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/*!40000 ALTER TABLE `wp_commentmeta` ENABLE KEYS */; UNLOCK TABLES; -- -- Table structure for table `wp_comments` -- DROP TABLE IF EXISTS `wp_comments`; /*!40101 SET @saved_cs_client = @@character_set_client */; /*!40101 SET character_set_client = utf8 */; CREATE TABLE `wp_comments` ( `comment_ID` bigint(20) unsigned NOT NULL AUTO_INCREMENT, `comment_post_ID` bigint(20) unsigned NOT NULL DEFAULT 0, `comment_author` tinytext NOT NULL, `comment_author_email` varchar(100) NOT NULL DEFAULT '', `comment_author_url` varchar(200) NOT NULL DEFAULT '', `comment_author_IP` varchar(100) NOT NULL DEFAULT '', `comment_date` datetime NOT NULL DEFAULT '0000-00-00 00:00:00', `comment_date_gmt` datetime NOT NULL DEFAULT '0000-00-00 00:00:00', `comment_content` text NOT NULL, `comment_karma` int(11) NOT NULL DEFAULT 0, `comment_approved` varchar(20) NOT NULL DEFAULT '1', `comment_agent` varchar(255) NOT NULL DEFAULT '', `comment_type` varchar(20) NOT NULL DEFAULT 'comment', `comment_parent` bigint(20) 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Если ваша обувь будет прочной, вы не будете болеть. Когда ваши ноги будут в тепле, организм будет здоровым. Но в данный момент очень тяжело подобрать надёжную обувь на зиму. Невероятно много подделок продаются на рынке. Если вы не желаете заказать подделку, заходите на официальный сайт Австралийских UGG - ugg.msk.ru \r\n \r\nНа ugg.msk.ru вы сможете найти обувь на февраль для всех в семье, женские угги возможно для всей семьи. Если вы перейдёте на ресурс, вы сможете подобрать женские и мужские угги. Обувь производится в Австралии и поставляется от официального производителя в интернет-магазин. Приобрести угги в МО от производителя – сложно. Сегодня безумно много подделок даже на лучшие модели. Если вы хотите экономить, советуем вам выбирать обувь перед началом года. На портале интернет-магазина сезонно бывают скидки. Хотя, если вы захотите заказать обувь для детей, вы сможете найти разные товары со скидкой и в декабре. \r\n \r\nАвстралийские UGG невероятно знамениты в последние пять лет. Качество товаров порадует даже мужчин в возрасте. Австралийские угги защитят ваши ножки от плохой погоды в метро. С содействием такой обуви вы можете преодолевать в декабре дальние километры по городу. \r\n \r\nМужские угги в данный момент очень знамениты. Их закупают сразу по пять пар. В этом сезоне распространены угги черного цвета и светлого. Хотя, молодые молодые люди приобретают обувь и бордового цвета. Женские угги приобретают, в основном, серебристого или золотого цвета. Однако, черный цвет обуви тоже безумно популярен. Вы можете заказать обувь разного размера в интернет-магазине UGG. \r\n \r\nЕсли вы стремитесь заказать надёжную обувь на зимний период, которая будет служить вам не две зимы, предлагаем Ugg Австралия официальный портал. Именно на ресурсе нет подделок, а вся обувь премиум класса. На все единицы товаров бывают сезонные скидки. Обмен и возврат товаров возможен на протяжении 2 недели. В компании есть служба доставки, которая привезет UGG вам на следующий день. При заказе обуви обговариваются как правило все нюансы. Вам нужно выбрать цвет, выбрать форму. \r\n \r\nугги официальный сайт россия работает круглосуточно. Вы можете оформить заказ через сайт или через консультанта, вы можете найти любые ugg из каталога. В этом сезоне очень знамениты короткие угги с лентами. Сегодня дамы отдают предпочтение и классическим мини уггам. Очень много современных парней покупают мужские мокасины угги. Их комфортно носить. \r\n \r\nНа ресурсе компании вы сможете выбрать товары из овчины. Вся обувь официальная. На ugg.msk.ru вы можете выбрать обувь с интересующим вас материалом подкладки. Есть товары из кожи и замши. UGG подойдут как для зимы, так и для осени. \r\n \r\nКупить обувь в компании UGG вы можете ежедневно. Компания online с 9.00 до 22.00. Чтобы заказать UGG, вам необходимо соединиться с менеджером по телефону +7(495)748-75-05. Если у вас проявятся какие-то вопросы, вы также можете связаться со специалистами по указанным контактам. \r\n \r\nЕсли вы будете проездом недалеко от фирмы и захотите померить парочку вариантов обуви, заехать вы можете по адресу г.Москва, ул.Хабаровская, дом 15. Администраторы подберут для вас удобную пару обуви и проконсультируют вас по размерной сетке. Так как вся обувь приходит от зарубежного поставщика, и она с завода, размерная сетка может отличаться от шаблонных размеров. Из-за этого вовремя приобретения важно посоветоваться со специалистом. \r\n \r\nВам также подскажут и касаемо скидок. Между прочим, в наше время в интернет-магазине период распродаж. Вы можете приобрести обувь со скидкой до -50%. Хотите обувать зимой прочную обувь? Тогда переходите на ugg.msk.ru, где есть много вариантов для выбора!',0,'spam','Mozilla/5.0 (Windows NT 6.1; WOW64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/62.0.3202.89 Safari/537.36 OPR/49.0.2725.47 (Edition Yx)','comment',0,0),(14,129,'Kozaimlow','andry.zaims@mailert.ru','https://mega-zaimer.ru/','31.184.238.34','2018-10-15 05:21:03','2018-10-15 03:21:03','Оформить онлайн займ в наши дни не составляет труда. Оформить займ возможно в любое время, важно – иметь доступ к сети. Надо отметить, что, если вы стремитесь взять займ, вам нужно внимательно выбирать сервис, где вы будете оформлять кредит. Рекомендуем обращать интерес при выборе МФО на разные факторы. \r\n \r\nНа mega-zaimer.ru достаточно много лиц оформляют займы. Сервис, который может предоставить срочный online займ – найти не так уж и просто. Очень много сервисов заставляют посетителей предоставлять разные справки, которые могут быть полезны кредитору в том случае, если заемщик пропадет. Хотя, на ресурсе доступны самые лучшие фирмы. Они предоставляют онлайн кредиты без проверок и без отказа. Именно по этой причине они очень ценятся, а сервис их предлагает. \r\n \r\nНекоторые фирмы предоставляют online кредиты на карту. Вы можете сделать выбор, на какую карту вы стремитесь получить займ. Много компаний предоставляют займы на дебитные карты. Некоторые компании выдают деньги даже на online кошельки. Часть из компаний, которые представлены на mega-zaimer.ru предоставляют возможность взять первый кредит бесплатно. \r\n \r\nВ наши дни подобрать сервис, который предоставляет возможность выбирать релевантные предложения очень тяжело. Последнее время очень много фирм, которые предоставляют подобные услуги, начали предоставлять средства на недельный срок. Некоторые из подобных сервисов есть не надежными. Именно для того, чтобы клиенты могли брать деньги без проблем вне зависимости от положения, вы можете взять ссуду на карту online без отказа в любое время дня. \r\n \r\nСервис пользуется спросом по причине того, что он ежедневно проводит анализ МФО и менеджеры следят за всеми перетрубациями на рынке. Именно это предоставляет шанс создать объективный рейтинг всех МФО и надежных кредиторов. На портале подготовлен каталог новых МФО 2018 года, где находятся самые надежные МФО. Большинство из компаний предоставляют быстрый займ на карту без проверки кредитной истории, что является огромным плюсом сейчас. \r\n \r\nНа https://mega-zaimer.ru/ вы можете найти компанию, которая будет удобна именно вам. Ресурс очень простой и доступен для всех участников. Необходимо отметить, что на ресурсе вы подберете фирму по следующим параметрам: сумма ссуды, срок займа, регион, метод получения средств. Большинство мужчин стремятся брать online займы на карту, чтобы распоряжаться средствами. \r\n \r\nСегодня любой посетитель может оформить кредит и ему 100% одобрят его займ. Ведь сервис собрал самых надежных кредиторов, которые есть настоящими профессионалами. Сотрудники сервиса ежедневно отслеживают всю информацию по поводу работы МФО. Возможность получить средства есть даже у тех, у кого плохая кредитная история. Сервис является полезным и по той причине, что он предлагает МФО, которые выдают займы ночью. \r\n \r\nНе так много МФО выдают займы в ночное время суток. Сейчас выбрать компанию, которая выдаст займ срочно без отказов и проверок на кредитку круглосуточно, да еще и ночью – практически невозможно. Но, сервис предлагает каталок МФО, которые могут быть интересны вам. \r\n \r\nНа финансовом портале mega-zaimer.ru клиенты имеют возможность получить займ на карту вне зависимости от направления средств. 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+0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"language\";a:1:{i:0;a:5:{s:4:\"data\";s:5:\"en-US\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:9:\"generator\";a:1:{i:0;a:5:{s:4:\"data\";s:40:\"https://wordpress.org/?v=5.6-beta1-49282\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"item\";a:10:{i:0;a:6:{s:4:\"data\";s:60:\"\n \n \n \n \n \n \n \n \n\n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:20:\"WordPress 5.6 Beta 1\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:56:\"https://wordpress.org/news/2020/10/wordpress-5-6-beta-1/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 20 Oct 2020 22:14:22 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:2:{i:0;a:5:{s:4:\"data\";s:11:\"Development\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:1;a:5:{s:4:\"data\";s:8:\"Releases\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:34:\"https://wordpress.org/news/?p=9085\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:50:\"WordPress 5.6 Beta 1 is now available for testing!\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:7:\"Josepha\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:8236:\"\n

