WANAFOTO: Miles McEnery Gallery

Showing posts with label Miles McEnery Gallery. Show all posts

21/10/25

Wolf Kahn @ Miles McEnery Gallery, NYC - Exhibition Curated by M. Rachael Arauz

Wolf Kahn

Miles McEnery Gallery, New York

30 October - 20 December 2025

Wolf Kahn

Uphill Yellow Field, 2008

Oil on canvas, 52 x 60 inches, 132.1 x 152.4 cm

Miles McEnery Gallery pesents an exhibition of works by Wolf Kahn, curated by M. Rachael Arauz, Ph.D., on view at 520 West 21st Street. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by M. Rachael Arauz.

Wolf Kahn painted the world around him with a reverent devotion. To Kahn, even the most familiar landscapes were a wellspring of limitless inspiration. By returning again and again to idyllic vistas, densely packed woods, and humble barns, he mined the same scenes for meaning, each canvas reflecting the subtle shifts of season or time of day while also satisfying his drive for material exploration. As a master colorist, his palette was not limited to the naturalistic or muted tones of traditional landscape painting; with vibrant oranges, pensive lilacs, and acidic greens, Kahn moved beyond mere representation and captured the complex interplays of himself within these changing surroundings.

M. Rachael Arauz, Ph.D., notes that Kahn’s paintings were “about chromatic experiments, the physicality of mark-making, and the fusion of plein air immediacy with sensory memory as he painted the rural landscape in his urban studio. They are also beautiful paintings of landscapes he knew intimately and properties he cared for. They are not coded critiques of environmental decay, nor are they celebrations of a conquering eye. Kahn’s constructions of landscape, however, direct the viewer to pay attention to what we think we see and to look again at the hidden spaces where disparate elements meet.”

Artist Wolf Kahn

Wolf Kahn (b. 1927 in Stuttgart, Germany) immigrated to the United States by way of England in 1940. In 1945, he graduated from the High School of Music & Art in New York, after which he spent time in the Navy. Under the GI Bill, he studied with renowned teacher and Abstract Expressionist painter Hans Hofmann, later becoming Hofmann’s studio assistant. In 1950, he enrolled in the University of Chicago. He graduated in 1951 with a Bachelor of Arts degree.

After completing his degree in only one year, Wolf Kahn decided to return to being a full-time artist. He and other former Hofmann students established the Hansa Gallery, a cooperative gallery where Kahn had his first solo exhibition. In 1956, he joined the Grace Borgenicht Gallery, where he exhibited regularly until 1995. Wolf Kahn received a Fulbright Scholarship, a John Simon Guggenheim Fellowship, an Award in Art from the Academy of Arts and Letters, and a Medal of Arts from the U.S. State Department.

Wolf Kahn married the artist Emily Mason in 1957. Their marriage lasted sixty-two years until Emily’s death in December 2019, just a few months before his passing. The pair lived and worked between New York City and West Brattleboro, Vermont.

Wolf Kahn regularly exhibited at galleries and museums across North America. His work may be found in the collections of The Metropolitan Museum of Art, New York, NY; the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; the Museum of Fine Arts, Boston, MA; The Hirshhorn Museum and the Smithsonian American Art Museum, Washington, D.C.; and the Los Angeles County Museum of Art, Los Angeles, CA.

Wolf Kahn died in 2020 in New York, at the age of 92.

MILES McENERY GALLERY

520 West 21st Street, New York, NY 10011

www.milesmcenery.com

10/10/25

Esteban Vicente @ Miles McEnery Gallery, NYC - A Survey Exhibition of a member of the first generation of the New York School of Abstract Expressionism

Esteban Vicente

Miles McEnery Gallery, New York

4 September - 25 October 2025

Esteban Vicente

Water Mill, 1963

Oil on linen, 36 x 40 inches

Miles McEnery Gallery presents a focused survey of works by Esteban Vicente. This is the artist’s eighth solo exhibition at the gallery. The exhibition is accompanied by a fully illustrated publication featuring an essay by Daniel Haxall, PhD.

The only Spanish-born member of the first generation of the New York School of Abstract Expressionism, Esteban Vicente was a master colorist. While rooted in the energetic mark-making of Abstract Expressionism, Vicente’s canvases resist bombast or overt drama. He was interested in what he described as the “capacity of color to become light,” and intentionally stripped away “fanciful” brushwork as a means of preserving a pure chromatic landscape, one where the artist’s hand receded. The distinct luminosity of Vicente’s canvases is a testament to the success of his pursuit.

