big part in how I see my world. It’s my desire to use my written criticism not to harshly deconstruct, so much as to open up a work of art to help people see and understand. Likewise, I also want to explore how verbal sounds resonate with my own work, particularly in their titles: “Just Wait,” “Who’s There,” “Four Times a Day,” “Make Me” - all are actual snippets of conversations I’ve overheard around me in the city or on the subway; some of them from one-sided cell phone conversations,. I write down these moments of open – ended conversation, because, like my painted work they seem so open to personal interpretation. These words sound really specific, and yet you can make of them what you wish. I like the notion that people are making up their own narratives to go with my abstract work.\n\n&nbsp;\n\nLast year I visited Cezanne’s studio in Aix-en-Provence, and what I saw there has stayed with me ever since. It’s a beautiful space. Preserved intact, as if the master had just left and would be back any moment: his hat and coat on a hook, canvases ready in his backpack, the exact grey of the walls in the tone he\'d chosen carefully for himself (Cezanne, saw the value of eliminating color when necessary, to see more clearly what he was trying to accomplish). Overall, the experience made me think: perhaps the real legacy an artist can leave behind is the here and now; a trace of the exact, and utterly subjective moment in which he lived.\n\n<strong> </strong>\n\n<strong>EDUCATION</strong>:\n\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\nArt Education\n\n<strong>SOLO &amp; TWO PERSON EXHIBITIONS</strong>:\n\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\n\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\n\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\n\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\n\n2008 Galerie Du Tableau, Marseille, France\n\n2005 Ou Galerie Marseille France\n\n2002 Galerie Du Tableau, Marseille, France\n\n2001 Galerie Du Tableau, Marseille, France\n\n1998 Jeffery Coploff Fine Art, New York, NY\n\n1996 Annika Sundvik Gallery New York, NY\n\n1989 Julian Pretto Gallery New York, NY\n\n1988 Julian Pretto Gallery New York, NY\n\n<strong>SELECTED EXHIBITIONS</strong>\n\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\n\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\n\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\n\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\n\nThe54th Invitational, Rourke Museum, Moorhead, MN\n\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\n\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\n\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\n\n“Group Show” Tricycle, Marseille, France\n\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\n\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\n\n“Benefit “, Samaratains, New York, NY\n\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\n\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\n\n“The Real LR Word” Ligne Roset New York, NY\n\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\n\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\n\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\n\nFeature Gallery “Power to the People”\n\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\n\nTricycle Open Studio, Marseille France\n\nTandem Global Partners, NY Group Show\n\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\n\n2007 Entr’Arts Grenoble France, Group Show\n\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\n\nCrustillations curated by Lucio Pozzi\n\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\n\nNew Acquisitions\n\nCatherine Moore Fine Art New YORK, NY Group Show\n\n2000 Le Salon for Art Collectors,\n\n1999 Margaret Thatcher Projects New York, NY\n\nKunstlerhaus Hamburg, Germany, Fur Trans\n\n1998 Galerie Barrouyer Paris France Group Show\n\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\n\nCollection\n\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\n\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\n\nRick Ward\n\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\n\nCharles Wright Jr.\n\nPublications:\n\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\n\nby Andrew Russeth\n\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\n\nFeature)\n\n“The Main Event” Fargo Forum, April 28, 2013\n\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\n\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\n\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\n\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\n\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\n\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\n\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\n\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\n\nM/E/A/N/I/N/G  #20, New York, NY\n\n1995  M/E/A/N/I/N/G  #16, New York, NY\n\n<strong>RESIDENCIES</strong>\n\n2001 The Wurlitzer Foundation Taos, NM\n\n<strong>COLLECTIONS</strong>\n\nThe Wurlitzer Foundation, Taos, NM\n\nYale University, New Haven CT\n\nWadsworth Athenaeum, Hartford CT\n\nThe National Gallery Washington, DC\n\nWeatherspoon Art Gallery , Greensboro, North Carolina\n\nThe Rourke Museum and Gallery, Moorhead, MN\n\nPrudential Insurance , Newark, NJ\n\n<strong>ART INSTRUCTOR</strong>\n\nGoddard Riverside Community Center, New York, NY\n\n1997-2015\n\nCouncil House, New York, NY 2012-2015\n\nS.T.A.R. Center, New York, NY 2013-2015\n\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\n\nNY\n\nBorn Crookston Minnesota\n\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\n\n.','ABOUT','','inherit','closed','closed','','101-autosave-v1','','','2016-12-06 22:07:40','2016-12-06 21:07:40','',101,'http://gregorymontreuil.com/?p=104',0,'revision','',0),(105,1,'2016-12-06 16:57:44','2016-12-06 15:57:44','<h2>Gregory Montreuil</h2>\r\nGregory Montreuil is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\n<strong> </strong>\r\n\r\n<strong>EDUCATION</strong>:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n<strong>SOLO &amp; TWO PERSON EXHIBITIONS</strong>:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n<strong>SELECTED EXHIBITIONS</strong>\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n<strong>RESIDENCIES</strong>\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n<strong>COLLECTIONS</strong>\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n<strong>ART INSTRUCTOR</strong>\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n.','ABOUT','','inherit','closed','closed','','101-revision-v1','','','2016-12-06 16:57:44','2016-12-06 15:57:44','',101,'http://gregorymontreuil.com/?p=105',0,'revision','',0),(115,1,'2016-12-06 22:06:37','2016-12-06 21:06:37','<h2>Artist Statement  Gregory Montreuil 2017</h2>\r\nGregory Montreuil is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\n<strong> </strong>\r\n\r\n<strong>EDUCATION</strong>:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n<strong>SOLO &amp; TWO PERSON EXHIBITIONS</strong>:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n<strong>SELECTED EXHIBITIONS</strong>\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n<strong>RESIDENCIES</strong>\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n<strong>COLLECTIONS</strong>\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n<strong>ART INSTRUCTOR</strong>\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n.','ABOUT','','inherit','closed','closed','','101-revision-v1','','','2016-12-06 22:06:37','2016-12-06 21:06:37','',101,'http://gregorymontreuil.com/?p=115',0,'revision','',0),(106,1,'2016-12-06 17:03:11','2016-12-06 16:03:11','<h2>Artist Statement  Gregory Montreuil 2011</h2>\r\nI’m very interested in structure-so much so that over the last 10 years, I’ve eliminated color from my paintings (along with all the other extraneous compositional elements I could afford to jettison). Now I work solely in black white and grey, on either canvas or paper, and I generally complete a work in two sittings or less. This may sound like a fairly ascetic process, but ultimately it’s quite freeing. No two works are ever alike in tone or emotion and the compositional possibilities are endless. What’s more, I can be in the moment, respecting the mark as it happens. It’s like having the decision-making process of a painting laid completely bare.