WordPress 5.6 Beta 1 is now available for testing!

\n\n\n\n

This software is still in development, so we recommend that you run this version on a test site.

\n\n\n\n

You can test the WordPress 5.6 beta in two ways:

\n\n\n\n\n\n\n\n

The current target for final release is December 8, 2020. This is just seven weeks away, so your help is needed to ensure this release is tested properly.

\n\n\n\n

Improvements in the Editor

\n\n\n\n

WordPress 5.6 includes seven Gutenberg plugin releases. Here are a few highlighted enhancements:

\n\n\n\n\n\n\n\n

To see all of the features for each release in detail check out the release posts: 8.6, 8.7, 8.8, 8.9, 9.0, 9.1, and 9.2 (link forthcoming).

\n\n\n\n

Improvements in Core

\n\n\n\n

A new default theme

\n\n\n\n

The default theme is making its annual return with Twenty Twenty-One. This theme features a streamlined and elegant design, which aims to be AAA ready.

\n\n\n\n

Auto-update option for major releases

\n\n\n\n

The much anticipated opt-in for major releases of WordPress Core will ship in this release. With this functionality, you can elect to have major releases of the WordPress software update in the background with no additional fuss for your users.

\n\n\n\n

Increased support for PHP 8

\n\n\n\n

The next major version release of PHP, 8.0.0, is scheduled for release just a few days prior to WordPress 5.6. The WordPress project has a long history of being compatible with new versions of PHP as soon as possible, and this release is no different.

\n\n\n\n

Because PHP 8 is a major version release, changes that break backward compatibility or compatibility for various APIs are allowed. Contributors have been hard at work fixing the known incompatibilities with PHP 8 in WordPress during the 5.6 release cycle.

\n\n\n\n

While all of the detectable issues in WordPress can be fixed, you will need to verify that all of your plugins and themes are also compatible with PHP 8 prior to upgrading. Keep an eye on the Making WordPress Core blog in the coming weeks for more detailed information about what to look for.

\n\n\n\n

Application Passwords for REST API Authentication

\n\n\n\n

Since the REST API was merged into Core, only cookie & nonce based authentication has been available (without the use of a plugin). This authentication method can be a frustrating experience for developers, often limiting how applications can interact with protected endpoints.

\n\n\n\n

With the introduction of Application Password in WordPress 5.6, gone is this frustration and the need to jump through hoops to re-authenticate when cookies expire. But don’t worry, cookie and nonce authentication will remain in WordPress as-is if you’re not ready to change.

\n\n\n\n

Application Passwords are user specific, making it easy to grant or revoke access to specific users or applications (individually or wholesale). Because information like “Last Used” is logged, it’s also easy to track down inactive credentials or bad actors from unexpected locations.

\n\n\n\n

Better accessibility

\n\n\n\n

With every release, WordPress works hard to improve accessibility. Version 5.6 is no exception and will ship with a number of accessibility fixes and enhancements. Take a look:

\n\n\n\n\n\n\n\n

How You Can Help

\n\n\n\n

Keep your eyes on the Make WordPress Core blog for 5.6-related developer notes in the coming weeks, breaking down these and other changes in greater detail.