The works on view span four decades of Vicente’s career, from 1960 to 2000. This survey includes the traditional medium of oil painting alongside collages and mixed media pieces, which were integral components of his practice. In particular, collage brought a heightened physicality to his artistic investigations, grounding the ephemeral nature of color in a tactile, constructed surface. It also served as a means of resolving the interplay of form and hue.

Deeply influenced by his natural surrounds, Vicente’s compositions pulse with a radiant sensibility that is less about depicting nature than distilling its essence: the furtive bloom of Spring, the fleeting moments of light before the world moves into evening, or the brooding quiet before a storm. In his canvases and collages, color is both subject and atmosphere, which he transforms into an emotive force that effortlessly stirs memory and sensation.

Artist Esteban Vicente

Esteban Vicente was born in Turégano, Spain in 1903. His father served in the Civil Guard, a police force in the Castile region and was an amateur painter who took the young Vicente with him on visits to the Prado Museum. In 1918, Vicente entered military school, but left after three months. At fifteen years old, Vicente began at the School of Fine Arts of the Real Academia de San Fernando in Madrid. As a young man living in Madrid, Barcelona, and Paris, he developed friendships with artists and writers. In 1928, he had his first exhibition with Juan Bonafé at the Ateneo de Madrid.

Esteban Vicente left Europe for New York City in 1936. The United States became the artist’s permanent home. His contemporaries and associates included Willem de Kooning (their 10th Street studios were on a shared floor), Elaine de Kooning, Jackson Pollock, Mark Rothko, Franz Kline, Barnett Newman, and Ad Reinhardt.

Esteban Vicente spent a good portion of his career teaching. He was among the faculty at Black Mountain College, Black Mountain, NC; the New York Studio School of Drawing, Painting and Sculpture, New York, NY; and the University of California, Berkeley, CA, among other institutions.

His work may be found in important collections and museums such as the Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; the Whitney Museum of American Art, New York, NY; and the Solomon R. Guggenheim Museum, New York, NY, among others.

At the end of his life, the Museo de Arte Contemporáneo Esteban Vicente, a museum in his honor, was opened in Segovia by the Spanish government. Vicente attended the museum’s opening in 1998.

Esteban Vicente died at the age of 97 in 2001 in Bridgehampton, NY, ten days before his 98th birthday. He had a long and prosperous career, living and working with multiple generations of artists and painting well into his 90s.

Miles McEnery Gallery represents the Esteban Vicente Foundation.

MILES McENERY GALLERY

520 West 21st Street, New York, NY 10011

www.milesmcenery.com

07/10/25

Lisa Corinne Davis @ Miles McEnery Gallery, NYC - 'Syllogism' Exhibition

Lisa Corinne Davis

Syllogism

Miles McEnery Gallery, New York

4 September - 25 October 2025

Lisa Corinne Davis

Temporal Terrain, 2025

Oil on canvas, 80 x 60 inches, 203.2 x 152.4 cm

Miles McEnery Gallery presents Syllogism, New York-based artist Lisa Corinne Davis’ second solo exhibition with the gallery. Accompanying the exhibition is a fully illustrated catalogue featuring an essay by Connie H. Choi.

The title of Lisa Corinne Davis’ newest exhibition, Syllogism, hints at her ongoing fascination with how systems of reasoning are woven, as well as how they unravel. In response to this decades-long, epistemic investigation, she has built a distinct visual language of geometric abstraction, which bears resemblance to maps or blueprints. While her compositions carry the visual and historical weight of these codes, she manages to transform them into something altogether new. Her paintings avoid absolutism, and offer multiple paths (both literal and interpretive) for the viewer to follow. Her snaking brushstrokes are fluid in both movement and meaning. In some works, tightly rendered grids hover over sinewy shapes, like scaffolding erected on something wild and living. In others, tectonic plates seem to dislocate beneath the surface, fracturing orderly lines into jagged trajectories, seismically shifting before our eyes. Though, her paintings may seem to sprawl across space in twisting geometries, they are never lost; her hand is steady, and her brushwork exacting, a technical feat for the traditional slippery medium of oil paint.

By disrupting the visual field, Lisa Corinne Davis challenges authoritative notions of didactic interpretation, reminding us that even trusted frameworks of thought are inherently fallible.