\r\n\r\nThe lexicon of possible marks, too, seems endless. There are precise “strikes” of paint; crawling lines that change their thickness subtly, as they meander towards empty space; loaded brushmarks that start at the top of the surface full of pigment, then swoop down to nest or blend into each other-all of which I affect, thanks to a range of brushes I’ve grown attached to over the years. Generally I work quickly to establish the structure of the painting in the first secession; sometime later I go back to the work and amend, edit and sharpen the marks as needed. Affecting a sense of proportion and balance is very important to me.\r\n\r\nThat said, lately I’ve been using a wet-on wet working method. It is more daring and risky, (it creates a time constraint and is more difficult to alter). I do the latter works on stretched canvases, each titled and dated separately. I listen to snippets of conversation overheard in my travels which become open ended titles for my work. I’m always having a kind of dialogue, a conversation if you will, with chance and unpredictability in my works. Once the individual works are hung together, they’re able to have a larger, more concrete and tangible “conversation” with each other.\r\n\r\nAt this point, I should also note that I’m a published writer, (mostly of art criticism, for local weeklies and international monthlies), and that language plays a big part in how I see my world. It’s my desire to use my written criticism not to harshly deconstruct, so much as to open up a work of art to help people see and understand. Likewise, I also want to explore how verbal sounds resonate with my own work, particularly in their titles: “Just Wait,” “Who’s There,” “Four Times a Day,” “Make Me” - all are actual snippets of conversations I’ve overheard around me in the city or on the subway; some of them from one-sided cell phone conversations,. I write down these moments of open – ended conversation, because, like my painted work they seem so open to personal interpretation. These words sound really specific, and yet you can make of them what you wish. I like the notion that people are making up their own narratives to go with my abstract work.\r\n\r\nLast year I visited Cezanne’s studio in Aix-en-Provence, and what I saw there has stayed with me ever since. It’s a beautiful space. Preserved intact, as if the master had just left and would be back any moment: his hat and coat on a hook, canvases ready in his backpack, the exact grey of the walls in the tone he\'d chosen carefully for himself (Cezanne, saw the value of eliminating color when necessary, to see more clearly what he was trying to accomplish). Overall, the experience made me think: perhaps the real legacy an artist can leave behind is the here and now; a trace of the exact, and utterly subjective moment in which he lived.\r\n\r\n<strong> </strong>\r\n\r\n<strong>EDUCATION</strong>:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n<strong>SOLO &amp; TWO PERSON EXHIBITIONS</strong>:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n<strong>SELECTED EXHIBITIONS</strong>\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n<strong>RESIDENCIES</strong>\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n<strong>COLLECTIONS</strong>\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n<strong>ART INSTRUCTOR</strong>\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n.','ABOUT','','inherit','closed','closed','','101-revision-v1','','','2016-12-06 17:03:11','2016-12-06 16:03:11','',101,'http://gregorymontreuil.com/?p=106',0,'revision','',0),(107,1,'2016-12-06 17:08:58','2016-12-06 16:08:58','','WORKS on PAPER','','publish','closed','closed','','works-on-paper','','','2016-12-06 17:09:26','2016-12-06 16:09:26','',35,'http://gregorymontreuil.com/?page_id=107',0,'page','',0),(111,1,'2016-12-06 17:47:09','2016-12-06 16:47:09','','opening-image-and-recent-work-section-2','','inherit','open','closed','','opening-image-and-recent-work-section-2','','','2016-12-06 17:47:09','2016-12-06 16:47:09','',58,'http://gregorymontreuil.com/wp-content/uploads/2016/11/Opening-image-and-recent-work-section-2.jpg',0,'attachment','image/jpeg',0),(109,1,'2016-12-06 17:08:58','2016-12-06 16:08:58','','WORKS on PAPER','','inherit','closed','closed','','107-revision-v1','','','2016-12-06 17:08:58','2016-12-06 16:08:58','',107,'http://gregorymontreuil.com/?p=109',0,'revision','',0),(110,1,'2016-12-06 17:09:55','2016-12-06 16:09:55',' ','','','publish','closed','closed','','110','','','2018-06-09 01:45:07','2018-06-08 23:45:07','',35,'http://gregorymontreuil.com/?p=110',5,'nav_menu_item','',0),(112,1,'2016-12-06 17:47:12','2016-12-06 16:47:12','','untitled','','inherit','open','closed','','untitled','','','2016-12-06 17:47:12','2016-12-06 16:47:12','',58,'http://gregorymontreuil.com/wp-content/uploads/2016/11/UNTITLED.jpg',0,'attachment','image/jpeg',0),(113,1,'2016-12-06 17:48:26','2016-12-06 16:48:26','','stones','','inherit','open','closed','','stones','','','2016-12-06 17:48:26','2016-12-06 16:48:26','',66,'http://gregorymontreuil.com/wp-content/uploads/2016/11/STONES.jpg',0,'attachment','image/jpeg',0),(116,1,'2016-12-06 22:08:33','2016-12-06 21:08:33','<strong>Gregory Montreuil</strong> is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;\r\n\r\n<strong>Artist Statement  Gregory Montreuil 2017</strong>\r\n\r\nI’m very interested in structure which is why I eliminate all extraneous compositional elements I could afford to jettison. I worked solely in black white and grey for many years but recently color has entered as an important structural element.  Working on either canvas or paper, the process resembles a wrestling match with the disparate elements thrown and forced into some kind of resolution. This may sound like a fairly ascetic process, but ultimately it’s quite freeing. No two works are ever alike in tone or emotion and the compositional possibilities are endless. What’s more, I can be in the moment, respecting the mark as it happens. It’s like having the decision-making process of a painting laid completely bare.\r\n\r\nThe lexicon of possible marks, too, seems endless. There are precise “strikes” of paint; crawling lines that change their thickness subtly, as they meander towards empty space; loaded brushmarks that start at the top of the surface full of pigment, then swoop down to nest or blend into each other-all of which I affect, thanks to a range of brushes I’ve grown attached to over the years. Generally I work quickly to establish the structure of the painting in the first secession; sometime later I go back to the work and amend, edit and sharpen the marks as needed. Affecting a sense of proportion and balance is very important to me.