Adam Milner: Desirable Objects

David B. Smith Gallery

June 16 - July 15 extended through July 22, 2017

  • Opening reception: Friday, June 16th, from 6 - 8pm; Free and open to the public / Artist in attendance
  • In the project room: Cabinet, Curated by Adam Milner
  • Exhibition hours for Cabinet: 2 - 4pm and by appointment; There is a limit of three visitors at a time
Adam Milner, Various Documents (November 30, 2015), 2010-2017 (ongoing), digital photographic archive

I once had sex with someone and our skin never touched. Even so, bodies are porous things, seeping into each other, leaving traces behind. Inside and outside, what’s mine and what’s yours, where I begin and end; these are confusing distinctions that break down the more they’re interrogated. -Adam Milner, 2017

David B. Smith Gallery
1543 A Wazee Street
Denver, CO, 80202


David B. Smith Gallery is proud to present Adam Milner’s first solo exhibition in the main gallery, Desirable Objects. With works that contemplate corporeality and shared space between bodies, Milner uses blood, flowers, hair, belly button lint, and false eyelashes to close gaps between natural and artificial, human and non-human, inside and outside.

The works, comprised of rigorously collected and mined material from himself, friends, strangers, and other living things, collectively ask questions about who or what has a body and how those bodies are organized or collected. The acquisition of many of these materials hinges on complicated social contracts and negotiations, exchanges the artist has chosen to not overtly publish within the exhibition. We see many first names: Fred, Jenn, Andy, and thus are let into Milner’s personal relationships, but kept at a distance.

Featured in the exhibition are several works which showcase pressed flowers from the artist’s walks through the city, interspersed with his own eyelashes. These delicate artifacts, resting comfortably in shallow paper cradles, suggest parallels between the human body and that of a flower. Natural history preservation and display methods are conflated with a personal archive of memories and objects, complicating hierarchies of how and why we save things.

Other personal mementos are embedded in Lunar Regolith Bricks, a new technology NASA is formulating as a way to create concrete on the Moon. While creating these works Milner wonders, “What is more desirable than the moon?” By focusing on the moon, an object which is constantly sought after – by technologists, world leaders, even romantic couples – and pairing that image with the body, Milner’s perspective reveals itself as somewhere between the deeply intimate and the distant or out of reach. Distance is collapsed and ideas of closeness get messy.

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