As Connie H. Choi notes, “Davis remains true to a core set of principles that drive her painting practice. She follows a ‘both/and’ philosophy, which rejects a binary way of thinking and assumes that multiple elements can be correct at the same time. Her works are several things at once, reflecting the realities of lived experiences where truth is often found lodged among many divisive voices. Davis works through these competing forms, grappling with their presence until her compositions arrive at a resolution that honors them all.”

Artist Lisa Corinne Davis

Lisa Corinne Davis (b. 1958 in Baltimore, MD) received her Bachelor of Fine Arts from Pratt Institute, Brooklyn, NY and her Master of Fine Arts from Hunter College, New York, NY.

Since 1993, Lisa Corinne Davis has held teaching positions at some of the top art schools in the United States; she is currently Professor of Art at Hunter College. Davis is a member of the National Academy of Design, a 2022 Guggenheim Fellow in the Fine Arts, and a 2024 fellowship recipient of the New York Foundation for the Arts/New York State Council on the Arts. Additionally in 2024, Davis was commissioned by the MTA Arts & Design Program to create several permanent mosaic murals for the 68th Street-Hunter College subway station, which is a site of particular resonance for Davis, having taught at Hunter College for over two decades.

She has been the subject of solo exhibitions at Esther Massry Gallery, The College of Saint Rose, Albany, NY; Farmer Family Gallery, The Ohio State University at Lima, Lima, OH; Galerie Gris, Hudson, NY; June Kelly Gallery, New York, NY; Lehman College Art Gallery, Bronx, NY; Longwood Gallery, Bronx Council on the Arts, Bronx, NY; Miles McEnery Gallery, New York, NY; Pamela Salisbury Gallery, Hudson, NY; and Zolla/Lieberman Gallery, Chicago, IL, among others. Davis’ work has been included in institutional group exhibitions at the American Academy of Arts and Letters, New York, NY; The Bronx Museum of the Arts, Bronx, NY; Brooklyn Museum, Brooklyn, NY; Dieu Donné Papermill, New York, NY; Flint Institute of Arts, Flint, MI; Frances Young Tang Teaching Museum, Saratoga Springs, NY; Milton Resnick and Pat Passlof Foundation, New York, NY; Montclair Art Museum, Montclair, NJ; National Museum of Women in the Arts, Washington, D.C.; Neuberger Museum of Art, Purchase, NY; New York Studio School, New York, NY; Oakland University Art Gallery, Rochester, MI; Schomburg Center for Research in Black Culture, New York, NY; and the Sheldon Museum of Art, Lincoln, NE, among others.

Her work may be found in the collections of the Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, San Francisco, CA; Beinecke Collection, Yale University, New Haven, CT; J. Paul Getty Museum, Los Angeles, CA; Museum of Modern Art, New York, NY; National Museum of African American History and Culture, Washington, D.C.; New York Public Library, New York, NY; Philadelphia Museum, Philadelphia, PA; U.S. Embassy, Lomé, Togo; U.S. Embassy, Yaoundé, Cameroon; Victoria and Albert Museum, London, United Kingdom, and elsewhere.

Lisa Corinne Davis lives and works in Brooklyn and Hudson, NY.

MILES McENERY GALLERY

525 West 22nd Street, New York, NY 10011

www.milesmcenery.com

06/10/25

Kadar Brock @ Miles McEnery Gallery, NYC - 'coming home' Exhibition

Kadar Brock: coming home

Miles McEnery Gallery, New York

4 September - 25 October 2025

Kadar Brock

you can all love, 2017 - 2025

Acrylic, oil, flashe, house paint, and spray paint on canvas

72 x 96 inches, 182.9 x 243.8 cm

Miles McEnery Gallery presents coming home, New York-based artist Kadar Brock’s first solo exhibition with the gallery. Accompanying the exhibition is a fully illustrated digital catalogue featuring an essay by Alex Bacon.

Kadar Brock’s painterly process is one where destruction begets creation; he begins by applying layers of paint to stretched canvas, only to unstretch it, and erode the very image he’s created with a power sander and razor blade. Cycling through this process, each repetition excavates layers of paint beneath it, and blurs the boundaries between them until the final composition becomes an amalgam of each constituent part. Each iteration of this destructive process introduces an element of chance, as Kadar Brock unearths hidden paths of paint beneath the surface, which guide his mark-making in the last steps of his process.