\n\n\n\n

So far, contributors have fixed 188 tickets in WordPress 5.6, including 82 new features and enhancements, and more bug fixes are on the way.

\n\n\n\n

Do some testing!

\n\n\n\n

Testing for bugs is an important part of polishing the release during the beta stage and a great way to contribute.

\n\n\n\n

If you think you’ve found a bug, please post to the Alpha/Beta area in the support forums. We would love to hear from you! If you’re comfortable writing a reproducible bug report, file one on WordPress Trac. That’s also where you can find a list of known bugs.

\n\n\n\n

Props to @webcommsat, @yvettesonneveld, @estelaris, @cguntur, @desrosj, and @marybaum for editing/proof reading this post, and @davidbaumwald for final review.

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This month was characterized by some exciting announcements from the WordPress core team! Read on to catch up with all the WordPress news and updates from September. 

\n\n\n\n
\n\n\n\n

WordPress 5.5.1 Launch

\n\n\n\n

On September 1, the  Core team released WordPress 5.5.1. This maintenance release included several bug fixes for both core and the editor, and many other enhancements. You can update to the latest version directly from your WordPress dashboard or download it directly from WordPress.org. The next major release will be version 5.6.

\n\n\n\n

Want to be involved in the next release?  You can help to build WordPress Core by following the Core team blog, and joining the #core channel in the Making WordPress Slack group.

\n\n\n\n

Gutenberg 9.1, 9.0, and 8.9 are out

\n\n\n\n

The core team launched version 9.0 of the Gutenberg plugin on September 16, and version 9.1 on September 30. Version 9.0 features some useful enhancements — like a new look for the navigation screen (with drag and drop support in the list view) and modifications to the query block (including search, filtering by author, and support for tags). Version 9.1 adds improvements to global styles, along with improvements for the UI and several blocks. Version 8.9 of Gutenberg, which came out earlier in September, enables the block-based widgets feature (also known as block areas, and was previously available in the experiments section) by default — replacing the default WordPress widgets to the plugin. You can find out more about the Gutenberg roadmap in the What’s next in Gutenberg blog post.

\n\n\n\n

Want to get involved in building Gutenberg? Follow the Core team blog, contribute to Gutenberg on GitHub, and join the #core-editor channel in the Making WordPress Slack group.

\n\n\n\n

Twenty Twenty One is the WordPress 5.6 default theme

\n\n\n\n

Twenty Twenty One, the brand new default theme for WordPress 5.6, has been announced! Twenty Twenty One is designed to be a blank canvas for the block editor, and will adopt a straightforward, yet refined, design. The theme has a limited color palette: a pastel green background color, two shades of dark grey for text, and a native set of system fonts. Twenty Twenty One will use a modified version of the Seedlet theme as its base. It will have a comprehensive system of nested CSS variables to make child theming easier, a native support for global styles, and full site editing. 

\n\n\n\n

Follow the Make/Core blog if you wish to contribute to Twenty Twenty One. There will be weekly meetings every Monday at 15:00 UTC and triage sessions every Friday at 15:00 UTC in the #core-themes Slack channel. Theme development will happen on GitHub. 

\n\n\n\n
\n\n\n\n

Further Reading:

\n\n\n\n\n\n\n\n

Have a story that we should include in the next “Month in WordPress” post? Please submit it here.

\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:30:\"com-wordpress:feed-additions:1\";a:1:{s:7:\"post-id\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"9026\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:2;a:6:{s:4:\"data\";s:57:\"\n \n \n \n \n \n \n \n\n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"WordPress 5.5.1 Maintenance Release\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:71:\"https://wordpress.org/news/2020/09/wordpress-5-5-1-maintenance-release/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 01 Sep 2020 19:13:53 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:1:{i:0;a:5:{s:4:\"data\";s:8:\"Releases\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:34:\"https://wordpress.org/news/?p=8979\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:460:\"WordPress 5.5.1 is now available! This maintenance release features 34 bug fixes, 5 enhancements, and 5 bug fixes for the block editor. These bugs affect WordPress version 5.5, so you’ll want to upgrade. You can download WordPress 5.5.1 directly, or visit the Dashboard → Updates screen and click Update Now. If your sites support automatic background updates, they’ve already started the update process. […]\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:9:\"Jb Audras\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:9020:\"\n

WordPress 5.5.1 is now available!

\n\n\n\n

This maintenance release features 34 bug fixes, 5 enhancements, and 5 bug fixes for the block editor. These bugs affect WordPress version 5.5, so you’ll want to upgrade.

\n\n\n\n

You can download WordPress 5.5.1 directly, or visit the Dashboard → Updates screen and click Update Now. If your sites support automatic background updates, they’ve already started the update process.

\n\n\n\n

WordPress 5.5.1 is a short-cycle maintenance release. The next major release will be version 5.6.

\n\n\n\n

To see a full list of changes, you can browse the list on Trac, read the 5.5.1 RC1 and 5.5.1 RC2 posts, or visit the 5.5.1 documentation page.

\n\n\n\n

Thanks and props!

\n\n\n\n

The 5.5.1 release was led by @audrasjb, @azhiyadev, @davidbaumwald, @desrosj, @johnbillion, @planningwrite, @sergeybiryukov and @whyisjake.

\n\n\n\n

Thank you to everyone who helped make WordPress 5.5.1 happen:

