Julie Mehretu (born November 28, 1970) is an Ethiopian American contemporary visual artist, known for her multi-layered paintings of abstracted landscapes on a large scale. Her paintings, drawings, and prints depict the cumulative effects of urban sociopolitical changes.
Early life and education Mehretu was born in Addis Ababa, Ethiopia, in 1970, the first child of an Ethiopian college professor of geography and a Jewish American Montessori teacher. They fled the country in 1977 to escape political turmoil and moved to East Lansing, Michigan, for her father's teaching position in economic geography at Michigan State University.Calvin Tomkins (March 29, 2010). "Big Art, Big Money: Julie Mehretu's Mural for Goldman Sachs". The New Yorker. Retrieved August 4, 2017.
A graduate of East Lansing High School, Mehretu received a Bachelor of Arts degree from Kalamazoo College in Kalamazoo, Michigan, and did a junior year abroad at Cheikh Anta Diop University (UCAD) in Dakar, Senegal, then attended the Rhode Island School of Design in Providence, Rhode Island, where she earned a Master of Fine Arts degree in 1997. She was chosen for the CORE program at the Museum of Fine Arts in Houston, a residency that provided a studio, a stipend, and an exhibition at the museum.Calvin Tomkins (March 22, 2010), "Big Art, Big Money", The New Yorker.
Art career
Mehretu's canvases incorporate elements from technical drawings of various urban buildings and linear illustrations of urban efficiency, including city grids and weather charts. The pieces do not contain any formal, consistent sense of depth, instead utilizing multiple points of view and perspective ratios to construct flattened re-imaginings of city life.Julie Mehretu White Cube, London. Her drawings are similar to her paintings, with many layers forming complex, abstracted images of social interaction on a global scale.Julie Mehretu — New Drawings, February 1 – March 16, 2008 Kresge Art Museum, Michigan State University. The relatively smaller-scale drawings are opportunities for exploration made during the time between paintings.
In 2002, Mehretu said of her work:
Emperial Construction, Istanbul (2004) exemplifies Mehretu's use of layers in a city's history. Arabic lettering and forms that reference Arabic script scatter around the canvas. In Stadia I, II, and III (2004) Mehretu conveys the cultural importance of the stadium through marks and layers of flat shape. Each Stadia contains an architectural outline of a stadium, abstracted flags of the world, and references to corporate logos. Mogamma: A Painting in Four Parts (2012), the collective name for four monumental canvases that were included in dOCUMENTA (13), relates to 'Al-Mogamma', the name of the all purpose government building in Tahrir Square, Cairo, which was both instrumental in the 2011 revolution and architecturally symptomatic of Egypt's post-colonial past. The word 'Mogamma', however, means 'collective' in Arabic and historically, has been used to refer to a place that shares a mosque, a synagogue and a church and is a place of multi faith.Julie Mehretu: Liminal Squared, 1 May – 7 July 2013 White Cube, London. A later work, The Round City, Hatshepsut (2013) contains architectural traces of Baghdad, Iraq, itself – its title referring to the historical name given to the city in ancient maps. Another painting, Insile (2013) built up from a photo image of Believers' Palace amid civilian buildings, activates its surface with painterly ink gestures, blurring and effacing the ruins beneath.Julie Mehretu: Liminal Squared, May 11 – June 22, 2013 Marian Goodman Gallery, New York.
In 2007, the investment bank Goldman Sachs gave Mehretu a $5 million commission for a lobby mural. The resulting work Mural was the size of a tennis court and consisted of overlaid financial maps, architectural drawings of financial institutions, and references to works by other artists. Calvin Tomkins of the New Yorker called it "the most ambitious painting I've seen in a dozen years", and another commentator described it as "one of the largest and most successful public art works in recent times".
While best known for large-scale abstract paintings, Mehretu has experimented with prints since graduate school at the Rhode Island School of Design, where she was enrolled in the painting and printmaking program in the mid-1990s. Her exploration of printmaking began with etching. She has completed collaborative projects at professional printmaking studios across America, among them Highpoint Editions in Minneapolis, Crown Point Press in San Francisco, Gemini G.E.L. in Los Angeles, and Derrière L'Étoile Studios and Burnet Editions in New York City.The Frances Lehman Loeb Art Center presents the exhibition "Excavations: The Prints of Julie Mehretu," April 13 – June 17, 2012 Frances Lehman Loeb Art Center at Vassar College, Poughkeepsie.
Mehretu was a resident of the CORE Program, Glassell School of Art, Museum of Fine Arts, Houston, (1997–98) and the Artist-in-Residence Program at the Studio Museum in Harlem (2001)."Julie Mehretu", PBS Art in the Twenty-First Century, season 5 (2009), Systems. During a residency at the Walker Art Center, Minneapolis, in 2003, she worked with thirty high school girls from East Africa. In the spring of 2007 she was the Guna S. Mundheim Visual Arts Fellow at the American Academy in Berlin.Fellow: Julie Mehretu American Academy in Berlin, Berlin. Later that year, she led a monthlong residency program with 40 art students from Detroit public high schools.Hilarie M. Sheets (November 11, 2007), "Industrial Strength in the Motor City", The New York Times.