As Alex Bacon notes, “With time, Brock has added (literal) layers and complexities to his process . . . rather than simply revealing the painting’s ‘subconscious,’ Brock now responds to it by going back into the work after sanding it, painting in and along fractures and fissures in the work’s surface and allowing the unpredictable idiosyncrasies his process reveals in the work to direct how it arrives at its final state.”

Akin to Rauschenberg’s Erased de Kooning Drawing, the significance of Brock’s paintings lies not in any initial object, but in the traces they leave behind. Here, the past bleeds into the present—each sheen of paint, sanded edge, or break in the canvas is an archaeological clue that gestures towards, without ever overtly stating, what has come before.

This interplay of time and memory has become especially relevant in Brock’s recent body of work, which focuses on the aesthetics of indoctrination in The Movement of Spiritual Inner Awareness (MSIA), the New Age religion his parents were members of in his childhood, which is widely regarded as a cult. Imagery from MSIA is layered into his paintings, sourced from newspapers, publications, and other ephemera Kadar Brock has collected and archived. In this way, Brock’s paintings not only engage with the materiality of his craft, but also subject the iconography and ideology of his upbringing to the same process of erosion and transformation.

Artist Kadar Brock

Kadar Brock (b. 1980 in New York, NY) received his Bachelor of Fine Arts from the Cooper Union School of Art in New York, NY.

Kadar Brock has been the subject of solo and two person exhibitions at Gana Art Bogwang, Seoul, South Korea; Patron Gallery, Chicago, IL; Mother Gallery, Beacon, NY; Patron Projects, New York, NY; Vigo Gallery, London, United Kingdom; and Almine Rech Gallery, Brussels, Belgium.

His work has been included in group exhibitions at CHART, New York, NY; Jane Lombard Gallery, New York, NY; Gana Art Nineone, Seoul, South Korea; Platform on View, Brooklyn, NY; Yeh Art Gallery, St. John’s University, Jamaica, NY; Baik + Khneysser, Los Angeles, CA; SUNNY, New York, NY; The Catskills, New York, NY; Studio E, Seattle, WA; Project Art Distribution Retrospective, New York, NY, and elsewhere.

Kadar Brock has completed residencies at the Hayama Artist Residency, Hayama, Japan; Fountainhead Residency, Miami, FL; CCA Andratx, Andratx, Mallorca, Spain; The Macedonia Institute, Chatham, NY; and Palazzo Monti, Brescia, Italy.

Kadar Brock lives and works in New York, NY.

MILES McENERY GALLERY

515 West 22nd Street, New York, NY 10011

www.milesmcenery.com

02/10/25

Gabrielle Garland @ Miles McEnery Gallery, NYC - 'I’ll Get You, My Pretty, and Your Little Dog Too' Exhibition

Gabrielle Garland

I’ll Get You, My Pretty, and Your Little Dog Too

Miles McEnery Gallery, New York

4 September - 25 October 2025

Gabrielle Garland

And... and... c’mon, Nick, what do you expect? To live happily

ever after? —Elizabeth James, The Parent Trap (1998), 2024

Acrylic, oil, and glitter on canvas

48 x 48 inches, 121.9 x 121.9 cm

Miles McEnery Gallery presents Gabrielle Garland’s first solo exhibition with the gallery, I’ll Get You, My Pretty, and Your Little Dog Too, on view 4 at 511 West 22nd Street. The exhibition is accompanied by a fully illustrated publication featuring an essay by Tara Anne Dalbow.

While Gabrielle Garland’s paintings do not depict any figures, they maintain an air of portraiture. Here, the subjects are not people, but the homes they inhabit, which act as surrogates of their personality and private lives. Garland’s impressionistic style does not seek an exacting architectural record. Instead, she treats each home with patient reverence, revealing subtle facets easily overlooked in the haste of the everyday passerby. Stairs, flower boxes, or mailboxes swell or shrink disproportionately, revealing the distortions of the artist’s memory (that murky area where structural logic intermingles with emotional noise).

At times, her homes take on an almost human quality: illuminated windows glow like eyes on either side of a doorway, overhanging porticos jut out like a nose, and the eaves of roofs contort into a furrowed brow or expression of delight. Warping and sagging beneath their own weight, some lean toward each other as if in whispered, huddled conversation. By humanizing the inanimate, Garland’s work invites us to slow down and consider our built environment, not as a passive background, but as an active witness, which acts as an impression of our daily lives.