\r\n\r\nThat said, lately I’ve been using a wet-on wet working method. It is more daring and risky, (it creates a time constraint and is more difficult to alter). I do the latter works on stretched canvases, each titled and dated separately. I listen to snippets of conversation overheard in my travels which become open ended titles for my work. I’m always having a kind of dialogue, a conversation if you will, with chance and unpredictability in my works. Once the individual works are hung together, they’re able to have a larger, more concrete and tangible “conversation” with each other.\r\n\r\nAt this point, I should also note that I’m a published writer, (mostly of art criticism, for local weeklies and international monthlies), and that language plays a big part in how I see my world. It’s my desire to use my written criticism not to harshly deconstruct, so much as to open up a work of art to help people see and understand. Likewise, I also want to explore how verbal sounds resonate with my own work, particularly in their titles: “Just Wait,” “Who’s There,” “Four Times a Day,” “Make Me” - all are actual snippets of conversations I’ve overheard around me in the city or on the subway; some of them from one-sided cell phone conversations,. I write down these moments of open – ended conversation, because, like my painted work they seem so open to personal interpretation. These words sound really specific, and yet you can make of them what you wish. I like the notion that people are making up their own narratives to go with my abstract work.\r\n\r\nLast year I visited Cezanne’s studio in Aix-en-Provence, and what I saw there has stayed with me ever since. It’s a beautiful space. Preserved intact, as if the master had just left and would be back any moment: his hat and coat on a hook, canvases ready in his backpack, the exact grey of the walls in the tone he\'d chosen carefully for himself (Cezanne, saw the value of eliminating color when necessary, to see more clearly what he was trying to accomplish). Overall, the experience made me think: perhaps the real legacy an artist can leave behind is the here and now; a trace of the exact, and utterly subjective moment in which he lived.\r\n\r\n<strong> </strong>\r\n\r\n<strong>EDUCATION</strong>:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\n<strong>SOLO &amp; TWO PERSON EXHIBITIONS</strong>:\r\n\r\n2016  “Dynamic Force/True Colors” Galerie Du Tableau, Marseille, France\r\n\r\n2014 “Control Alt Delete” Galerie Du Tableau, Marseille France\r\n\r\n2013 “Wrestling with Space” The Rourke Museum, Moorhead, MN\r\n\r\n2010 Rio Bravo Fine Art, Truth or Consequences, NM\r\n\r\n2008 Galerie Du Tableau, Marseille, France\r\n\r\n2005 Ou Galerie Marseille France\r\n\r\n2002 Galerie Du Tableau, Marseille, France\r\n\r\n2001 Galerie Du Tableau, Marseille, France\r\n\r\n1998 Jeffery Coploff Fine Art, New York, NY\r\n\r\n1996 Annika Sundvik Gallery New York, NY\r\n\r\n1989 Julian Pretto Gallery New York, NY\r\n\r\n1988 Julian Pretto Gallery New York, NY\r\n\r\n<strong>SELECTED EXHIBITIONS</strong>\r\n\r\n2015 The 56<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55<sup>th</sup> Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2013 “Julian Pretto Gallery” Minus Space, Brooklyn, NY\r\n\r\nThe54th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n“The Moby Project”, Neoteric Gallery, Amagansett, NY\r\n\r\n“Paper Mirror Torn”, Brian Morris Gallery, New York, NY\r\n\r\n2012 “The 53<sup>rd</sup> Invitational” Rourke Museum, Moorhead MN\r\n\r\n“Group Show” Tricycle, Marseille, France\r\n\r\n2011  “Carte Blanche”, Analix Forever Galerie, Geneva, Switzerland\r\n\r\n“Art in a Box” Cheryl Pelavin Gallery, New York, NY\r\n\r\n“Benefit “, Samaratains, New York, NY\r\n\r\n“Summer Invitational”, Rourke Art Museum, Moorhead, MN\r\n\r\n“Collaboration with Yves Musard: La Casita, Las Crurces, New Mexico\r\n\r\n“The Real LR Word” Ligne Roset New York, NY\r\n\r\n“It’s All Good (Apocalypse Now)”, Sideshow Gallery, Brooklyn, NY\r\n\r\n2010  “Abstract 100”, University of Minnesota at Moorhead, Moorhead MN\r\n\r\nIt’s a Wonderful Tenth, Side Show Gallery, Brooklyn, New York\r\n\r\nFeature Gallery “Power to the People”\r\n\r\n2009 Art and Democracy IV, Visual Artists Guild Gallery H, New York, NY\r\n\r\nTricycle Open Studio, Marseille France\r\n\r\nTandem Global Partners, NY Group Show\r\n\r\nSierra Vista Hospital, Truth of Consequences NM, Viewing Program\r\n\r\n2007 Entr’Arts Grenoble France, Group Show\r\n\r\n2002 The Work Space, New York, NY “Blobs Wiggles and Dots, Webs and\r\n\r\nCrustillations curated by Lucio Pozzi\r\n\r\n2001 Weatherspoon Gallery, University of North Carolina at Greensboro, North Carolina\r\n\r\nNew Acquisitions\r\n\r\nCatherine Moore Fine Art New YORK, NY Group Show\r\n\r\n2000 Le Salon for Art Collectors,\r\n\r\n1999 Margaret Thatcher Projects New York, NY\r\n\r\nKunstlerhaus Hamburg, Germany, Fur Trans\r\n\r\n1998 Galerie Barrouyer Paris France Group Show\r\n\r\n1996 Wadsworth Athenaeum, Harford CT: Acquiring Art in the 90’s: The Julian Pretto\r\n\r\nCollection\r\n\r\n1993 The Century Club New York, NY Artists for the Richard Brown Baker Collection\r\n\r\n1992 Pamela Auchincloss Gallery New York, NY Contemporary Surfaces Curated by\r\n\r\nRick Ward\r\n\r\n1991 Hallwalls Contemporary Art Center Buffalo, NY A Question of Paint Curated by\r\n\r\nCharles Wright Jr.\r\n\r\nPublications:\r\n\r\n2013 “Julian Pretto Gallery at Minus Space” New York Observer, Oct 1, 2013 by\r\n\r\nby Andrew Russeth\r\n\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead. (Cover and\r\n\r\nFeature)\r\n\r\n“The Main Event” Fargo Forum, April 28, 2013\r\n\r\n“Crookston Native, Montreuil’s Art on Display” Crookston Times, June 4, 2013\r\n\r\n2012 “Get There First, Decide Promptly, The Richard Brown Baker Collection of Postwar Art” Yale University Press (book)\r\n\r\n2010 The Herald,  Truth or Consequences, NM  Nov, 24<sup>th</sup> 2010 “Black and White &amp; Felt All Over” by Kathleen Sloan\r\n\r\n2011  INK, Las Cruces, NM  “Black and White” by Kathleen Sloan\r\n\r\n2006 “560 Broadway: A New York Drawing Collection at Work, 1991-2006 By Amy Eshoo (book)\r\n\r\n2001 “A Question of Paint” Essay by Charles Wright Jr. Hallwalls, Buffalo, NY\r\n\r\n1998 Art Papers  July/August  Amanda Church and Gregory Montreuil by Elisabeth Condon\r\n\r\n1998 The Boston Globe Oct 15, “Art Grounded in Earth; bursting out and in” by Cate McQuaid\r\n\r\nM/E/A/N/I/N/G  #20, New York, NY\r\n\r\n1995  M/E/A/N/I/N/G  #16, New York, NY\r\n\r\n<strong>RESIDENCIES</strong>\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n<strong>COLLECTIONS</strong>\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\nYale University, New Haven CT\r\n\r\nWadsworth Athenaeum, Hartford CT\r\n\r\nThe National Gallery Washington, DC\r\n\r\nWeatherspoon Art Gallery , Greensboro, North Carolina\r\n\r\nThe Rourke Museum and Gallery, Moorhead, MN\r\n\r\nPrudential Insurance , Newark, NJ\r\n\r\n<strong>ART INSTRUCTOR</strong>\r\n\r\nGoddard Riverside Community Center, New York, NY\r\n\r\n1997-2015\r\n\r\nCouncil House, New York, NY 2012-2015\r\n\r\nS.T.A.R. Center, New York, NY 2013-2015\r\n\r\nGuest Lecturer “Materiality and Social Sculpture, Parson School of Design, New York,\r\n\r\nNY\r\n\r\nBorn Crookston Minnesota\r\n\r\nWRITER: Flash Art International Art Magazine Milan Italy, Contemporary Magazine, London, England, The New Art Examiner, Chicago Ill.  