During her residency in Berlin, Mehretu was commissioned to create seven paintings by the Deutsche Guggenheim; titled Grey Area (2008–2009), the series explores the urban landscape of Berlin as a historical site of generation and destruction. The painting Vanescere (2007), a black-and-white composition that depicts what appears to be a maelstrom of ink and acrylic marks, some of which are sanded away on the surface of the linen support, propelled a layering process of subtraction in the Grey Area series. Parts of Fragment (2008–09) and Middle Grey (2007–09) feature this erasing technique. Another in the series that was painted in Berlin, Berliner Plätze (2008–09), holds a phantom presence of overlapped outlines of nineteenth-century German buildings that float as a translucent mass in the frame. The art historian Sue Scott has this to say of the Grey Area series: "In these somber, simplified tonal paintings, many of which were based on the facades of beautiful nineteenth-century buildings destroyed in World War II, one gets the sense of buildings in the process of disappearing, much like the history of the city she was depicting." As Mehretu explains in Ocula Magazine, "The whole idea of 20th-century progress and ideas of futurity and modernity have been shattered, in a way. All of this is what is informing how I am trying to think about space."
In 2017, Mehretu collaborated with jazz musician and interdisciplinary artist Jason Moran to create MASS (HOWL, eon)]."MASS (HOWL, eon)", 2017 Performa Archive Presented at Harlem Parish as part of the Performa 17 biennial, MASS (HOWL, eon) took the audience on an intensive tour of Mehretu's canvas while musicians played the composition by Moran.
Mehrhtu's first work in painted glass was installed in 2024. The tall artwork, Uprising of the Sun, is inspired by a quote from Barack Obama delivered in a speech at a memorial ceremony for the civil-rights-era Selma marches. It was installed as a window in the museum tower of the Barack Obama Presidential Center.
Mehretu is a member of the Artists Committee of Americans for the Arts.Artists Committee Americans for the Arts.
Mehretu has created the 20th BMW art car (BMW M Hybrid V8) in 2024.. The car bore the number 20 for the 24h of Le Mans in 2024 and crashed early in the race. It was repaired overnight and finished.
Recognition
In 2000, Mehretu was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. She was the recipient of the 2001 Penny McCall Award and one of the 2005 recipients of the MacArthur Fellowship, often referred to as the "genius grant."
In 2013, Mehretu was awarded the Barnett and Annalee Newman Award, and in 2015, she received the US Department of State Medal of Arts from Secretary of State John Kerry. In 2020, Time magazine included Mehretu in its list of the 100 most influential people.Tessa Solomon (September 23, 2020), "Artists Patrisse Cullors, Julie Mehretu, and Tourmaline Make 'Time 100' List", ARTnews. In 2023, German automaker BMW selected Mehretu to paint its annual "art car" for entry at the 24 Hours of Le Mans race.
Art critic for The Australian newspaper Christopher Allen described Mehretu's work as "the last feeble gasp of an overhyped and exhausted New York art market".
Mehretu is included in Times 100 Most Influential People of 2020. The following year, The New York Times described her as a "rare example of a contemporary Black female painter who has already entered the canon."
In 2023, she was one of two women artists whose work was among the top ten in contemporary auction sale price.
Mehretu currently serves on the Board of Trustees at the Whitney Museum of American Art.
Notable works in public collections
Blue Field (1997), Museum of Fine Arts, Houston Babel Unleashed (2001), Walker Art Center, Minneapolis Retopistics: A Renegade Excavation (2001), Crystal Bridges Museum of American Art, Bentonville, Arkansas Congress (2003), The Broad, Los Angeles Empirical Construction, Istanbul (2003), Museum of Modern Art, New York Entropia (review) (2004), Brooklyn Museum, New York Stadia I (2004), San Francisco Museum of Modern Art Stadia II (2004), Carnegie Museum of Art, Pittsburgh Stadia III (2004), Virginia Museum of Fine Arts, Richmond Local Calm (2005), The San Diego Museum of Art Atlantic Wall (2008-2009), Solomon R. Guggenheim Museum, New York Mural (2009), 200 West Street, New York City Auguries (2010), The Broad, Los Angeles and National Museum of African Art, Smithsonian Institution, Washington, D.C. Untitled (2011), Studio Museum in Harlem, New York Mogamma, A Painting in Four Parts: Part 3 (2012), Tate, London Mogamma, A Painting in Four Parts: Part 4 (2012), Museum of Fine Arts, Houston Cairo (2013), The Broad, Los Angeles Invisible Sun (algorithm 5, second letter form) (2014), Museum of Modern Art, New York Myriads, Only by Dark (2014), National Gallery of Art, Washington, D.C.; and Pérez Art Museum Miami A Love Supreme (2014-2018), Art Institute of Chicago Hineni (E. 3:4) (Me voici) (2018), Centre Pompidou, Paris Haka (and Riot) (2019), Los Angeles County Museum of Art Conversion (S.M. del Popolo/after C.) (2019-2020), Metropolitan Museum of Art, New York
In 2016, the San Francisco Museum of Modern Art commissioned Mehretu to create a diptych, with each massive painting flanking the staircase in the atrium which is accessible and free to the public. HOWL, eon (I, II) (2016-2017) was first exhibited to the public on September 2, 2017. To facilitate the creation of the scale of the diptych, Mehretu used a decommissioned church in Harlem as her studio to create. Throughout the creation of her piece, she collaborated with jazz pianist Jason Moran. HOWL, eon (I, II) is a political commentary on the history of the western United States' landscape, including the San Francisco Bay Area. The foundation of each work contains digitally abstracted photos from recent race riots, street protests, and nineteenth-century images of the American West.
Exhibitions