Tara Anne Dalbow notes that, “although human figures are absent from her compositions, their presence is palpable. These houses aren’t abandoned; they don’t exist in a post-human apocalypse. Instead, they are the products of people’s labor, care, and creativity. That each house, despite the repetition of architectural elements and the use of familiar mass-produced materials, is distinctive, is a testament to both the ingenuity of their owners and the quality of the artist’s attention: her ability to discern the most illustrative details. It’s true that no two are alike, as Dorothy said: there’s no place like home.”

Artist Gabrielle Garland

Gabrielle Garland (b. 1968 in New York, NY) received her Master of Fine Arts at the University of Chicago, Chicago, IL and her Bachelor of Fine Arts from the School of the Art Institute of Chicago, Chicago, IL.

Gabrielle Garland has been the subject of solo exhibitions at The Pit LA, Los Angeles, CA; Taymour Grahne Projects, London, United Kingdom; Corbett vs. Dempsey, Chicago, IL; The Brent and Jean Wadsworth Family Gallery, Lewis University, Romeoville, IL; Hap Gallery, Portland, OR; and DOVA Temporary, Chicago, IL.

Recent group exhibitions have been held at The Pit LA, Los Angeles, CA; The Hole, New York, NY; Weinberg/Newton Gallery, Chicago, IL; DeVos Art Museum, Northern Michigan University, Marquette, MI; 1969 Gallery, New York, NY; and Campbell Project Space, Sydney, Australia.

Gabrielle Garland lives and works in New York, NY.

MILES McENERY GALLERY

511 West 22nd Street, New York, NY 10011

www.milesmcenery.com

05/10/24

Conrad Egyir @ Miles McEnery Gallery, NYC - "In Jubilant Pastures" Exhibition

Conrad Egyir: In Jubilant Pastures

Miles McEnery Gallery, New York

5 September - 26 October 2024

CONRAD EGYIR

Menorah’s Volta; A Light that Speaks, 2023

Oil, acrylic, and glitter on canvas

72 x 66 inches, 182.9 x 167.6 cm

Miles McEnery Gallery presents In Jubilant Pastures, an exhibition of new paintings by Detroit-based artist CONRAD EGYIR. Accompanying the exhibition is a fully illustrated publication featuring an essay by Charles Moore.

In Jubilant Pastures, Conrad Egyir’s first solo exhibition with Miles McEnery Gallery, presents a body of eleven paintings that interrogate themes of identity and belongingness. Born in Ghana, Conrad Egyir’s exploration of self and others shines through, questioning what it means to assimilate to a new land while maintaining one’s roots. The deeply iconographic work combines religious symbols, Ghanaian visual lexicon, migration ephemera, and nods to Black contemporary and historical artists.

Conrad Egyir’s subjects are those from the Afro-diaspora close to him—his family, friends, and colleagues—rendering them regal in brilliant hues and often applying illuminating glitter. His palette is personal—each color pulled from dreams and lived experience alike. Each portrait crafts narratives enlivened with empathy and spirituality, both through visual and written language. In some, Conrad Egyir will paint the same subject twice, furthering the concept of duplicity in identity. Idyllic landscapes sweep the background, his figures sometimes gazing out at the sprawling lands, other times turning away. Themes of displacement and migration shine through, placing the viewer in the shoes of those depicted, caught between nostalgia for the past and hope for the future.

Charles Moore writes that, “the artist explores the meaning of Blackness, digging into his personal history as an African man in the U.S., where Black Americans note their ability to identify foreigners by their accent, speech patterns, and style of dress, and honing in on what it means to be different. The desire to assimilate—to blend into Black American spaces—resonates with the artist; accordingly, in his work, he invites his subjects to occupy the places they wish to inhabit, and storytelling lays the foundation for this process.”

CONRAD EGYIR (b. 1989 in Accra, Ghana) received his Master of Fine Arts from the Cranbrook Academy of Art, Bloomfield Hills, MI and his Bachelor of Fine Arts from Judson University, Elgin, IL.

Conrad Egyir has been the subject of recent solo and two-person exhibitions at Jessica Silverman Gallery, San Francisco; MCLA Gallery 51, North Adams, MA; UTA Artist Space, Los Angeles; Institute of Contemporary Art, San José, CA; 8 Bridges, San Francisco; Anastasia Tinari Projects, Chicago; and the Museum of Contemporary Art Detroit, MI.