The Villager, New York, NY and catalogue essays\r\n\r\n.','ABOUT','','inherit','closed','closed','','101-revision-v1','','','2016-12-06 22:08:33','2016-12-06 21:08:33','',101,'http://gregorymontreuil.com/?p=116',0,'revision','',0),(117,1,'2016-12-06 22:10:22','2016-12-06 21:10:22',' ','','','publish','closed','closed','','117','','','2018-06-09 01:45:07','2018-06-08 23:45:07','',0,'http://gregorymontreuil.com/?p=117',8,'nav_menu_item','',0),(118,1,'2016-12-06 22:10:22','2016-12-06 21:10:22',' ','','','publish','closed','closed','','118','','','2018-06-09 01:45:08','2018-06-08 23:45:08','',0,'http://gregorymontreuil.com/?p=118',10,'nav_menu_item','',0),(119,1,'2016-12-06 22:11:26','2016-12-06 21:11:26','<strong>Gregory Montreuil</strong> is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;','STATEMENT','','publish','closed','closed','','statement','','','2016-12-06 22:11:26','2016-12-06 21:11:26','',101,'http://gregorymontreuil.com/?page_id=119',0,'page','',0),(120,1,'2016-12-06 22:11:26','2016-12-06 21:11:26','<strong>Gregory Montreuil</strong> is an American artist living and working between Marseille, France and Arrey, New Mexico, USA. His work has been shown in numerous solo and group exhibitions in the US and Europe.\r\n\r\nMontreuil’s work is in the collections of:\r\n\r\nYale University, New Haven, CT.\r\n\r\nThe Wadsworth Athenaeum, Hartford CT.\r\n\r\nThe National Gallery, Washington, DC\r\n\r\nThe Weatherspoon Museum, Greensboro, NC\r\n\r\nThe Rourke Museum, Moorhead, MN\r\n\r\nPrudential Insurance, Newark, NJ\r\n\r\nThe Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;','STATEMENT','','inherit','closed','closed','','119-revision-v1','','','2016-12-06 22:11:26','2016-12-06 21:11:26','',119,'http://gregorymontreuil.com/?p=120',0,'revision','',0),(121,1,'2016-12-06 22:11:51','2016-12-06 21:11:51',' ','','','publish','closed','closed','','121','','','2018-06-09 01:45:07','2018-06-08 23:45:07','',101,'http://gregorymontreuil.com/?p=121',9,'nav_menu_item','',0),(126,1,'2016-12-07 17:11:00','2016-12-07 16:11:00','','LOGO 2 GREGORY MONTREUIL','','inherit','open','closed','','logo-2-gregory-montreuil','','','2016-12-07 17:11:00','2016-12-07 16:11:00','',0,'http://gregorymontreuil.com/wp-content/uploads/2016/12/LOGO-2-GREGORY-MONTREUIL.png',0,'attachment','image/png',0),(130,1,'2016-12-19 18:34:51','2016-12-19 17:34:51','PRESS RELEASE:\r\n\r\nRIO BRAVO Fine Art presents\r\n\r\nGregory Montreuil: “UNTIL NOW”\r\n\r\nMarch 11,–April 29, 2017\r\n\r\nReception for the Artist: March 11, 2017 6:00-8:00PM\r\n\r\nRio Bravo Fine Art is proud to present a selection of works by Gregory Montreuil from the early 1980s until the present. This will be Montreuil’s second solo show at Rio Bravo Fine Art.\r\n\r\nLawrence Durrell wrote; “Human Beings are expressions of their landscapes.”  Similarly, the artworks created by Montreuil reflect the various places in which he has made them. While they are not themselves landscapes they walk us along Montreuil’s trajectory, beginning with formative years in the Midwest where he was born and studied art. He then moved to the urban environment of New York City, where he lived and worked for more than 30 years. While living in New York, Montreuil was simultaneously extending roots to the Southwestern United States and overseas to France. He now lives and creates art in New Mexico and Marseille, France.\r\n\r\nMontreuil has always worked within the nonobjective definition of abstraction and has created in several mediums: oil paintings, drawings, collage, and mixed media. With intentionally reduced constructs, his early work used color, while the middle period of more than a decade was intentionally limited to black, white, and gray. The use of color has come back recently.\r\n\r\nThe exhibition surveys Montreuil’s work chronologically and the artist jokes that “it will consist of Greg’s Greatest Hits.” Seeing works from various overlapping periods together will clarify the parameters and the influence of his immediate environment on the process of making art. Montreuil works with contradictions, such as speed and control, chance and decision, the structured as opposed to the chaotic. He maps different paths through the dilemmas posed by these polarities, seeking both to resolve them and to pull them into focus.\r\n\r\nWith the metaphor of life and work as a journey, this exhibition will provide a map of the road one artist had taken thus far. Montreuil sums up his attitude in a quote by Susan Sontag: “I haven’t been everywhere, but it is on my list”','','','inherit','closed','closed','','129-revision-v1','','','2016-12-19 18:34:51','2016-12-19 17:34:51','',129,'http://gregorymontreuil.com/?p=130',0,'revision','',0),(131,1,'2016-12-19 18:35:54','2016-12-19 17:35:54','PRESS RELEASE:\n\nRIO BRAVO Fine Art presents\n\nGregory Montreuil: “UNTIL NOW”\n\nMarch 11,–April 29, 2017\n\nReception for the Artist: March 11, 2017 6:00-8:00PM\n\nRio Bravo Fine Art is proud to present a selection of works by Gregory Montreuil from the early 1980s until the present. This will be Montreuil’s second solo show at Rio Bravo Fine Art.\n\nLawrence Durrell wrote; “Human Beings are expressions of their landscapes.”  Similarly, the artworks created by Montreuil reflect the various places in which he has made them. While they are not themselves landscapes they walk us along Montreuil’s trajectory, beginning with formative years in the Midwest where he was born and studied art. He then moved to the urban environment of New York City, where he lived and worked for more than 30 years. While living in New York, Montreuil was simultaneously extending roots to the Southwestern United States and overseas to France. He now lives and creates art in New Mexico and Marseille, France.\n\nMontreuil has always worked within the nonobjective definition of abstraction and has created in several mediums: oil paintings, drawings, collage, and mixed media. With intentionally reduced constructs, his early work used color, while the middle period of more than a decade was intentionally limited to black, white, and gray. The use of color has come back recently.\n\nThe exhibition surveys Montreuil’s work chronologically and the artist jokes that “it will consist of Greg’s Greatest Hits.” Seeing works from various overlapping periods together will clarify the parameters and the influence of his immediate environment on the process of making art. Montreuil works with contradictions, such as speed and control, chance and decision, the structured as opposed to the chaotic. He maps different paths through the dilemmas posed by these polarities, seeking both to resolve them and to pull them into focus.\n\nWith the metaphor of life and work as a journey, this exhibition will provide a map of the road one artist had taken thus far. Montreuil sums up his attitude in a quote by Susan Sontag: “I haven’t been everywhere, but it is on my list”','Until Now','','inherit','closed','closed','','129-autosave-v1','','','2016-12-19 18:35:54','2016-12-19 17:35:54','',129,'http://gregorymontreuil.com/?p=131',0,'revision','',0),(132,1,'2016-12-19 18:36:48','2016-12-19 17:36:48','PRESS RELEASE:\r\n\r\nRIO BRAVO Fine Art presents\r\n\r\nGregory Montreuil: “UNTIL NOW”\r\n\r\nMarch 11,–April 29, 2017\r\n\r\nReception for the Artist: March 11, 2017 6:00-8:00PM\r\n\r\nRio Bravo Fine Art is proud to present a selection of works by Gregory Montreuil from the early 1980s until the present. This will be Montreuil’s second solo show at Rio Bravo Fine Art.\r\n\r\nLawrence Durrell wrote; “Human Beings are expressions of their landscapes.”  