My Headless Nude from Met and Red Haired Evy from Fractured Memory on display at Evanston Art Center

This image that combines a memory portrait of a family friend crushed by history with a headless nude from the Met is included in

Presence and Absence: The Space Between | Curated by Indira Frietas Johnson

is on display

On view July 6 - August 2, 2026, Opening Reception Sunday, July 12, 2026, 1-4 pm

Three plein-air drawings on display in 'America the Beautiful' at the Jewish Cultural Center of Chattanooga

Organized by Ann Treadwell and with a tip from Diana Kurz, txs Diana! three framed plein-air drawings from the teens, Our Drummer Boy from Green-Wood Cemetery, first Broolyn Civil War fatality, Captain America from Industry City and Mother and Child from Brooklyn WWII memorial in Cadman Park, Brooklyn are on display from Mid June until August 14th..txs to all!

One of my ghost canvases accompanies a poem by Grace Lynn in Peatsmoke Journal

txs to Grace and to Brittney Claytor, the web editor

'Persistent Effigies' in March 2026 issue of Blood&Honey Literary Magazine

This is my Dyker Heights Mashed head screwed to a board and seem from the side txs to the editors for this evocative layout of my latest works This is my Dyker Heights Mashed head screwed to a board and seem from the side

Democracy Jenga at Puffin Brooklyn

Thrilled to participate in Democracy Jenga, the second exhibition at Puffin Brooklyn
https://www.puffinfoundation.org/brooklyn/
curated by Ingrid Butterer

/

Framed canvases included in Kunstram's "Social Geographies" curated by Katelynn Dunn, Sept. 2024

from KateLynn Dunn curator

Howard Skrill makes drawings and paintings that have followed the narrative of public monuments and their global eradication, bringing into visibility the haunting aspects of public memory over time. As the stage and context for the monuments shifts from the past, the collective contingency questions the racist and imperialist logic of statues constructed and put on view by the oppressive ruling class. Skrill's drawings and paintings depict a disruption in time and identity. Through the presence and absence of the monuments, public memory is inalienable to the private memory that laid dormant before it.

Chaotic Memory in the Rome Sentinel

https://www.romesentinel.com/ce/kirkland-art-center-hosts-chaotic-memory-exhibit-clinton/article_2f545f52-f81e-11ee-8be3-9b84ddc6eae4.html

Monumental Follies in River Styx

Txs to Christa Fraser and the folks at River Styx for featuring "Monumental Follies" in their March to June issue of their journal

Chaotic Memory at Kirkland Art Center, Clinton, NY from April 20-May 25th (with Stephen Aifegha)

Txs to Anita Welych, Kelso Mayo and the folks at the Kirkland Art Center for hosting an exhibition of over twenty five works from the Anna Pierrepont Series and my artist talk, 'Monumental Ghosts'

Works from my Portsmouth series from 2023's summer residency at Kunstram Brooklyn on display

I am thrilled to announce that two works from my latest series of images focusing on the taking down of a Confederate soldiers' memorial in Portsmouth, Virginia are on display at Kunstram in Brooklyn in September, 2023.

The works were selected by Christina Massey in an exhibition entitled 'Memory Mirage' that also includes other Kunstram residents and member artists.

Recent works featured in Soup Can Magazine (hard copy) issue ten (thanks to Chris Rockwell and Amanda Stewart) and congrats to the other contributors

Attended the awesome launch party with spoken word by issue 10 contributors and live music at Belmar Arts Center on the Jersey Shore! txs to all

Whitewash: Robert E. Lee and the New Iconoclasm published [Jugaad's Project Spring 2023 issue]

Jugaad's Project Spring 2023 issue [https://www.thejugaadproject.pub/home/whitewash]

I am grateful to Urmila Mohan and Emily Levick for bringing to the public this project that has been in the works for the last three years!

Tent of Reams exhibited at Puertas Adentro Artes in Punta Del Este (Manantiales), Uruguay (December 2022 in person!)