His work has been included in recent group exhibitions at David Klein Gallery, Detroit, MI; Cranbrook Art Museum, Bloomfield Hills, MI; Jessica Silverman Gallery, San Francisco; TOA Presents, Minneapolis, MN; Kemper Museum of Contemporary Art, Kansas City, MO; Contemporary Arts Center, Cincinnati, OH; Ross + Kramer Gallery, New York; and Library Street Collective, Detroit, MI.

Conrad Egyir’s work may be found in the collections of the Cranbrook Art Museum, Bloomfield Hills, MI; Detroit Institute of Arts, MI; JP Morgan Chase Art Collection; Kalamazoo Institute of Arts, MI; Kaiser Permanente Bernard J. Tyson School of Medicine, Pasadena, CA; Pérez Art Museum Miami; and the Rennie Collection, Vancouver, Canada.

Conrad Egyir lives and works in Detroit, MI.

MILES McENERY GALLERY

520 West 21st Street, New York, NY 10011

www.milesmcenery.com

04/10/24

Suzanne Caporael @ Miles McEnery Gallery, NYC - "Proof" Exhibition

Suzanne Caporael: Proof

Miles McEnery Gallery, New York

5 September - 26 October 2024

SUZANNE CAPORAEL

No. 772, 2023

Oil on linen

66 x 54 inches, 167.6 x 137.2 cm

Miles McEnery Gallery presents Proof, an exhibition of new paintings by SUZANNE CAPORAEL. Accompanying the exhibition is a fully illustrated publication featuring essays by Leslie Camhi and Stephen Westfall.

Proof, Suzanne Caporael’s ninth solo exhibition with the gallery, presents the artist’s latest exploration into the ambiguity of abstraction. The exhibition’s title sets the body of work within a mathematical framework—proofs, in their definition, are finite. Yet Caporael’s paintings pose more questions than answers: her shapes are unexacting with faded edges and hazily-rendered lines.

Suzanne Caporael’s schematic subjects are set atop a seemingly uniform backdrop of an intangible gray color, yet, with a comparative lens, they reveal as undulating between warm and cool. “She fleshes out areas of shape or bands with flat color applied by brush, often wiping paint away from the ground where she doesn’t want it. The wiping leaves an atmospheric film, a spare translucency that nests or imbeds the abstracted figures in a milky surround,” writes Stephen Westfall. The resulting paintings rely more heavily on personal intuition and association rather than fact of matter.

The artist’s Bauhaus-inspired paintings of floating shapes and geometric systems are not only beautiful but cognitively stimulating. Suzanne Caporael’s compositions are delicate yet assertive, alluring while allusive. Proof celebrates the existence of beauty in mathematics, and logic in art. The intellectually rich paintings revel in the art of human understanding and the power of multidisciplinary creativity in the pursuit of elegance and truth.

Leslie Camhi writes, “In person, her works exert a remarkable presence, similar to a stage actor’s charisma. Yet the dramas her works enact—foldings, crossings, vibrations, levitations, all of these spatial operations played out within the confines of the canvas’s two dimensions—are far from momentary. The painted surfaces, as softly seductive as human skin, have been built up layer by layer over time, revealing their secrets slowly. Whatever is going on in them keeps us looking.”

SUZANNE CAPORAEL (b. 1949 in Brooklyn, NY) received her Master of Fine Arts and Bachelor of Arts from Otis Art Institute of Parsons School of Design. In 2020, Suzanne Caporael was awarded a Guggenheim Fellowship and, in 1986, a Painting Grant from the National Endowment for the Arts.

She has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York; Chazen Museum of Art, Madison, WI; Peters Projects, Santa Fe, NM; and Richard Gray Gallery, Chicago.

Suzanne Caporael has been included in group exhibitions at numerous institutions including the de Young and Legion of Honor Fine Arts Museums of San Francisco; FLAG Art Foundation, New York; Kemper Museum of Contemporary Art, Kansas City, MO; Los Angeles County Museum of Art; and the National Museum of Women in the Arts, Washington, D.C.

Her work may be found in the collections of the Art Institute of Chicago; Irish Museum of Modern Art, Dublin; Los Angeles County Museum of Art; National Museum of Women in the Arts, Washington, D.C.; San Francisco Museum of Modern Art; Whitney Museum of American Art, New York; and the Yale University Art Gallery, New Haven, CT, among others.

Suzanne Caporael lives and works in Islesboro, ME.