Similarly, the artworks created by Montreuil reflect the various places in which he has made them. While they are not themselves landscapes they walk us along Montreuil’s trajectory, beginning with formative years in the Midwest where he was born and studied art. He then moved to the urban environment of New York City, where he lived and worked for more than 30 years. While living in New York, Montreuil was simultaneously extending roots to the Southwestern United States and overseas to France. He now lives and creates art in New Mexico and Marseille, France.\r\n\r\nMontreuil has always worked within the nonobjective definition of abstraction and has created in several mediums: oil paintings, drawings, collage, and mixed media. With intentionally reduced constructs, his early work used color, while the middle period of more than a decade was intentionally limited to black, white, and gray. The use of color has come back recently.\r\n\r\nThe exhibition surveys Montreuil’s work chronologically and the artist jokes that “it will consist of Greg’s Greatest Hits.” Seeing works from various overlapping periods together will clarify the parameters and the influence of his immediate environment on the process of making art. Montreuil works with contradictions, such as speed and control, chance and decision, the structured as opposed to the chaotic. He maps different paths through the dilemmas posed by these polarities, seeking both to resolve them and to pull them into focus.\r\n\r\nWith the metaphor of life and work as a journey, this exhibition will provide a map of the road one artist had taken thus far. Montreuil sums up his attitude in a quote by Susan Sontag: “I haven’t been everywhere, but it is on my list”','Until Now - Gregory Montreuil at Rio Bravo Fine Arts','','inherit','closed','closed','','129-revision-v1','','','2016-12-19 18:36:48','2016-12-19 17:36:48','',129,'http://gregorymontreuil.com/?p=132',0,'revision','',0),(134,1,'2016-12-20 15:41:26','2016-12-20 14:41:26','/*\nYou can add your own CSS here.\n\nClick the help icon above to learn more.\n*/\n\na {\n	color:#cc0000;\n}\n\na:visited {\n	color:#cccccc;\n}\n\na:hover {\n	color:#0099ff;\n}\na:focus,\na:active {\n	color:#cccccc;\n}\n\na:focus {\n	outline: thin dotted;\n}\n\na:hover,\na:active {\n	outline: 0;\n}\n','athena','','publish','closed','closed','','athena','','','2018-06-18 21:49:35','2018-06-18 19:49:35','',0,'http://gregorymontreuil.com/?p=134',0,'custom_css','',0),(135,1,'2016-12-20 15:41:26','2016-12-20 14:41:26','/*\nYou can add your own CSS here.\n\nClick the help icon above to learn more.\n*/\n\na {\n	color:#ffffff;\n}\n\na:visited {\n	color:#ffffff;\n}\n\na:hover,\na:focus,\na:active {\n	color:#ffffff;\n}\n\na:focus {\n	outline: thin dotted;\n}\n\na:hover,\na:active {\n	outline: 0;\n}\n','athena','','inherit','closed','closed','','134-revision-v1','','','2016-12-20 15:41:26','2016-12-20 14:41:26','',134,'http://gregorymontreuil.com/?p=135',0,'revision','',0),(139,1,'2016-12-22 02:08:40','2016-12-22 01:08:40','This Portfolio is divided into five sections:\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=83\">Recent Work</a>: was created between 2014 until present\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=54\">Black &amp; White</a>: pieces were created between 2002-2014\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=107\">Works on Paper</a>: span 1995 until present\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=89\">Installations</a>: were done in 2005 and 2014\r\n\r\n<a href=\"http://gregorymontreuil.com/?page_id=86\">Greatest Hits</a>: are selections from 1995-2001','PORTFOLIO','','inherit','closed','closed','','35-revision-v1','','','2016-12-22 02:08:40','2016-12-22 01:08:40','',35,'http://gregorymontreuil.com/?p=139',0,'revision','',0),(154,1,'2018-06-07 22:02:54','2018-06-07 20:02:54','EDUCATION:\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\nBorn: Crookston Minnesota, USA\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n2018  “Why Not” (a window installation,) ProArts, Oakland, CA\r\n2017  “Until Now, A Retrospective,”Rio Bravo Fine Art, Truth or Consequences, NM\r\n2016  ”Dynamic Force/True Colors,” Galerie Du Tableau, Marseille, France\r\n2014  “Control Alt Delete,” Galerie Du Tableau, Marseille, France\r\n2013  “ Wrestling With Space,” The Rourke Museum, Moorheard, MN\r\n2010  Rio Bravo Fine Art, Truth of Consequences, NM\r\n2008  Galerie Du Tableau, Marseille, France\r\n2005  Ou Gallery, Marseille, France\r\n2002  Galerie Du Tableau, Marseille, France\r\n2001  Galerie Du Tableau, Marseille, France\r\n1998  Jeffery Coploff Fine Art, New York, NY\r\n1996  “Fill Up,” Annika Sundvik Gallery, New York, NY\r\n1989  Julian Pretto Gallery, New York, NY\r\n1988  Julian Pretto Gallery, New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55<sup>th</sup>  Invitational,” Rourke Museum, Moorhead, MN\r\n“The Moby Project,” Neoteric Gallery, Amagansett, NY\r\n“Paper Mirror Torn,” Brian Morris Gallery, New York, NY\r\n2012  “The 53<sup>rd</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n“Group Show,” Tricycle, Marseille, France\r\n2011  “Carte Blanche,” Analix Forever Galerie, Geneva, Switzerland\r\n“Art in a Box,” Cheryl Pelavin Gallery, New York, NY\r\n“Benefit,” Samaritans, New York, NY\r\n“Summer Invitational,” Rourke Museum, Moorhead, MN\r\n“Collaboration with Yves Musard,” La Casita, Las Cruces, NM\r\n“The Real LR Word,” Ligne Roset, New York, NY\r\n“It’s All Good(Apocalypse Now),”Sideshow Gallery, Brooklyn, NY\r\n2010   “Power to the People,” Feature Gallery, New York, NY\r\n“Abstract 100,” Curated by Tim Ray, University of Minnesota, Moorhead, MN\r\n“It’s A Wonderful Tenth,” Side Show Gallery, Brooklyn, NY\r\n2009  “Art and Democracy IV,” Visual Artists Guild, Gallery H, New York, NY\r\n“Open Studio,” Tricycle Marseille, France\r\n“Group Show,” Tandem Global Partners, New York, NY\r\n“Viewing Program,” Sierra Vista Hospital, Truth or Consequences, NM\r\n2007  “Group Show,” Entre Arts, Grenoble, Group Show\r\n2002  “Blobs Wiggles and Dots, Webs and Crustillions,” curated by Lucio Pozzi, The Work\r\nSpace, New York, NY\r\n2001  “New Acquisitions,” Weatherspoon Museum, University of North Carolina at\r\nGreensboro, NC\r\n1999   “Group Show,” Margaret Thatcher Projects, New York\r\n“Fur Trans,” Kunstlerhaus Hamburg, Germany\r\n1998   “Group Show,” Galerie Barrouyer, Paris, France\r\n“Acquiring Art in the 90’s: The Julian Pretto Collection,” Wadsworth Athenaeum,\r\nHartford, CT\r\n1993   ”Artists from the Richard Brown Baker Collection,” The Century Club,\r\nNew York, NY\r\n“Contemporary Surfaces,” Curated by Rick Ward, Pamela Auchincloss Gallery,\r\nNew York, NY\r\n1991   “A question of Paint,” Curated by Charles Wright Jr., Hallwalls Contemporary Art\r\nCenter, Buffalo, NY\r\n1990    “Color” University of Maine Gallery of Art, Orono, ME\r\nPUBLICATIONS:\r\n2013  New York Observer, “Julian Pretto At Minus Space” Oct 1, 2013 by Andrew Russel\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead, MN (Cover\r\nAnd Feature)\r\nThe Fargo Forum, “The Main Event,” April 28, 2013\r\nCrookston Times, “Crookston Native, Montreuil’s Art on Display,” June 4<sup>th</sup> 2013\r\n2012  Yale University Press, “Get There First, Decide Promptly, The Richard Brown Baker\r\nCollection of Postwar Art” (Book)\r\n2011  INK, Las Cruces, NM “Black and White” by Kathleen Sloan\r\n2010  The Herald, Truth or Consequences, NM “Black and White and Felt All Over,”\r\nBy Kathleen Sloan, November 24<sup>th</sup>, 2010\r\n2006  “560 Broadway: A New York Drawing Collection at Work, 1991-2006,” by\r\nAmy Eshoo (book)\r\n2001  “A Question of Paint,” Essay by Charles Wright Jr., Hallwalls, Buffalo, NY\r\n1998   Art Papers, “Amanda Church and Gregory Montreuil” by Elisabeth Condon\r\nThe Boston Globe, “Art Grounded in Earth; Bursting Out and In,”\r\nBy Cate McQuaid\r\nM/E/A/N/I/N/I/N/G #20, New York, NY\r\n1995  M/E/A/N/I/N/G #16, New York, NY\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS:\r\nWadsworth Athenaeum, Hartford, CT\r\nPrudential Insurance, Newark, NJ\r\nThe National Gallery, Washington, DC\r\nWeatherspoon Museum, Greensboro, NC\r\nYale University, New Haven, CT\r\nThe Rourke Museum, Moorhead, MN\r\nThe Wurlitzer Foundation\r\n\r\n&nbsp;\r\n\r\nART INSTRUCTOR:\r\n1997-2015 Goddard Riverside Community Center, New York, NY\r\n2012-2015 Council House, New York, NY\r\n2013-2015 S.T.A.R. Center, New York, NY\r\n1992 Parson School of Design, New York, NY Guest lecturer\r\n“Materiality and Social Sculpture”\r\n\r\n&nbsp;\r\n\r\nART WRITER:\r\nFreelance articles for:\r\nFlash Art International, Milan Italy,\r\nNew Art Examiner,  Chicago, IL.