Author Archives: Eleanor

Anna Mirzayan writes about ‘The Soft State of Custodia’

This September, Barbara Weissberger and I had a show at Bunker Projects in Pittsburgh. It was a continuation of our ongoing “Custodia” series, and felt very apt during the pandemic due to all its cleaning imagery. We were so pleased that Anna wrote about our work, and also recorded a podcast conversation for Bunker Projects.

Read “Reverent Mundane, questioning kinship and care” by Anna Mirzayan here:

Listen to the podcast on our work here:

Art in America Review

Nashville writer Laura Hutson Hunter wrote a review of my show, Main Squeeze for Art in America. It is on page 111-112 of the June 2019 copy, or you can see it online here. She writes: “Aldrich renders such details lovingly, seeming less a voyeur than an artist interested in elevating the flesh in all its unruliness.”

Nanette (Back with Fence)
24in. x 20in.
Oil, silicone, caulking, found paper, enamel and canvas on panel

Artforum Critic’s Pick!

Eleanor Aldrich, Lawn Chair w/ White Tee Shirt, 2018, oil, caulk, found paper, and canvas on panel, 24 x 30 x 2”.

My show Main Squeeze at Channel to Channel was chosen by Emily Weiner as a Critic’s Pick for Artforum. Emily writes:

“In her canonical 1979 essay Grids, art historian Rosalind Krauss explains that, as a modernist trope, the grid inherently resists representation: “It is what art looks like when it turns its back on nature.” As if in response, Aldrich both embraces and sends up this statement, adopting the form not as an escapist structure but as a screen through which to view—and even pinch or prod—a version of real life.”

Read the rest here:

The Nashville Scene: Amelia Briggs and Eleanor Aldrich Prove That Texture Is Cool

In her feature for the Nashville Scene, Laura Hutson Hunter writes:

“There are two excellent exhibitions currently hanging in Nashville galleries that encapsulate what I like to think of as an ugly-precious aesthetic. The artists — Amelia Briggs and Eleanor Aldrich — are markedly different, and both deserve individual attention and praise. But when viewed together, their work shows an unintentional like-mindedness that elevates them both.”

Read the rest of her feature here:

Eleanor Aldrich, The Reader in a Hammock, 2019; oil, enamel, found decals, and found paper on vinyl, 30 by 24 in.

Main Squeeze Reviewed in Burnaway

From the review by Melinda Baker:

“Silicone makes passable flesh, for instance, and caulking makes decent vinyl lawn chairs. But the crudeness of her renderings is both deliberate and accidental, which allows her to draw attention to the act of making, its subjectivity, and its power. In this way, her images resonate more powerfully than her subject matter, which exists more or less to as a vehicle for material metaphor.”

Follow the link to read more!

Eleanor Aldrich, The Net Hammock, 2019; oil, enamel, silicone, caulking, and found transfers on canvas, 30 by 40 in.

‘Shadyville’ opens Sept. 2 at Channel to Channel

Recent works are on display in Nashville, Tennessee with my studio mate Heather Hartman‘s paintings. Our show, ‘Shadyville’ will be up through October 26 at Channel to Channel in the Wedgwood Houston arts district.

From our joint statement:

Shadyville is a place where atmosphere, light, and shadow obscure the landscape, and faces are always hidden. It is a place of waiting, of gathering, and of things concealed. Though the work of Knoxville-based studio mates Eleanor Aldrich and Heather Hartman is, on the surface, very different, both share a sense of mystery and an interest in material transformation.


Nashville SCENE: Art Crawl Confidential (Review)

The Tennessean: First Saturday Art Crawl: 9 exhibitions you can’t miss in September

Nashville Arts: ‘Shadyville’ in Nashville (Interview)

Number: Interview: Eleanor Aldrich

Locate Arts (listing)

‘Irons in the Fire’ at Cumberland Gap

I have small solo exhibit in the Paul V. Hamilton Center for the Arts at Lincoln Memorial University. The Studio Arts building is in the small town of Cumberland Gap, Tenn., near the national park.

Irons in the Fire opens Aug. 15 and runs through Sept. 29. A reception will be held Sept. 24, and I will be giving an artist talk open to the community at 5:00 pm.

More details at

Eight Artists of the Vacuum Shop Studios

Our studio collective in North Knoxville was featured in one of the final issues of our local independent weekly paper, Knoxville Mercury. Denise Stewart-Sanabria reviewed the work of each artist in a profile of our upcoming show at the Emporium Center on Gay street.

Eight Artists of the Vacuum Shop Studios
is on display at the Emporium Center (100 S. Gay St.) July 7-28. An opening reception will be held on Friday, July 7, from 5 to 9 p.m.

‘A Soft Slouch, A Rigid Splint’

My work will be featured in a group show in Lincoln, Nebraska at Tugboat Gallery with Eric Cagley and Corinna Ray.

Elements of paintings fall out into space, carpets creep up the wall, and book-sized paintings become the heaviest thing in the room. Commonplace objects are removed from their homes to act in painting’s space holding their ground without bearings. Carpet relief carvings exist dislocated from time and thick, rigid paintings leave severed gabs that beg to be treated like an injury. In the work of all three artists, materials are acting exactly as themselves. It’s the perception of depth and illusion that troubles density, tactility, materiality and perspective in the work.

poster for A Soft Slouch, a Rigid Splint
Tugboat creates wonderful original poster art to advertise its shows

‘A Soft Slouch, A Rigid Splint’ will be on view until May 27, with the opening reception held May 5th at Tugboat Gallery.