MILES McENERY GALLERY

515 West 22nd Street, New York, NY 10011

www.milesmcenery.com

15/10/23

Douglas Melini @ Miles McEnery Gallery, NYC - Landscape Painting

Douglas Melini: Landscape Painting

Miles McEnery Gallery, New York

26 October - 9 December, 2023

DOUGLAS MELINI

Untitled (Tree Painting-Coencentric, Magenta, Orange, Blue, Indigo), 2023

Oil on linen and acrylic stain on reclaimed wood with artist frame

52 x 52 inches, 132.1 x 132.1 cm

DOUGLAS MELINI takes a radical alternative to the blank canvas, making works that are part painting, part sculpture, and part something else altogether. The linen, oil, and acrylic-stained reclaimed wood creations shatter the hierarchy of artwork and its frame; the wood elements of Douglas Melini’s paintings are not merely supplementary, but rather integral to the composition itself.

Get up close, and Douglas Melini’s patient labor and intimate understanding of his materials are revealed. As Raphael Rubenstein observes in the catalogue essay, “If you were to disentangle and stretch out the strings of paint on the linen squares, they could conceivably be used to fill in the countless thin channels and furrows that scar the surfaces of the wood panels; the countless paint strings in the center are the positive correlative to the negative fissures in the wood.” Reframing natural elements of the landscape and bringing them into the gallery space, Douglas Melini’s work successfully blurs the boundaries between art and the context in which it appears.

DOUGLAS MELINI (b. 1972) received his Bachelor of Arts from Maryland, College Park in 1994 and his Master of Fine Arts from California Institute of the Arts in 1997. He completed an artist residency at the Marie Walsh Sharpe Art Foundation, Brooklyn, NY in 2012.

Douglas Melini’s work has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; SOCO Gallery, Charlotte, NC; Van Doren Waxter, New York, NY; Schneider Museum of Art, Ashland, OR; Phillip Slein Gallery, St. Louis, MO; 11R, New York, NY; Eleven Rivington, New York, NY; Feature Inc., New York, NY; MINUS SPACE, New York, NY; Ursula Werz, Tubingen, Germany; Rocket Gallery, London, United Kingdom; and White Columns, New York, NY.

His work has been included in institutional group exhibitions at Abrons Art Center, New York, NY; Dallas Art Museum, Dallas, TX; Ikast Kunstpakhuset, Ikast, Denmark; International Print Center, New York, NY; Kunsthalle del Centro Cultural Andratx, Mallorca, Spain; MoMA PS1, New York, NY; RaygunLab, Toowoomba, Australia; Schneider Museum of Art, Ashland, OR; Tang Teaching Museum, Saratoga Springs, NY, and elsewhere.

He is the recipient of the New York Foundation for the Arts’ Fellowship in Painting, Marie Walsh Sharpe Foundation Studio Residency and Change Inc. Grant. His work is included in the permanent collections of Daimler Art Collection, Berlin, Germany; Jill and Peter Kraus Collection, Dutchess County, NY; Neuberger Berman LLC, New York, NY; The Progressive Corporation, Cleveland, OH; Wellspring Capital Corporation, New York, NY; and Tang Teaching Museum and Art Gallery, Saratoga Springs, New York.

Douglas Melini lives and works in New Jersey.

MILES McENERY GALLERY

515 West 22nd Street, New York, NY 10011

www.milesmcenery.com

08/10/23

Enrique Martínez Celaya @ Miles McEnery Gallery, New York - The Sea Memory (Found)

Enrique Martínez Celaya

The Sea Memory (Found)

Miles McEnery Gallery, New York

7 September - 21 October 2023

ENRIQUE MARTÍNEZ CELAYA

The Omen (Tulip), 2023

Oil and wax on canvas, 72 x 60 inches, 182.9 x 152.4 cm

Miles McEnery Gallery presents The Sea Memory (Found), an installation of paintings by Enrique Martínez Celaya, on view at 520 West 21st Street in New York City.

The Sea Memory (Found) is part of a new cycle of paintings that share size, structure and motif—a rare approach for Martínez Celaya—and follows a recent related exhibition in Florence, Italy, The Sea Memory (Lost). The imagery of the paintings (sea and flowers) conjures themes of transience and permanence, and evokes ideas of beginnings, hope, markers, belonging, preservation, presence, vanishing, endings, loss, mourning, and longing. At the same time, these paintings embody a philosophical struggle with painting itself.