\r\nThe Villager, New York, NY,\r\nContemporary Magazine, London, England,\r\nGay City News, New York, NY\r\nAnd various catalogue essays','RESUME','','inherit','closed','closed','','9-revision-v1','','','2018-06-07 22:02:54','2018-06-07 20:02:54','',9,'http://gregorymontreuil.com/?p=154',0,'revision','',0),(152,1,'2018-06-07 22:01:44','2018-06-07 20:01:44','EDUCATION:\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\nBorn: Crookston Minnesota, USA\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n2018  “Why Not” (a window installation,) ProArts, Oakland, CA\r\n2017  “Until Now, A Retrospective,”Rio Bravo Fine Art, Truth or Consequences, NM\r\n2016  ”Dynamic Force/True Colors,” Galerie Du Tableau, Marseille, France\r\n2014  “Control Alt Delete,” Galerie Du Tableau, Marseille, France\r\n2013  “ Wrestling With Space,” The Rourke Museum, Moorheard, MN\r\n2010  Rio Bravo Fine Art, Truth of Consequences, NM\r\n2008  Galerie Du Tableau, Marseille, France\r\n2005  Ou Gallery, Marseille, France\r\n2002  Galerie Du Tableau, Marseille, France\r\n2001  Galerie Du Tableau, Marseille, France\r\n1998  Jeffery Coploff Fine Art, New York, NY\r\n1996  “Fill Up,” Annika Sundvik Gallery, New York, NY\r\n1989  Julian Pretto Gallery, New York, NY\r\n1988  Julian Pretto Gallery, New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55<sup>th</sup>  Invitational,” Rourke Museum, Moorhead, MN\r\n“The Moby Project,” Neoteric Gallery, Amagansett, NY\r\n“Paper Mirror Torn,” Brian Morris Gallery, New York, NY\r\n2012  “The 53<sup>rd</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n“Group Show,” Tricycle, Marseille, France\r\n2011  “Carte Blanche,” Analix Forever Galerie, Geneva, Switzerland\r\n“Art in a Box,” Cheryl Pelavin Gallery, New York, NY\r\n“Benefit,” Samaritans, New York, NY\r\n“Summer Invitational,” Rourke Museum, Moorhead, MN\r\n“Collaboration with Yves Musard,” La Casita, Las Cruces, NM\r\n“The Real LR Word,” Ligne Roset, New York, NY\r\n“It’s All Good(Apocalypse Now),”Sideshow Gallery, Brooklyn, NY\r\n2010   “Power to the People,” Feature Gallery, New York, NY\r\n“Abstract 100,” Curated by Tim Ray, University of Minnesota, Moorhead, MN\r\n“It’s A Wonderful Tenth,” Side Show Gallery, Brooklyn, NY\r\n2009  “Art and Democracy IV,” Visual Artists Guild, Gallery H, New York, NY\r\n“Open Studio,” Tricycle Marseille, France\r\n“Group Show,” Tandem Global Partners, New York, NY\r\n“Viewing Program,” Sierra Vista Hospital, Truth or Consequences, NM\r\n2007  “Group Show,” Entre Arts, Grenoble, Group Show\r\n2002  “Blobs Wiggles and Dots, Webs and Crustillions,” curated by Lucio Pozzi, The Work\r\n\r\nSpace, New York, NY\r\n2001  “New Acquisitions,” Weatherspoon Museum, University of North Carolina at\r\n\r\nGreensboro, NC\r\n1999   “Group Show,” Margaret Thatcher Projects, New York\r\n“Fur Trans,” Kunstlerhaus Hamburg, Germany\r\n1998   “Group Show,” Galerie Barrouyer, Paris, France\r\n“Acquiring Art in the 90’s: The Julian Pretto Collection,” Wadsworth Athenaeum,\r\nHartford, CT\r\n1993   ”Artists from the Richard Brown Baker Collection,” The Century Club,\r\nNew York, NY\r\n“Contemporary Surfaces,” Curated by Rick Ward, Pamela Auchincloss Gallery,\r\nNew York, NY\r\n1991   “A question of Paint,” Curated by Charles Wright Jr., Hallwalls Contemporary Art\r\nCenter, Buffalo, NY\r\n1990    “Color” University of Maine Gallery of Art, Orono, ME\r\n&nbsp;\r\n\r\nPUBLICATIONS:\r\n2013  New York Observer, “Julian Pretto At Minus Space” Oct 1, 2013 by Andrew Russel\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead, MN (Cover\r\nAnd Feature)\r\nThe Fargo Forum, “The Main Event,” April 28, 2013\r\nCrookston Times, “Crookston Native, Montreuil’s Art on Display,” June 4<sup>th</sup> 2013\r\n2012  Yale University Press, “Get There First, Decide Promptly, The Richard Brown Baker\r\nCollection of Postwar Art” (Book)\r\n2011  INK, Las Cruces, NM “Black and White” by Kathleen Sloan\r\n2010  The Herald, Truth or Consequences, NM “Black and White and Felt All Over,”\r\nBy Kathleen Sloan, November 24<sup>th</sup>, 2010\r\n2006  “560 Broadway: A New York Drawing Collection at Work, 1991-2006,” by\r\nAmy Eshoo (book)\r\n2001  “A Question of Paint,” Essay by Charles Wright Jr., Hallwalls, Buffalo, NY\r\n1998   Art Papers, “Amanda Church and Gregory Montreuil” by Elisabeth Condon\r\nThe Boston Globe, “Art Grounded in Earth; Bursting Out and In,”\r\nBy Cate McQuaid\r\nM/E/A/N/I/N/I/N/G #20, New York, NY\r\n1995  M/E/A/N/I/N/G #16, New York, NY\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS:\r\nWadsworth Athenaeum, Hartford, CT\r\nPrudential Insurance, Newark, NJ\r\nThe National Gallery, Washington, DC\r\nWeatherspoon Museum, Greensboro, NC\r\nYale University, New Haven, CT\r\nThe Rourke Museum, Moorhead, MN\r\nThe Wurlitzer Foundation\r\n\r\n&nbsp;\r\n&nbsp;\r\n\r\nART INSTRUCTOR:\r\n1997-2015 Goddard Riverside Community Center, New York, NY\r\n2012-2015 Council House, New York, NY\r\n2013-2015 S.T.A.R. Center, New York, NY\r\n1992 Parson School of Design, New York, NY Guest lecturer\r\n“Materiality and Social Sculpture”\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nART WRITER:\r\nFreelance articles for:\r\nFlash Art International, Milan Italy,\r\nNew Art Examiner,  Chicago, IL.\r\nThe Villager, New York, NY,\r\nContemporary Magazine, London, England,\r\nGay City News, New York, NY\r\nAnd various catalogue essays','RESUME','','inherit','closed','closed','','9-revision-v1','','','2018-06-07 22:01:44','2018-06-07 20:01:44','',9,'http://gregorymontreuil.com/?p=152',0,'revision','',0),(148,1,'2017-04-25 16:34:50','2017-04-25 14:34:50',' ','','','publish','closed','closed','','148','','','2018-06-09 01:45:06','2018-06-08 23:45:06','',0,'http://gregorymontreuil.com/?p=148',1,'nav_menu_item','',0),(149,1,'2017-04-25 16:34:50','2017-04-25 14:34:50','&nbsp;\r\n\r\n&nbsp;\r\n<h2 style=\"text-align: center;\"><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"http://gregorymontreuil.com/wp-content/uploads/2017/04/UntilNow-G-Motreuil-LowRes1.pdf-complete.pdf\">Download UNTIL NOW catalog</a></span></h2>','CATALOG','','inherit','closed','closed','','146-revision-v1','','','2017-04-25 16:34:50','2017-04-25 14:34:50','',146,'http://gregorymontreuil.com/?p=149',0,'revision','',0),(145,1,'2017-04-25 16:00:33','2017-04-25 14:00:33','','UntilNow-G-Motreuil-LowRes(1).pdf complete','','inherit','open','closed','','untilnow-g-motreuil-lowres1-pdf-complete','','','2017-04-25 