In Fall 2022, I participated in my second round of a virtual residency at Mango (Rio) under the direction of the redoubtable Maria Mercedes Aliaga Pueyrredon (we call her Mechi) and a former colleague from Uruguay from my first Mango residency Maria Soldano who arranged the exhibition in Punta Del Este. These Mango residency exhibitions are a challenge since our roster of participations in the residency that engages artists as widely distributed as Abu Dhabi, Mexico, Argentina, Uruguay, Texas, NYC and Benares, India. In the first of my Mango residencies in Summer 2020, the group settled on theme of language as a common thread, this time, metamorphosis. Tent of Reams was created as the last work of the 2022 residency that lasted for six works and that culminated in an open studio. I kept the emphasis on language that resulted in pieces after the residencies such as Lee(Amerikkka) and added the indeterminacy of metamorphosis, thus transforming figures, settings, text etc. in a representation of an Occupy protest where an equestrian monument was mounted by protesters and draped with a ‘Tent of Reams’. Txs, Mechi and Maria and all those associated with Punta Del Este Artes and Punta Planos that printed a digital version of Tent of Reams. The exhibition is up until the end of 2022 and can be viewed on a variety of Inst sites.

Puffin Grant Awarded

Thank you to the fine folks at the social justice not for profit Puffin Foundation, who sent an award for the continuation of the Anna Pierrepont Series in November 2022. Receiving an award to continue my practice of investigating the afterlife of public monuments in this extraordinary moment of New American Iconoclasm is so encouraging!

Lee (Amerikkka) featured at SECAC 2022 in Baltimore.

At a panel discussing public art and systematic racism hosted by Jason Brown (UTenn, Knoxville), myself (St.Francis College), Rebecca Hackemann-Bahlman (Kansas State), Billy Friebele (Loyola) and Meredith Drum (remotely from Virginia Tech) presented and discussed with engaged participants, the current state of the monumental landscape.

I traced the Anna Pierrepont Series from its hyperlocal origins in plein-air drawings on paper mostly in Brooklyn and Manhattan.

The series then turned its focus on erasure in pictorial essays and eventually to my current large scale studio works on paper documenting our singular moment of monumental reckoning.

I detailed my increased interest in plein-air works on the wear and inscriptions that emerged as lyrical tracery in numerous works on paper such as

pictures increasingly the absence of the monument to J. Marion Sims (plein-air) from 2018 that like the Sims absence, featured the bases of political and funerary monuments.

This practice enabled me to draw out the red 'AmeriKKKa' from the rest of the numerous markings on the Lee as part of the 2020 protests.

This orchestration enabled the word to speak to the legacy of violence celebrated by the Lee and in equestrian monuments in general.

Since the Lee and its inquisition in Amerikkka are no longer extant, the word testifies about the contemporary speaking back in grief and defiance to the legacy and persistence of injustice so embodied by the enormous and no longer extant Lee. The words 'Amerikkka' being lost along with it.

So what remains is my work on paper Lee(AmeriKKKa) as a totem.

Thanks to Jason, Rebecca, Meredith, Billy, our awesome colleagues at a provocative session and conference.

Works from the Anna Pierrepont Series featured in the 2022 Gowanus Open Studios at King Killer Studios, 10-15,15, 2022 (12-6) at 69 2nd ave. Brooklyn

Thanks all those who visited our open studio this Saturday and will be visiting us today, 10-16-22!

Chino Castañeros interviews Howard Skrill (works featured) in New Reader Magazine

New Reader Magazine June 2022 issue

Works from Anna Pierrepont Series included in 'Who Writes History' at ArtsWestchester until July 2022

Thanks to the curators and installers at ArtsWestchester for featuring works from the Anna Pierrepont Series in 'Who Writes History?'

I include the guest curator, Randy Williams' comments on my work that was installed.

We are confronted with public monuments daily. We view some with committed visions and some with omitted visions. Howard Skrill's plein-air monuments drawing is a record of an aesthetic souvenir altered by public sentiments. His drawing acknowledges both the monument and community members' feelings about the monument. The artist illustrates how the public can create a conversation with public monuments. There is certainly the view that the monument is being defaced, but there is also an argument that the act of public response is a statement of empowerment. Howard Skrill's Plein-Air Drawing of a Monument teeters on ambiguity. He recognizes both the historical object as well as the contemporary response to the historical monument. He offers his viewer a lens through which to view this object from the past in discussion with voices from the present. The contemporary musings by the public have added a new chapter to the story of this monument.

Please click here to see the beautiful catalog

Works from the Anna Pierrepont Series in 'Color Recall' at St. Joseph's College, Brooklyn

Thanks to Dan McDonald of the Park Slope Windsor Terrace Artist group who selected two works on paper for inclusion in this beautiful exhibition!

https://www.sjcny.edu/about/news-events/events/item/9227

Solo exhibition at Holy Art (London), an award for group show (https://www.theholyart.com/howard-skrill)