\n\n\n\nAmit Dudhat, Andrea Fercia, Andrey “Rarst” Savchenko, Andy Fragen, Angel Hess, avixansa, bobbingwide, Brian Hogg, chunkysteveo, Clayton Collie, David Baumwald, David Herrera, dd32, demetris, Dominik Schilling, dushakov, Earle Davies, Enrique Sánchez, Frankie Jarrett, fullofcaffeine, Garrett Hyder, Gary Jones, gchtr, Hauwa, Herre Groen, Howdy_McGee, Ipstenu (Mika Epstein), Jb Audras, Jeremy Felt, Jeroen Rotty, Joen A., Johanna de Vos, John Blackbourn, John James Jacoby, Jonathan Bossenger, Jonathan Desrosiers, Jonathan Stegall, Joost de Valk, Jorge Costa, Justin Ahinon, Kalpesh Akabari, Kevin Hagerty, Knut Sparhell, Kyle B. Johnson, landau, Laxman Prajapati, Lester Chan, mailnew2ster, Marius L. J., Mark Jaquith, Mark Uraine, Matt Gibson, Michael Beckwith, Mikey Arce, Mohammad Jangda, Mukesh Panchal, Nabil Moqbel, net, oakesjosh, O André, Omar Reiss, Ov3rfly, Paddy, Pascal Casier, Paul Biron, Peter Wilson, rajeshsingh520, Rami Yushuvaev, rebasaurus, riaanlom, Riad Benguella, Rodrigo Arias, rtagliento, salvoaranzulla, Sanjeev Aryal, sarahricker, Sergey Biryukov, Stephen Bernhardt, Steven Stern (sterndata), Thomas M, Timothy Jacobs, TobiasBg, tobifjellner (Tor-Bjorn Fjellner), TwentyZeroTwo, Winstina, wittich, and Yoav Farhi.\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:30:\"com-wordpress:feed-additions:1\";a:1:{s:7:\"post-id\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"8979\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:3;a:6:{s:4:\"data\";s:57:\"\n \n \n \n \n \n \n \n\n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:35:\"The Month in WordPress: August 2020\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:70:\"https://wordpress.org/news/2020/09/the-month-in-wordpress-august-2020/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 01 Sep 2020 09:32:47 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Month in WordPress\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:34:\"https://wordpress.org/news/?p=8983\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:362:\"August was special for WordPress lovers, as one of the most anticipated releases, WordPress 5.5, was launched. The month also saw several updates from various contributor teams, including the soft-launch of the Learn WordPress project and updates to Gutenberg. Read on to find out about the latest updates from the WordPress world. WordPress 5.5 Launch […]\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:14:\"Hari Shanker R\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:9605:\"\n

August was special for WordPress lovers, as one of the most anticipated releases, WordPress 5.5, was launched. The month also saw several updates from various contributor teams, including the soft-launch of the Learn WordPress project and updates to Gutenberg. Read on to find out about the latest updates from the WordPress world.

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WordPress 5.5 Launch

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The team launched WordPress 5.5 on August 11. The major release comes with a host of features like automatic updates for plugins and themes, enabling updates over uploaded ZIP files, a block directory, XML sitemaps, block patterns, inline image editing, and lazy-loading images, to name a few. WordPress 5.5 is now available in 50 languages too! You can update to the latest version directly from your WordPress dashboard or download it directly from WordPress.org. Subsequent to the 5.5 release, the 5.5.1 release candidate came out on August 28, which will be followed by its official launch of the minor release on September 1.

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A record 805 people contributed to WordPress 5.5, hailing from 58 different countries. @audrasjb has compiled many more stats like that and they’re well worth a read!

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Want to get involved in building WordPress Core? Follow the Core team blog, and join the #core channel in the Making WordPress Slack group.

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Gutenberg 8.7 and 8.8

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The core team launched Gutenberg 8.7 and 8.8. Version 8.7 saw many improvements to the Post Block suite, along with other changes like adding a block example to the Buttons block, consistently autosaving edits, and updating the group block description. Version 8.8 offers updates to Global Styles, the Post Block suite, and Template management. The release significantly improves the back-compatibility of the new Widget Screen, and also includes other important accessibility and mobile improvements to user interfaces like the Toolbar, navigation menus, and Popovers. For full details on the latest versions of these Gutenberg releases, visit these posts about 8.7 and 8.8.

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Want to get involved in building Gutenberg? Follow the Core team blog, contribute to Gutenberg on GitHub, and join the #core-editor channel in the Making WordPress Slack group.

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Check out the brand new Learn WordPress platform!

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Learn WordPress is a brand new cross-team initiative led by the WordPress Community team, with support from the training team, the TV team, and the meta team. This platform is a learning repository on learn.wordpress.org, where WordPress learning content will be made available. Video workshops published on the site will be followed up by supplementary discussion groups based on workshop content. The first of these discussion groups have been scheduled, and you can join an upcoming discussion on the dedicated meetup group. The community team invites members to contribute to the project. You can apply to present a workshop, assist with reviewing submitted workshops, and add ideas for workshops that you would like to see on the site. You can also apply to be a discussion group leader to organize discussions directly through the learn.wordpress.org platform. We are also creating a dedicated Learn WordPress working group and have posted a call for volunteers. Meetup organizers can use Learn WordPress content for their meetup events (without applying as a discussion group leader). Simply ask your meetup group to watch one of the workshops in the weeks leading up to your scheduled event, and then host a discussion group for that content as your event.

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Want to get involved with the Community team? Follow the Community blog, or join them in the #community-events channel in the Making WordPress Slack group. To organize a local WordPress community event, visit the handbook page. 

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Further Reading:

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Have a story that we should include in the next “Month in WordPress” post? Please submit it here.

\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:30:\"com-wordpress:feed-additions:1\";a:1:{s:7:\"post-id\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"8983\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:4;a:6:{s:4:\"data\";s:63:\"\n \n \n \n \n \n \n \n \n\n \n \n \n \n \n\n\n\n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:4:{s:0:\"\";a:7:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:28:\"WordPress 5.5 “Eckstine”\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:44:\"https://wordpress.org/news/2020/08/eckstine/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Tue, 11 Aug 2020 19:03:52 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:2:{i:0;a:5:{s:4:\"data\";s:8:\"Releases\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:1;a:5:{s:4:\"data\";s:3:\"5.5\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:34:\"https://wordpress.org/news/?p=8799\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:354:\"Version 5.5 \"Eckstine\" of WordPress is available for download or update in your WordPress dashboard. With this release, your site gets new power in three major areas: \nspeed (lazy-loading images), search (sitemaps included by default), and security (auto-updates for plugins and themes), along with many new features and improvements to the block editor.\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:9:\"enclosure\";a:3:{i:0;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:48:\"https://s.w.org/images/core/5.5/auto-updates.mp4\";s:6:\"length\";s:6:\"238264\";s:4:\"type\";s:9:\"video/mp4\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:1;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:50:\"https://s.w.org/images/core/5.5/block-patterns.mp4\";s:6:\"length\";s:7:\"3518792\";s:4:\"type\";s:9:\"video/mp4\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}i:2;a:5:{s:4:\"data\";s:0:\"\";s:7:\"attribs\";a:1:{s:0:\"\";a:3:{s:3:\"url\";s:56:\"https://s.w.org/images/core/5.5/inline-image-editing.mp4\";s:6:\"length\";s:7:\"3145140\";s:4:\"type\";s:9:\"video/mp4\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:14:\"Matt Mullenweg\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:71062:\"\n

Here it is! Named “Eckstine” in honor of Billy Eckstine, this latest and greatest version of WordPress is available for download or update in your dashboard.

