EXHIBITIONS
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Ambitious! _ Group Exhibition
January 2, 2023 – January 28, 2023
Michael Warren Contemporary - Denver, CO
Installation image: works (l-r) Brian Shields, Troy Hill, Eden Keil, Jody Guralnick, Jay Phillips, Pamela Joseph
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“EXPLOSIVE ABSTRACTION” _ Group Exhibition
January 24, – August 27, 2022
The Wright Contemporary Gallery _ Taos, NM
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Six Feet Apart _ Group Exhibition
May 19, 2020 – June 13, 2020
Michael Warren Contemporary - Denver, CO
Installation image: Far left- Brian Shields, Four Seasons: Summer, 2017,
Brian Shield, Four Seasons: Summer, 2017, Oil on canvas, 99 × 87 × 2 in
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Myths, Lyrics, & Landscapes (Solo Exhibition)
July 16, 2019 – August 31, 2019
Michael Warren Contemporary - Denver, CO
Exhibition View: Left- Bear, Oil and GraPhite on Canvas, 90 x 90 in
Right- Calypso's Cave (diptych), 2019, Mixed media on canvas, 60 × 120 × 2 in
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Acequias & Holy Waters (Group Exhibition)
April 15, 2019 – May 31, 2019
Opening reception: Saturday April 13, 4-7pm
Studio 107B - Taos, NM
Untitled, 2017, Mixed Media on Paper, 91cm x 64cm
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Open Studio _ Los Angeles
November, 2018
Receptions: Saturday, November 17, 5-8 pm & Sunday, November 18, 10 am-3 pm
Bendix Building - Los Angeles, CA
Exhibition Announcement, 2018
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Non-Representational Taos _ (Group Show)
September 22 - November 15, 2018
203 Fine Art, Taos, NM
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Encore Gallery _ (Two Person Show)
October 8, 2018 - November 11, 2018
The Taos Center for the Arts has announced that Dreaming the Land, an exhibit of recent work by Brian Shields and William Stewart, will show at the Encore Gallery from October 8 to November 11, 2018.
TCA - Taos, NM
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Earth Fire and Paint _ (Group Exhibition)
May 12, 2018 – June 16, 2018
Opening reception: Saturday April 13, 4-7pm
Studio 107B - Taos, NM
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MWC Presents! _ Group Exhibition
May 1, 2023 – June 1, 2018
Michael Warren Contemporary - Denver, CO
Exhibition View: Right- Four Seasons: Spring, 2017, Oil on canvas, 99 × 87 × 2 in
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Lana Turner, #10 -- Journal of Poetry and Opinion (December 2017) -- Features color plates of Odisea and Metamorphosis, as well as three ink images and a review of paintings by Calvin Bedient, Editor.
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Cataluña, 2017 has been chosen for the cover of Dutch Poetry in Translation to be published by The Enchanted Verses Literary Review (December, 2017)
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Brian Shields, Hank Saxe and Dora Dillistone discuss their work with Curator and film maker Jina Brenneman at the Philip Bareiss Gallery in Taos, New Mexico on September 24, 2017
Philip Bareiss Gallery Installation -- Brian Shields paintings with Hank Saxe sculptures
Brian shows recent paintings at the Philip Bareiss Gallery.
The critic Calvin Bedient has said of Shields’ paintings, “they give the illusion of an eternal way of seeing landscape as poetry. Shields sides with transitivity and marginality, with weeds against gardens. He has a positive, Thoreauvian feeling for wilderness.” Scale is important to Shields’ work -- from large 8ft paintings on canvas to small works on paper -- often combining oil, ink and graphite. Shields’ visual language includes the writing of the poet Sawnie Morris and is a coupling of energy and emotion in pursuit of discovery.
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Autumn, 2017 is the cover of The Enchanted Verses Literary Review, issue XXIII (August, 2017)
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Radio Interview: BrianInterview.mp3
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LANA TURNER #9 -- A Journal of Poetry and Opinion
Paintings by Brian Shields are on the front and back covers of Lana Turner #9 -- as well as 10 black and white images on the inside.
LANA TURNER #8 -- A Journal of Poetry and Opinion
A detail of a Brian Shields painting is on the front cover of Lana Turner #8 (LanaTurner#8_Cover ).
Lana Turner #8 also features an article by Brian entitled J.M.W. Turner, Why Now?
LANA TURNER #7 -- A Journal of Poetry and Opinion
Excerpts from Two Artists by Calvin Bedient
The paintings of Brian Shields are, in Barthes’ word, idiorhythmic, that is to say a joy of flexible, free, mobile rhythms, quasi-transitory; they are liberated from power-rhythms, those imposed on life, time, maps, speech... In its wiry, sublimely democratic spread and delicate hoverings between real and fantastic shapes, “Los Vientos” is a new thing in art. At the same time, it is independent of this or any particular period. It gives the illusion of an eternal way of seeing landscape as poetry.
... this painter’s approach to figuration, if more forthright than that of his beloved Joan Mitchell, is nonetheless skittish, approximate, imperfect, a fantastic development of ”realism”...
...Shields sides with transitivity and marginality: with weeds against gardens, mesas against towns, fluencies against frozen landscapes. He has a positive, Thoreauvian feeling for wilderness. The packed, static scene in Polar Requiem comments prophetically on environmental disaster: here the natural world has lost its rhuthmos, its “swing”; idiorhythm has been cubed and iced out of it.