Michael Paul Oman-Reagan (born 1976) is an American post-minimal conceptual artist and curator.
Oman-Reagan is known for his work around socio-cultural and anthropological themes.[1] His most acclaimed series has been his "Communication Project," where Oman-Reagan communicated with gallerists, art institutions and dedicated cultural spaces through the installation of art objects on or near their buildings.
Born in Columbia, Missouri, Oman-Reagan's parents moved the family to Baker City, Oregon, when he was five years old. Oman-Reagan is a descendant of Angelina Morgan, relative of Henry Morgan through the Oman family of the Orkney Islands. Notable Omans include Charles Oman and Oman-Reagan's grandfather, the entomologist Paul W. Oman.
Following studies at Reed College in Portland, Oregon, he lived and worked in Park City, Utah, Pocatello, Idaho, Paris, France and Nantucket, Massachusetts.
He has mentioned his participation in the realization of a Sol LeWitt wall drawing as a strong early influence on his work. Oman-Reagan founded Field (Field Gallery) in Portland, Oregon, and as the founder and curator of a gallery for emerging contemporary art, he was part of Portland’s millennial art renaissance.
The artist currently lives and works in New York City. His "Communication Project" has included installations in the public space surrounding or inside galleries, institutions and art neighborhoods including PDX Contemporary Art, Portland Institute for Contemporary Art, Portland Art Museum, Chelsea, The New Museum, Museum of Modern Art, Whitney Museum of American Art, Solomon R. Guggenheim Museum, Palais de Tokyo, Art Chicago and Art|Basel.
"The art-world is rife with politicking. Ostensibly curators engage in acts of selection for the welfare of the artist. The act of selection, however, often creates a transformative rather than a transactional relationship between artist and exhibition space. A curator should be a conduit for democratic dialogue, not a "decider". -Michael Paul Oman-Reagan [2]
"He and I talk[ed] about anthropology, Gerhard Richter and the question of whether artists should strive for a recognizable style (I say yes; he says no)." - Author Richard Speer[3]
"“This is by Michael Oman-Reagan,” Engelman says. She sums up the work’s appeal: “It’s part of the quietness of fluorescence.” There’s another in the main hallway of her home. People would walk by it and walk by it and all of a sudden notice it, probably because of the way the light was shining and it would glow a little bit. And once you notice it you never could walk by that wall without seeing that stick. That to me is fascinating, the impact it has." - Collector Sylvia Engelman[4]