\n\n\n\n
\"\"
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\n

Welcome to WordPress 5.5.

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In WordPress 5.5, your site gets new power in three major areas:
speed, search, and security.

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\n

Speed

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Posts and pages feel faster, thanks to lazy-loaded images.

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Images give your story a lot of impact, but they can sometimes make your site seem slow.

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In WordPress 5.5, images wait to load until they’re just about to scroll into view. The technical term is ‘lazy loading.’

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On mobile, lazy loading can also keep browsers from loading files meant for other devices. That can save your readers money on data — and help preserve battery life.

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Search

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Say hello to your new sitemap.

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WordPress sites work well with search engines.

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Now, by default, WordPress 5.5 includes an XML sitemap that helps search engines discover your most important pages from the very minute you go live.

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So more people will find your site sooner, giving you more time to engage, retain and convert them to subscribers, customers or whatever fits your definition of success.

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Security

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Now you can choose to update plugins and themes automatically–or pick just a few–from the screens you’ve always used.
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Auto-updates for Plugins and Themes

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Now you can set plugins and themes to update automatically — or not! — in the WordPress admin. So you always know your site is running the latest code available.

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You can also turn auto-updates on or off for each plugin or theme you have installed — all on the same screens you’ve always used.

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Update by uploading ZIP files

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If updating plugins and themes manually is your thing, now that’s easier too — just upload a ZIP file.

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\n

Highlights from the block editor

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Once again, the latest WordPress release packs a long list of exciting new features for the block editor. For example:

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Block patterns

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New block patterns make it simple and fun to create complex, beautiful layouts, using combinations of text and media that you can mix and match to fit your story.

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You will also find block patterns in a wide variety of plugins and themes, with more added all the time. Pick any of them from a single place — just click and go!

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The new block directory

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Now it’s easier than ever to find the block you need. The new block directory is built right into the block editor, so you can install new block types to your site without ever leaving the editor.

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Inline image editing

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Crop, rotate, and zoom your photos right from the image block. If you spend a lot of time on images, this could save you hours!

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And so much more.

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The highlights above are a tiny fraction of the new block editor features you’ve just installed. Open the block editor and enjoy!

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Accessibility

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Every release adds improvements to the accessible publishing experience, and that remains true for WordPress 5.5.

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Now you can copy links in media screens and modal dialogs with a button, instead of trying to highlight a line of text.

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You can also move meta boxes with the keyboard, and edit images in WordPress with your assistive device, as it can read you the instructions in the image editor.

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For developers

\n\n\n\n

5.5 also brings a big box of changes just for developers.

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\n

Server-side registered blocks in the REST API

\n\n\n\n

The addition of block types endpoints means that JavaScript apps (like the block editor) can retrieve definitions for any blocks registered on the server.

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Defining environments

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WordPress now has a standardized way to define a site’s environment type (staging, production, etc). Retrieve that type with wp_get_environment_type() and execute only the appropriate code.

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Dashicons

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The Dashicons library has received its final update in 5.5. It adds 39 block editor icons along with 26 others.

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Passing data to template files

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The template loading functions (get_header(), get_template_part(), etc.) have a new $args argument. So now you can pass an entire array’s worth of data to those templates.

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\n

More changes for developers

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  • The PHPMailer library just got a major update, going from version 5.2.27 to 6.1.6.
  • Now get more fine-grained control of redirect_guess_404_permalink().
  • Sites that use PHP’s OPcache will see more reliable cache invalidation, thanks to the new wp_opcache_invalidate() function during updates (including to plugins and themes).
  • Custom post types associated with the category taxonomy can now opt-in to supporting the default term.
  • Default terms can now be specified for custom taxonomies in register_taxonomy().
  • The REST API now officially supports specifying default metadata values through register_meta().
  • You will find updated versions of these bundled libraries: SimplePie, Twemoji, Masonry, imagesLoaded, getID3, Moment.js, and clipboard.js.
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The Squad

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Leading this release were Matt Mullenweg, Jake Spurlock, and David Baumwald. Supporting them was this highly enthusiastic release squad:

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Joining the squad throughout the release cycle were 805 generous volunteer contributors who collectively worked on over 523 tickets on Trac and over 1660 pull requests on GitHub.

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Put on a Billy Eckstine playlist, click that update button (or download it directly), and check the profiles of the fine folks that helped:

\n\n\nA2 Hosting, a4jp . com, a6software, Aaron D. Campbell, Aaron Jorbin, abderrahman, Abha Thakor, Achal Jain, achbed, Achyuth Ajoy, acosmin, acsnaterse, Adam Silverstein, Addie, addyosmani, adnan.limdi, adrian, airamerica, Ajay Ghaghretiya, Ajit Bohra, akbarhusen, akbarhusen429, Akhilesh Sabharwal, Akira Tachibana, Alain Schlesser, Albert Juhé Lluveras, Alex Concha, Alex Kirk, Alex Lende, Alex Shiels, Ali Shan, ali11007, Allen Snook, amaschas, Amit Dudhat, anbumz, andfinally, Andrea Fercia, Andrea Middleton, Andrea Tarantini, Andrei Draganescu, Andrew Duthie, Andrew Nacin, Andrew Nevins, Andrew Ozz, Andrey \"Rarst\" Savchenko, Andrés Maneiro, Andy Fragen, Andy Meerwaldt, Andy Peatling, Angel Hess, Angela Jin, Angelika Reisiger, Anh Tran, Ankit Gade, Ankit K Gupta, Ankit Panchal, Anne McCarthy, Anthony Burchell, Anthony Hortin, Anton Timmermans, Antonis Lilis, apedog, archon810, argentite, Arpit G Shah, Arslan Ahmed, asalce, ashiagr, ashour, Atharva Dhekne, Aurélien Joahny, aussi, automaton, avixansa, Ayesh Karunaratne, BackuPs, Barry, Barry Ceelen, Bart Czyz, bartekcholewa, bartkalisz, Bastien Ho, Bastien Martinent, bcworkz, bdbch, bdcstr, Ben Dunkle, Bence Szalai, bencroskery, Benjamin Gosset, Benoit Chantre, Bernhard Reiter, BettyJJ, bgermann, bigcloudmedia, bigdawggi, Bill Erickson, Birgir Erlendsson (birgire), Birgit Pauli-Haack, BjornW, bobbingwide, bonger, Boone Gorges, Boris Brdarić, Boy Witthaya, Brandon Kraft, Brandon Payton, Brent Swisher, Brian Hogg, Brian Krogsgard, bruandet, Bunty, Burhan Nasir, caiocrcosta, Cameron Voell, cameronamcintyre, Carike, Carl Wuensche, Carlos Galarza, Carolina Nymark, Caroline Moore, Carrigan, ceyhun, Chad, Chad Butler, Charles Fulton, Chetan Prajapati, Chintan hingrajiya, Chip Snyder, Chloé Bringmann, Chouby, Chris Van Patten, chriscct7, Christian Chung, Christian Jongeneel, Christian Sabo, Christian Wach, Christoph Herr, Christopher Churchill, chunkysteveo, cklee, clayray, Clayton Collie, Clifford Paulick, codeforest, Commeuneimage, Copons, Corey McKrill, cpasqualini, Cristovao Verstraeten, Csaba (LittleBigThings), Curtis Belt, Cyrus Collier, D.PERONNE, d6, Daniel Bachhuber, Daniel Hüsken, Daniel James, Daniel Llewellyn, Daniel Richards, Daniel Roch, Daniele Scasciafratte, Danny, Darko G., Darren Ethier (nerrad), Dave McHale, Dave Whitley, David A. Kennedy, David Aguilera, David Anderson, David Artiss, David Baumwald, David Brumbaugh, David E. 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Green, John Richards II, John Watkins, johnnyb, Jon Quach, Jon Surrell, Jonathan Bossenger, Jonathan Champ, Jonathan Christopher, Jonathan Desrosiers, Jonathan Stegall, jonkolbert, Jonny Harris, jonnybot, Jono Alderson, Joost de Valk, Jorge Bernal, Jorge Costa, Joseph Dickson, Josepha Haden, Josh Smith, JoshuaWold, Joy, Juanfra Aldasoro, juanlopez4691, Jules Colle, julianm, Juliette Reinders Folmer, Julio Potier, Julka Grodel, Justin Ahinon, Justin de Vesine, Justin Tadlock, justlevine, justnorris, K. Adam White, kaggdesign, Kailey (trepmal), Kaira, Kaitlin Bolling, Kalpesh Akabari, KamataRyo, Kantari Samy, Kaspars, Kavya Gokul, keesiemeijer, Kelly Dwan, kennethroberson5556, Kevin Hagerty, Kharis Sulistiyono, Khokan Sardar, kinjaldalwadi, Kiril Zhelyazkov, Kirsty Burgoine, Kishan Jasani, kitchin, Kite, Kjell Reigstad, Knut Sparhell, Konstantin Obenland, Konstantinos Xenos, ksoares, KT Cheung, Kukhyeon Heo, Kyle B. 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Many thanks to all of the community volunteers who contribute in the support forums. They answer questions from people across the world, whether they are using WordPress for the first time or since the first release. These releases are more successful for their efforts!

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Finally, thanks to all the community translators who worked on WordPress 5.5. Their efforts bring WordPress fully translated to 46 languages at release time, with more on the way.

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If you want to learn more about volunteering with WordPress, check out Make WordPress or the core development blog.

\n
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\n
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The second release candidate for WordPress 5.5 is here!

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WordPress 5.5 is slated for release on August 11, 2020, but we need your help to get there—if you haven’t tried 5.5 yet, now is the time!

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You can test the WordPress 5.5 release candidate in two ways:

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Thank you to all of the contributors who tested the Beta releases and gave feedback. Testing for bugs is a critical part of polishing every release and a great way to contribute to WordPress.

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Plugin and Theme Developers

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Please test your plugins and themes against WordPress 5.5 and update the Tested up to version in the readme file to 5.5. If you find compatibility problems, please be sure to post to the support forums, so those can be figured out before the final release.

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For a more detailed breakdown of the changes included in WordPress 5.5, check out the WordPress 5.5 beta 1 post. The WordPress 5.5 Field Guide is also out! It’s your source for details on all the major changes.

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How to Help

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Do you speak a language other than English? Help us translate WordPress into more than 100 languages! This release also marks the hard string freeze point of the 5.5 release schedule.

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If you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. We’d love to hear from you! If you’re comfortable writing a reproducible bug report, fill one on WordPress Trac, where you can also find a list of known bugs.

\n\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:30:\"com-wordpress:feed-additions:1\";a:1:{s:7:\"post-id\";a:1:{i:0;a:5:{s:4:\"data\";s:4:\"8764\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}}}i:6;a:6:{s:4:\"data\";s:57:\"\n \n \n \n \n \n \n \n\n \n \n \n \n \n \";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";s:5:\"child\";a:4:{s:0:\"\";a:6:{s:5:\"title\";a:1:{i:0;a:5:{s:4:\"data\";s:33:\"The Month in WordPress: July 2020\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"link\";a:1:{i:0;a:5:{s:4:\"data\";s:68:\"https://wordpress.org/news/2020/08/the-month-in-wordpress-july-2020/\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:7:\"pubDate\";a:1:{i:0;a:5:{s:4:\"data\";s:31:\"Mon, 03 Aug 2020 13:54:23 +0000\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:8:\"category\";a:1:{i:0;a:5:{s:4:\"data\";s:18:\"Month in WordPress\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:4:\"guid\";a:1:{i:0;a:5:{s:4:\"data\";s:34:\"https://wordpress.org/news/?p=8755\";s:7:\"attribs\";a:1:{s:0:\"\";a:1:{s:11:\"isPermaLink\";s:5:\"false\";}}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}s:11:\"description\";a:1:{i:0;a:5:{s:4:\"data\";s:340:\"July was an action-packed month for the WordPress project. The month saw a lot of updates on one of the most anticipated releases – WordPress 5.5! WordCamp US 2020 was canceled and the WordPress community team started experimenting with different formats for engaging online events, in July. Read on to catch up with all the […]\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:32:\"http://purl.org/dc/elements/1.1/\";a:1:{s:7:\"creator\";a:1:{i:0;a:5:{s:4:\"data\";s:14:\"Hari Shanker R\";s:7:\"attribs\";a:0:{}s:8:\"xml_base\";s:0:\"\";s:17:\"xml_base_explicit\";b:0;s:8:\"xml_lang\";s:0:\"\";}}}s:40:\"http://purl.org/rss/1.0/modules/content/\";a:1:{s:7:\"encoded\";a:1:{i:0;a:5:{s:4:\"data\";s:11539:\"\n

July was an action-packed month for the WordPress project. The month saw a lot of updates on one of the most anticipated releases – WordPress 5.5! WordCamp US 2020 was canceled and the WordPress community team started experimenting with different formats for engaging online events, in July. Read on to catch up with all the updates from the WordPress world.

