Brant / Brennan / Zinsser, June 4 – July 2, 2016
Michael Brennan: Grey Razor Paintings, January 10 – February 15, 2014
Escape from New York, The Engine Room, Massey University, Wellington, New Zealand, April 22 – May 8, 2010
Escape from New York, Project Space Spare Room, RMIT University, Melbourne, Australia, May 8-29, 2009
Minus Space, P.S.1 Contemporary Art Center / MoMA, NYC, October 19, 2008 – May 4, 2009
Escape from New York, Sydney Non Objective, Sydney, Australia, August 3 – September 2, 2007
Michael Brennan: Knife Paintings, December 2006

Michael Brennan (b.1965, Pine Island, FL; lives Brooklyn, NY) has exhibited his work nationally and internationally for the past two decades, including in the United States, Mexico, Belgium, Germany, Australia, and New Zealand. His paintings and works on paper have been reviewed in publications, including The New York Times, Art in America, ARTnews, Art New England, The Brooklyn Rail, ArtNet Magazine, and NY Arts. His writings and reviews have been published by The Brooklyn Rail, ArtNet Magazine, The Village Voice, The Architect’s Newspaper, American Abstract Artists, and Archives of American Art/Smithsonian Institution, among others.

Brennan’s work is included in collections, such as the Baltimore Museum of Art, National Gallery of Art, San Francisco Museum of Modern Art, San Jose Museum of Art, American Express, General Dynamics, Daimler AG, and Sony Corporation. Brennan holds an MFA from Pratt Institute, Brooklyn, NY, and a BA from the University of Florida. He is currently Adjunct Assistant Professor at Pratt Institute and has also taught at the School of Visual Arts, Hunter College, and Cooper Union in NYC.

“I went to the movies as often as I could. A few films were now coming out in glorious Technicolor, but these seemed paradoxically pallid beside black-and-white. This had nothing to do with their content. Their shadows had no mystery. In fact, they had no shadows. Color had diminished them; they had lost the quality of dream. Movies were going in the wrong direction, from silent to sound, from black-and-white to color. It should have been the other way around, it should have become simpler rather than more complex.”
–Walter Bernstein from Inside Out: A Memoir of the Blacklist, 1996.

“I paint just as I write. To discover, to rediscover myself, to find what is truly mine, that which, unbeknown to me, has always belonged to me. To experience at once the surprise of it and the pleasure of recognizing it. To bring forth or bear witness to the appearance of a certain vagueness, a certain aura, where others would, or do, see fullness. To render an impression of ‘presence’ everywhere, to reveal (and first and foremost to myself), the tangles, the chaotic movement, the extreme ‘liveliness of I know not what’ which stirs in my remotest being and seeks a foothold on the shore. […]”
–Henri Michaux from Moments of Vision, 1959.

Betwixt: Michael Brennan, by Brent Hallard, Visual Discrepancies, June 19, 2012
Interview with Michael Brennan, by Jacob Gossett, Kollektiv magazine, 2009
Neighborhood Beat: Profile on MINUS SPACE & Michael Brennan, BCAT / Brooklyn Community Access Television