16:02:12','2017-04-25 14:02:12','',146,'http://gregorymontreuil.com/wp-content/uploads/2017/04/UntilNow-G-Motreuil-LowRes1.pdf-complete.pdf',0,'attachment','application/pdf',0),(146,1,'2017-04-25 16:34:50','2017-04-25 14:34:50','&nbsp;\r\n\r\n&nbsp;\r\n<h2 style=\"text-align: center;\"><span style=\"color: #000000;\"><a style=\"color: #000000;\" href=\"http://gregorymontreuil.com/wp-content/uploads/2017/04/UntilNow-G-Motreuil-LowRes1.pdf-complete.pdf\">Download UNTIL NOW catalog</a></span></h2>','CATALOG','','publish','closed','closed','','catalog','','','2017-04-25 16:34:50','2017-04-25 14:34:50','',0,'http://gregorymontreuil.com/?page_id=146',0,'page','',0),(147,1,'2017-04-25 16:32:50','2017-04-25 14:32:50','&nbsp;\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://gregorymontreuil.com/wp-content/uploads/2017/04/UntilNow-G-Motreuil-LowRes1.pdf-complete.pdf\">Download UNTIL NOW catalog</a>','CATALOG','','inherit','closed','closed','','146-revision-v1','','','2017-04-25 16:32:50','2017-04-25 14:32:50','',146,'http://gregorymontreuil.com/?p=147',0,'revision','',0),(136,1,'2016-12-20 15:46:48','2016-12-20 14:46:48','<strong>Artist Statement  Gregory Montreuil 2017</strong>\r\n\r\nI’m very interested in structure which is why I eliminate all extraneous compositional elements I could afford to jettison. I worked solely in black white and grey for many years but recently color has entered as an important structural element.  Working on either canvas or paper, the process resembles a wrestling match with the disparate elements thrown and forced into some kind of resolution. This may sound like a fairly ascetic process, but ultimately it’s quite freeing. No two works are ever alike in tone or emotion and the compositional possibilities are endless. What’s more, I can be in the moment, respecting the mark as it happens. It’s like having the decision-making process of a painting laid completely bare.\r\n\r\nThe lexicon of possible marks, too, seems endless. There are precise “strikes” of paint; crawling lines that change their thickness subtly, as they meander towards empty space; loaded brushmarks that start at the top of the surface full of pigment, then swoop down to nest or blend into each other-all of which I affect, thanks to a range of brushes I’ve grown attached to over the years. Generally I work quickly to establish the structure of the painting in the first secession; sometime later I go back to the work and amend, edit and sharpen the marks as needed. Affecting a sense of proportion and balance is very important to me.\r\n\r\nThat said, lately I’ve been using a wet-on wet working method. It is more daring and risky, (it creates a time constraint and is more difficult to alter). I do the latter works on stretched canvases, each titled and dated separately. I listen to snippets of conversation overheard in my travels which become open ended titles for my work. I’m always having a kind of dialogue, a conversation if you will, with chance and unpredictability in my works. Once the individual works are hung together, they’re able to have a larger, more concrete and tangible “conversation” with each other.\r\n\r\nAt this point, I should also note that I’m a published writer, (mostly of art criticism, for local weeklies and international monthlies), and that language plays a big part in how I see my world. It’s my desire to use my written criticism not to harshly deconstruct, so much as to open up a work of art to help people see and understand. Likewise, I also want to explore how verbal sounds resonate with my own work, particularly in their titles: “Just Wait,” “Who’s There,” “Four Times a Day,” “Make Me” - all are actual snippets of conversations I’ve overheard around me in the city or on the subway; some of them from one-sided cell phone conversations,. I write down these moments of open – ended conversation, because, like my painted work they seem so open to personal interpretation. These words sound really specific, and yet you can make of them what you wish. I like the notion that people are making up their own narratives to go with my abstract work.\r\n\r\nLast year I visited Cezanne’s studio in Aix-en-Provence, and what I saw there has stayed with me ever since. It’s a beautiful space. Preserved intact, as if the master had just left and would be back any moment: his hat and coat on a hook, canvases ready in his backpack, the exact grey of the walls in the tone he\'d chosen carefully for himself (Cezanne, saw the value of eliminating color when necessary, to see more clearly what he was trying to accomplish). Overall, the experience made me think: perhaps the real legacy an artist can leave behind is the here and now; a trace of the exact, and utterly subjective moment in which he lived.','PORTFOLIO','','inherit','closed','closed','','35-revision-v1','','','2016-12-20 15:46:48','2016-12-20 14:46:48','',35,'http://gregorymontreuil.com/?p=136',0,'revision','',0),(138,1,'2016-12-20 16:07:59','2016-12-20 15:07:59','/*\nYou can add your own CSS here.\n\nClick the help icon above to learn more.\n*/\n\na {\n	color:#cccccc;\n}\n\na:visited {\n	color:#cccccc;\n}\n\na:hover,\na:focus,\na:active {cccccc;\n}\n\na:focus {\n	outline: thin dotted;\n}\n\na:hover,\na:active {\n	outline: 0;\n}\n','athena','','inherit','closed','closed','','134-revision-v1','','','2016-12-20 16:07:59','2016-12-20 15:07:59','',134,'http://gregorymontreuil.com/?p=138',0,'revision','',0),(186,1,'2020-10-23 16:05:43','2020-10-23 14:05:43','{\n    \"athena::featured_image1\": {\n        \"value\": \"\",\n        \"type\": \"theme_mod\",\n        \"user_id\": 1,\n        \"date_modified_gmt\": \"2020-10-23 14:05:43\"\n    },\n    \"athena::featured_image2\": {\n        \"value\": \"\",\n        \"type\": \"theme_mod\",\n        \"user_id\": 1,\n        \"date_modified_gmt\": \"2020-10-23 14:05:43\"\n    }\n}','','','trash','closed','closed','','e2bd379c-a3b0-4dd8-be29-7e760bafef8e','','','2020-10-23 16:05:43','2020-10-23 14:05:43','',0,'https://gregorymontreuil.com/?p=186',0,'customize_changeset','',0),(153,1,'2018-06-07 22:02:27','2018-06-07 20:02:27','EDUCATION:\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\nBorn: Crookston Minnesota, USA\r\n\r\n&nbsp;\r\n\r\nSOLO &amp; TWO PERSON EXHIBITIONS:\r\n2018  “Why Not” (a window installation,) ProArts, Oakland, CA\r\n2017  “Until Now, A Retrospective,”Rio Bravo Fine Art, Truth or Consequences, NM\r\n2016  ”Dynamic Force/True Colors,” Galerie Du Tableau, Marseille, France\r\n2014  “Control Alt Delete,” Galerie Du Tableau, Marseille, France\r\n2013  “ Wrestling With Space,” The Rourke Museum, Moorheard, MN\r\n2010  Rio Bravo Fine Art, Truth of Consequences, NM\r\n2008  Galerie Du Tableau, Marseille, France\r\n2005  Ou Gallery, Marseille, France\r\n2002  Galerie Du Tableau, Marseille, France\r\n2001  Galerie Du Tableau, Marseille, France\r\n1998  Jeffery Coploff Fine Art, New York, NY\r\n1996  “Fill Up,” Annika Sundvik Gallery, New York, NY\r\n1989  Julian Pretto Gallery, New York, NY\r\n1988  Julian Pretto Gallery, New York, NY\r\n\r\n&nbsp;\r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56<sup>th</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55<sup>th</sup>  Invitational,” Rourke Museum, Moorhead, MN\r\n“The Moby Project,” Neoteric Gallery, Amagansett, NY\r\n“Paper Mirror Torn,” Brian Morris Gallery, New York, NY\r\n2012  “The 53<sup>rd</sup> Invitational,” Rourke Museum, Moorhead, MN\r\n“Group Show,” Tricycle, Marseille, France\r\n2011  “Carte Blanche,” Analix Forever