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WordPress 5.5 Updates

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July was full of WordPress 5.5 updates! The WordPress 5.5 Beta 1 came out on July 7, followed by Beta 2 on July 14, Beta 3 on July 21, and Beta 4 on July 27. Subsequently, the team also published the first release candidate of WordPress 5.5 on July 28. 

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WordPress 5.5, which is slated for release on August 11, 2020, is a major update with features like automatic updates for plugins and themes, a block directory, XML sitemaps, block patterns, and lazy-loading images, among others. To learn more about the release, check out its field guide post.

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Want to get involved in building WordPress Core? Follow the Core team blog, and join the #core channel in the Making WordPress Slack group.

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Gutenberg 8.5 and 8.6

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The core team launched Gutenberg 8.5 and 8.6. Version 8.5 – the last plugin release will be included entirely (without experimental features) in WordPress 5.5, introduced improvements to block drag-and-drop and accessibility, easier updates for external images, and support for the block directory. Version 8.6 comes with features like Cover block video position controls and block pattern updates. For full details on the latest versions on these Gutenberg releases, visit these posts about 8.5 and 8.6.

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Want to get involved in building Gutenberg? Follow the Core team blog, contribute to Gutenberg on GitHub, and join the #core-editor channel in the Making WordPress Slack group.

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Reimagining Online WordPress Events

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The Community team made the difficult decision to suspend in-person WordPress events for the rest of 2020 in light of the COVID-19 pandemic. The team has also started working on reimagining online events. Based on feedback from the community members, the team decided to make changes to the current online WordCamp format. Key changes include wrapping up financial support for A/V vendors, ending event swag support for newer online WordCamps, and suspending the Global Community Sponsorship program for 2020. The team encourages upcoming online WordCamps to experiment with their events to facilitate an effective learning experience for attendees while avoiding online event fatigue. The team is currently working on a proposal to organize community-supported recorded workshops and synchronous discussion groups to help community members learn WordPress.

Want to get involved with the Community team? Follow the Community blog here, or join them in the #community-events channel in the Making WordPress Slack group. To organize a Meetup or WordCamp, visit the handbook page. 

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WordCamp US 2020 is canceled

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The organizers of WordCamp US 2020 have canceled the event in light of the continued pandemic and online event fatigue. The flagship event, which was originally scheduled for October 27-29 as an in-person event, had already planned to transition to an online event. Several WCUS Organizers will be working with the WordPress Community team to focus on other formats and ideas for online events, including a 24-hour contributor day, and contributing to the workshops initiative currently being discussed. Matt Mullenweg’s State of the Word (which typically accompanies WordCamp US) is likely to take place in a different format later in 2020.

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Plugin and theme updates are now available over zip files

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After eleven years, WordPress now allows users to update plugins and themes by uploading a ZIP file, in WordPress 5.5.  The feature, which was merged on July 7, has been one of the most requested features in WordPress. Now, when a user tries to upload a plugin or theme zip file from the WordPress dashboard by clicking the “Install Now” button, WordPress will direct users to a new screen that compares the currently-installed extension with the uploaded versions. Users can then choose between continuing with the installation or canceling. WordPress 5.5 will also offer automatic plugin and theme updates. 

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Further Reading:

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Have a story that we should include in the next “Month in WordPress” post? Please submit it here.

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The first release candidate for WordPress 5.5 is now available!

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This is an important milestone in the community’s progress toward the final release of WordPress 5.5.

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“Release Candidate” means that the new version is ready for release, but with millions of users and thousands of plugins and themes, it’s possible something was missed. WordPress 5.5 is slated for release on August 11, 2020, but we need your help to get there—if you haven’t tried 5.5 yet, now is the time!

\n\n\n\n

You can test the WordPress 5.5 release candidate in two ways:

\n\n\n\n\n\n\n\n

Thank you to all of the contributors who tested the Beta releases and gave feedback. Testing for bugs is a critical part of polishing every release and a great way to contribute to WordPress.

\n\n\n\n

What’s in WordPress 5.5?

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WordPress 5.5 has lots of refinements to polish the developer experience. To keep up, subscribe to the Make WordPress Core blog and pay special attention to the developer notes tag for updates on those and other changes that could affect your products.

\n\n\n\n

Plugin and Theme Developers

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Please test your plugins and themes against WordPress 5.5 and update the Tested up to version in the readme file to 5.5. If you find compatibility problems, please be sure to post to the support forums, so those can be figured out before the final release.

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The WordPress 5.5 Field Guide, due very shortly, will give you a more detailed dive into the major changes.

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How to Help

\n\n\n\n

Do you speak a language other than English? Help us translate WordPress into more than 100 languages! This release also marks the hard string freeze point of the 5.5 release schedule.

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If you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. We’d love to hear from you! If you’re comfortable writing a reproducible bug report, fill one on WordPress Trac, where you can also find a list of known bugs.

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WordPress 5.5 Beta 4 is now available!

\n\n\n\n

This software is still in development, so it’s not recommended to run this version on a production site. Consider setting up a test site to play with the new version.

\n\n\n\n

You can test WordPress 5.5 Beta 4 in two ways:

\n\n\n\n\n\n\n\n

WordPress 5.5 is slated for release on August 11th, 2020, and we need your help to get there!

\n\n\n\n

Thank you to all of the contributors who tested the beta 3 development release and gave feedback. Testing for bugs is a critical part of polishing every release and a great way to contribute to WordPress.

\n\n\n\n

Some highlights

\n\n\n\n

Since beta 3, 43 bugs have been fixed. Here are a few changes in beta 4:

\n\n\n\n\n\n\n\n

Developer notes

\n\n\n\n

WordPress 5.5 has lots of refinements to polish the developer experience. To keep up, subscribe to the Make WordPress Core blog and pay special attention to the developers’ notes for updates on those and other changes that could affect your products.

\n\n\n\n

How to Help

\n\n\n\n

Do you speak a language other than English? Help translate WordPress into more than 100 languages!

\n\n\n\n

If you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. We’d love to hear from you!

\n\n\n\n

If you’re comfortable writing a reproducible bug report, file one on WordPress Trac, where you can also find a list of known bugs.

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WordPress 5.5 Beta 3 is now available!

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This software is still in development,so it’s not recommended to run this version on a production site. Consider setting up a test site to play with the new version.

