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LA's Megan Mulrooney Opens Its Doors

"Real estate is tough in LA," she explained recently, acknowledging the challenges while emphasizing her commitment to the artists and community she’d worked with for years. "I felt a responsibility to preserve what I had built that wasn't mired in scandal. I had created something great here — my kid goes to school down the road, I live fifteen minutes away. This is my home.” 

 

 

Two of the galleries are reserved for solo shows, while the third serves as a curated collection, where an artist handpicks favorite works from their peers. For the solos, Mulrooney emphasized the importance of creating intergenerational connections, featuring 22-year-old painter Piper Bangs and 45-year-old Marin Majić.

Piper Bangs, "Fruiting Body," 2024. Courtesy of Megan Mulrooney Gallery.

In Bangs’ "Fruiting Body", you’re invited into a dreamy world where droopy pears roam between forest floors and clouds, waiting for the sun to pierce through. In Marin Majić's "Dawning", technicolor and marble dust glow on drawings of nightclubs, speedboats, and early morning plane rides.

 

"The exhibitions speak to each other," Mulrooney said. "[Both artists] have a world-building process that teaches us their way of seeing."

Marin Majić, "Dawning," 2024. Courtesy of Megan Mulrooney Gallery.

Meanwhile, "Saints and Poets", curated by artist Jon Pylypchuk, sparks its own conversation. "I love this idea of finding out what makes [an artist] tick," Mulrooney shared. "Who are they looking at, who did they go to school with, who is in their circle of artists? In the 16th or 17th century, you’d see these groups of artists referred to as a ‘School.’ 'Saints and Poets' is like the School of Jon Pylypchuk."

 

In Jon's "school", playful characters made of bronze-casted balaclavas spring to life, and a sculpture of entangled, human-shaped cotton feels so intimate you shouldn't be looking. (I kept looking.)

 

"I want you to feel good about what you saw," Mulrooney said. " Maybe you didn't like it, maybe you loved it, but you're still like, ‘Wow, this has been interesting.’"

Jon Pylypchuk, "Saints and Poets," 2024. Courtesy of Megan Mulrooney Gallery.

In the coming months, the gallery plans to showcase other former-Mier artists before transitioning to a "substantially different" roster. "It was only natural for me to call upon the artists I've worked with before," Mulrooney reflected. "They are people I know and support, and I’ve seen their art and careers grow." 

 

Her voice carried a sense of gratitude as she showed me around the galleries, pointing out hidden details — minute brushstrokes, delicate chiseling. Their work spoke to her, taught her things, meant more to her than what was left on. "I feel so honored that so many of the artists have trusted me to move forward and keep presenting their work," she said. "A lot of good has come out of this. I'm taking a space from my past and making it my own. As I grow and differentiate myself from where I [previously] worked, it's important for me to build my own voice."

 

She laughed, adding, "It's a coming-of-age story, a little bit, which is kind of ridiculous – but here we are.”

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