Galerie, Geneva, Switzerland\r\n“Art in a Box,” Cheryl Pelavin Gallery, New York, NY\r\n“Benefit,” Samaritans, New York, NY\r\n“Summer Invitational,” Rourke Museum, Moorhead, MN\r\n“Collaboration with Yves Musard,” La Casita, Las Cruces, NM\r\n“The Real LR Word,” Ligne Roset, New York, NY\r\n“It’s All Good(Apocalypse Now),”Sideshow Gallery, Brooklyn, NY\r\n2010   “Power to the People,” Feature Gallery, New York, NY\r\n“Abstract 100,” Curated by Tim Ray, University of Minnesota, Moorhead, MN\r\n“It’s A Wonderful Tenth,” Side Show Gallery, Brooklyn, NY\r\n2009  “Art and Democracy IV,” Visual Artists Guild, Gallery H, New York, NY\r\n“Open Studio,” Tricycle Marseille, France\r\n“Group Show,” Tandem Global Partners, New York, NY\r\n“Viewing Program,” Sierra Vista Hospital, Truth or Consequences, NM\r\n2007  “Group Show,” Entre Arts, Grenoble, Group Show\r\n2002  “Blobs Wiggles and Dots, Webs and Crustillions,” curated by Lucio Pozzi, The Work\r\nSpace, New York, NY\r\n2001  “New Acquisitions,” Weatherspoon Museum, University of North Carolina at\r\nGreensboro, NC\r\n1999   “Group Show,” Margaret Thatcher Projects, New York\r\n“Fur Trans,” Kunstlerhaus Hamburg, Germany\r\n1998   “Group Show,” Galerie Barrouyer, Paris, France\r\n“Acquiring Art in the 90’s: The Julian Pretto Collection,” Wadsworth Athenaeum,\r\nHartford, CT\r\n1993   ”Artists from the Richard Brown Baker Collection,” The Century Club,\r\nNew York, NY\r\n“Contemporary Surfaces,” Curated by Rick Ward, Pamela Auchincloss Gallery,\r\nNew York, NY\r\n1991   “A question of Paint,” Curated by Charles Wright Jr., Hallwalls Contemporary Art\r\nCenter, Buffalo, NY\r\n1990    “Color” University of Maine Gallery of Art, Orono, ME\r\nPUBLICATIONS:\r\n2013  New York Observer, “Julian Pretto At Minus Space” Oct 1, 2013 by Andrew Russel\r\nArts and Humanities Newsletter, University of Minnesota, Moorhead, MN (Cover\r\nAnd Feature)\r\nThe Fargo Forum, “The Main Event,” April 28, 2013\r\nCrookston Times, “Crookston Native, Montreuil’s Art on Display,” June 4<sup>th</sup> 2013\r\n2012  Yale University Press, “Get There First, Decide Promptly, The Richard Brown Baker\r\nCollection of Postwar Art” (Book)\r\n2011  INK, Las Cruces, NM “Black and White” by Kathleen Sloan\r\n2010  The Herald, Truth or Consequences, NM “Black and White and Felt All Over,”\r\nBy Kathleen Sloan, November 24<sup>th</sup>, 2010\r\n2006  “560 Broadway: A New York Drawing Collection at Work, 1991-2006,” by\r\nAmy Eshoo (book)\r\n2001  “A Question of Paint,” Essay by Charles Wright Jr., Hallwalls, Buffalo, NY\r\n1998   Art Papers, “Amanda Church and Gregory Montreuil” by Elisabeth Condon\r\nThe Boston Globe, “Art Grounded in Earth; Bursting Out and In,”\r\nBy Cate McQuaid\r\nM/E/A/N/I/N/I/N/G #20, New York, NY\r\n1995  M/E/A/N/I/N/G #16, New York, NY\r\n\r\n&nbsp;\r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n&nbsp;\r\n\r\nCOLLECTIONS:\r\nWadsworth Athenaeum, Hartford, CT\r\nPrudential Insurance, Newark, NJ\r\nThe National Gallery, Washington, DC\r\nWeatherspoon Museum, Greensboro, NC\r\nYale University, New Haven, CT\r\nThe Rourke Museum, Moorhead, MN\r\nThe Wurlitzer Foundation\r\n\r\n&nbsp;\r\n\r\nART INSTRUCTOR:\r\n1997-2015 Goddard Riverside Community Center, New York, NY\r\n2012-2015 Council House, New York, NY\r\n2013-2015 S.T.A.R. Center, New York, NY\r\n1992 Parson School of Design, New York, NY Guest lecturer\r\n“Materiality and Social Sculpture”\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nART WRITER:\r\nFreelance articles for:\r\nFlash Art International, Milan Italy,\r\nNew Art Examiner,  Chicago, IL.\r\nThe Villager, New York, NY,\r\nContemporary Magazine, London, England,\r\nGay City News, New York, NY\r\nAnd various catalogue essays','RESUME','','inherit','closed','closed','','9-revision-v1','','','2018-06-07 22:02:27','2018-06-07 20:02:27','',9,'http://gregorymontreuil.com/?p=153',0,'revision','',0),(155,1,'2018-06-09 01:33:33','2018-06-08 23:33:33','','limitless9','','inherit','open','closed','','limitless9','','','2018-06-09 01:33:33','2018-06-08 23:33:33','',76,'http://gregorymontreuil.com/wp-content/uploads/2016/11/limitless9.jpg',0,'attachment','image/jpeg',0),(156,1,'2018-06-09 01:34:31','2018-06-08 23:34:31','','limitless11','','inherit','open','closed','','limitless11','','','2018-06-09 01:34:31','2018-06-08 23:34:31','',76,'http://gregorymontreuil.com/wp-content/uploads/2016/11/limitless11.jpg',0,'attachment','image/jpeg',0),(157,1,'2018-06-09 01:38:27','2018-06-08 23:38:27','[envira-gallery id=\"76\"]\n\n&nbsp;','INSTALLATIONS','','inherit','closed','closed','','89-autosave-v1','','','2018-06-09 01:38:27','2018-06-08 23:38:27','',89,'http://gregorymontreuil.com/?p=157',0,'revision','',0),(158,1,'2018-06-09 01:39:06','2018-06-08 23:39:06','[envira-gallery id=\"76\"]\r\n\r\n“Why Not?” March 2-30 2018 ProArts Oakland CA\r\n\r\n\"The only constant is change.” <strong>Heraclitus</strong>\r\n\r\nGregory Montreuil’s installation/exhibition; titled “Why Not?” challenges the viewers to step outside of limitations and boundaries and embrace possibility and potential. The installation which speaks to the broader public though its central downtown Oakland, CA, placement will be a combination of paintings and text, creating an opportunity to question current perceptions both personal and political. Montreuil invites viewers to think big and outside the box. This questioning could lead to empowering and expansive ideas and a possible remedy and counter point to the contained contracting cycle Montreuil perceives prevalent at the moment.\r\n\r\nAs one whorls through life, it is obvious that there are windows of time, some more open, some less. Ones placement and position within these pockets of time are not necessarily obvious or visible within the continuums of perception and persistence of memory. The mirrored text facing outward toward the public and viewer is a paradox which contradicts the confines of the Gallery window, a metaphor for both limitation and infinite possibilities.\r\n\r\nThe paintings, considered the “exhibition” will be on display between the outer panels of text.  The paintings embrace the history of abstraction, are process based and use serendipity, chance and decision to seek an active resolution. Though the use of color, line, movement and gesture, Montreuil maps the moves of the combined elements as they race toward determined resolve.  Montreuil hopes to deliver to the viewers a sense of the moment. 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--
-- Table structure for table `wp_users`
--

CREATE TABLE `wp_users` (
  `ID` bigint(20) unsigned NOT NULL AUTO_INCREMENT,
  `user_login` varchar(60) NOT NULL DEFAULT '',
  `user_pass` varchar(255) NOT NULL DEFAULT '',
  `user_nicename` varchar(50) NOT NULL DEFAULT '',
  `user_email` varchar(100) NOT NULL DEFAULT '',
  `user_url` varchar(100) NOT NULL DEFAULT '',
  `user_registered` datetime NOT NULL DEFAULT '0000-00-00 00:00:00',
  `user_activation_key` varchar(255) NOT NULL DEFAULT '',
  `user_status` int(11) NOT NULL DEFAULT 0,
  `display_name` varchar(250) NOT NULL DEFAULT '',
  PRIMARY KEY (`ID`),
  KEY `user_login_key` (`user_login`),
  KEY `user_nicename` (`user_nicename`),
  KEY `user_email` (`user_email`)
) ENGINE=MyISAM AUTO_INCREMENT=2 DEFAULT CHARSET=utf8;

--
-- Dumping data for table `wp_users`
--

INSERT INTO `wp_users` VALUES (1,'gregor54_wp','$P$B2q5OKT8UzYxGZkkCTzLjFwNEDHFpu/','gregor54_wp','montreuilgregory99@gmail.com','http://www.gregorymontreuil.com','2016-09-28 14:34:13','',0,'Gregory Montreuil');