\n\n\n\n

You can test WordPress 5.5 Beta 3 in two ways:

\n\n\n\n\n\n\n\n

WordPress 5.5 is slated for release on August 11th, 2020, and we need your help to get there!

\n\n\n\n

Thank you to all of the contributors who tested the beta 2 development release and gave feedback. Testing for bugs is a critical part of polishing every release and a great way to contribute to WordPress.

\n\n\n\n

Some highlights

\n\n\n\n

Since beta 2, 43 bugs have been fixed. Here are a few changes in beta 3:

\n\n\n\n\n\n\n\n

Developer notes

\n\n\n\n

WordPress 5.5 has lots of refinements to polish the developer experience. To keep up, subscribe to the Make WordPress Core blog and pay special attention to the developers’ notes for updates on those and other changes that could affect your products.

\n\n\n\n

How to Help

\n\n\n\n

Do you speak a language other than English? Help translate WordPress into more than 100 languages!

\n\n\n\n

If you think you’ve found a bug, you can post to the Alpha/Beta area in the support forums. We’d love to hear from you!

\n\n\n\n

If you’re comfortable writing a reproducible bug report, file one on WordPress Trac, where you can also find a list of known bugs.

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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','Catalogue\n\nNew York Observer - Julian Pretto Gallery at Minus Space\n\nAbstract 100\n\nMetro Lights\n\nArts & Humanities News\n\n ','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 \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57th Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56th Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55th  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 53rd 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 4th 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 24th, 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 \r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n \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 \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 \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 MontreuilGregory99@gmail.com  website: GregoryMontreuil.com\r\n\r\n \r\n\r\n \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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 \r\n\r\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n \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 \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 \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 \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n.\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n ','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','Catalogue\r\n\r\nNew York Observer - Julian Pretto Gallery at Minus Space\r\n\r\nAbstract 100\r\n\r\nMetro Lights\r\n\r\nArts & Humanities News\r\n\r\nCrookston Times','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','Catalogue\r\n\r\n ','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 \n\nSOLO & 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 \n\nSELECTED EXHIBITIONS:\n2016  “The 57th Invitational,” Rourke Museum, Moorhead, MN\n2015  “The 56th Invitational,” Rourke Museum, Moorhead, MN\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\n“The 55th  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 53rd 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 \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 4th 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 24th, 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 \n\nRESIDENCIES:\n\n2001 The Wurlitzer Foundation, Taos, NM\n\n \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 \n\n \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 \n\n \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','

Gregory Montreuil

\r\n \r\n\r\n \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 \r\n\r\n \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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 \r\n\r\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n \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 \r\n\r\n \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 \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 \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n.\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n ','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','

Gregory Montreuil

\r\n \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 \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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 \r\n\r\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\r\n\r\n \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 \r\n\r\n \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 \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 \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n.\r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n \r\n\r\n ','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 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17:24:29','',76,'http://gregorymontreuil.com/wp-content/uploads/2016/11/installation-detail-4.jpg',0,'attachment','image/jpeg',0),(83,1,'2016-11-28 18:25:18','2016-11-28 17:25:18','[envira-gallery id=\"58\"]','RECENT 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','Catalogue\r\n\r\nNew York Observer - Julian Pretto Gallery at Minus Space\r\n\r\nAbstract 100\r\n\r\nMetro Lights\r\n\r\nArts & Humanities News\r\n\r\nCrookston Times','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','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\r\n\r\n \r\n\r\nArtist Statement  Gregory Montreuil 2017\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 \r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\nSOLO & 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\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\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\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\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 \n\nArtist Statement  Gregory Montreuil 2017\n\n \n\n \n\n \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 \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 \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 \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 \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 \n\nEDUCATION:\n\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\nArt Education\n\nSOLO & TWO PERSON EXHIBITIONS:\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\nSELECTED EXHIBITIONS\n\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\n\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\n\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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\nRESIDENCIES\n\n2001 The Wurlitzer Foundation Taos, NM\n\nCOLLECTIONS\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\nART INSTRUCTOR\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','

Gregory Montreuil

\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 \r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\nSOLO & 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\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\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\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\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','

Artist Statement  Gregory Montreuil 2017

\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 \r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\nSOLO & 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\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\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\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\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','

Artist Statement  Gregory Montreuil 2011

\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 \r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\nSOLO & 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\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\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\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\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','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\r\n\r\n \r\n\r\nArtist Statement  Gregory Montreuil 2017\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 \r\n\r\nEDUCATION:\r\n\r\nBachelor of Science Degree, Cum Laude, University of Minnesota, Moorhead, MN\r\nArt Education\r\n\r\nSOLO & 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\nSELECTED EXHIBITIONS\r\n\r\n2015 The 56th Invitational, Rourke Museum, Moorhead, MN\r\n\r\n2014 “Le Show Des Amis” Showroom Gowanus, Brooklyn, NY\r\n\r\nThe 55th 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 53rd 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, 24th 2010 “Black and White & 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\nRESIDENCIES\r\n\r\n2001 The Wurlitzer Foundation Taos, NM\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\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\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','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\r\n\r\n ','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','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\r\n\r\n ','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\nRecent Work: was created between 2014 until present\r\n\r\nBlack & White: pieces were created between 2002-2014\r\n\r\nWorks on Paper: span 1995 until present\r\n\r\nInstallations: were done in 2005 and 2014\r\n\r\nGreatest Hits: 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 \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57th Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56th Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55th  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 53rd 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 4th 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 24th, 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 \r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n \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 \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 \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 \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57th Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56th Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55th  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 53rd 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 \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 4th 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 24th, 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 \r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n \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 \r\n \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 \r\n\r\n \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',' \r\n\r\n \r\n

Download UNTIL NOW catalog

','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',' \r\n\r\n \r\n

Download UNTIL NOW catalog

','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',' \r\n\r\n \r\n\r\nDownload UNTIL NOW catalog','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','Artist Statement  Gregory Montreuil 2017\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 \r\n\r\nSOLO & 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 \r\n\r\nSELECTED EXHIBITIONS:\r\n2016  “The 57th Invitational,” Rourke Museum, Moorhead, MN\r\n2015  “The 56th Invitational,” Rourke Museum, Moorhead, MN\r\n2014  “Le Show Des Amis,” Showroom Gowanus, Brooklyn, NY\r\n“The 55th  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 53rd 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 4th 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 24th, 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 \r\n\r\nRESIDENCIES:\r\n2001 The Wurlitzer Foundation, Taos, NM\r\n\r\n \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 \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 \r\n\r\n \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 ','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.” 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. 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