In building this body of work, the artist first completed and meditated on each distinct depiction of the ocean—waves, whitewater, currents, and all—before flowers from his personal history emerged onto their foregrounds: wispy lilies, tightly rendered hollyhocks, an ethereal gardenia. Once Martínez Celaya painted the flowers onto the compositions, he made very few adjustments to their background waters; “I wanted a sense of immediacy, of placing something there and accepting the consequences,” he says. Rather than having a decorative quality, the painted flowers, which share a consistent horizon line across the gallery walls, can be experienced as portraits or, as Alexander Nemerov writes, saints.

Over the last three decades, Enrique Martínez Celaya has created an extensive body of work characterized by simple compositions and archetypal imagery, using painting, sculpture, photography, and installation in an endless search for meaning. Grounded in the personal and evolving to the universal, Martínez Celaya’s work creates a poetic world that connects across thematic motifs and communes with disciplines outside of the artworld, including philosophy, literature, and science.

ENRIQUE MARTÍNEZ CELAYA (b. 1964) received his Bachelor of Science from Cornell University, his Master of Science from the University of California, Berkeley, and his Master of Fine Arts from the University of California, Santa Barbara. He is Provost Professor of Humanities and Arts at the University of Southern California, Distinguished Professor for the MFA program at Otis College of Art and Design, and a Montgomery Fellow at Dartmouth College. Martínez Celaya has been the subject of recent solo exhibitions at Museo Marino Marini, Florence, Italy; Secci Gallery, Florence; Miles McEnery Gallery, New York; UTA Artist Space, Los Angeles; Fisher Museum of Art, University of Southern California, Los Angeles; Monterey Museum of Art, CA; and The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA, among others.

His work may be found in numerous international institutions including The Metropolitan Museum of Art, New York; The State Hermitage Museum, St. Petersburg, Russia; Whitney Museum of American Art, New York; Los Angeles County Museum of Art; The Phillips Collection, Washington, D.C.; Moderna Museet, Stockholm; The Museum of Fine Arts, Houston; and the Museum of Contemporary Art, Los Angeles.

The recipient of a myriad of honors and accolades, Martínez Celaya has held fellowships at the Robinson Jeffers Tor House Foundation, Carmel-By-The-Sea, CA; The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA; Los Angeles Institute for the Humanities, University of Southern California; Dartmouth College, Hanover, NH; and the Paul J. Getty Trust Fund for the Visual Arts, Los Angeles. In 2022, he was recognized as a Distinguished Mentor by Otis College of Art and Design, Los Angeles, following his appointment as a Doctor Honoris Causa and serving on the institution’s Board of Governors.

The artist lives and works in Los Angeles, CA.

Accompanying the exhibition is a fully illustrated publication featuring a foreword by Alexander Nemerov, the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University, and a conversation between the artist and the historian and poet Barry Schwabsky, as well as an afterword by the artist.

This show is the first of multiple notable forthcoming exhibitions of Martínez Celaya’s work, including at The Huntington Library, Art Museum, and Botanical Gardens, San Marino, CA (current); The Museo Nacional de Bellas Artes, Havana, Cuba; The Hispanic Society Museum & Library, New York, NY; Hood Museum of Art, Dartmouth College, Hanover, NH; Wende Museum, Culver City, CA; and Museo de Arte Contemporanéo, Panama City, Panama.

MILES McENERY GALLERY

520 West 21st Street, New York, NY 10011

www.milesmcenery.com

03/10/23

April Gornik @ Miles McEnery Gallery, New York - The Other Side - Exhibition of paintings

April Gornik: The Other Side

Miles McEnery Gallery, New York

7 September - 21 October 2023

APRIL GORNIK

The Unbroken World, 2023

Oil on linen, 70 x 115 inches, 177.8 x 292.1 cm

Miles McEnery Gallery presents an exhibition of paintings by APRIL GORNIK at 525 West 22nd Street in New York. This exhibition, titled The Other Side, is accompanied by a fully illustrated publication featuring an essay by Annie Godfrey Larmon.

Over the course of her nearly four-decade career, April Gornik has been unwavering in her devotion to the sky, the earth, the horizon, and her experience of their intersection as a leaping off point for her painting practice. Working from memory, dreams, and photographs, April Gornik splices the real and the imagined, ultimately translating them into oil paint on linen.

With uncanny manipulation of the natural laws of gravity and perspective, April Gornik thrusts the viewer into her dramatic panoramas, forcing us to reckon with the sublimity of creation, the power of our changing climate, and the inevitability of our own mortality.

Above all, April Gornik’s work gets at “a simpler, enduring truth—that no matter the complexity of our systems for distinguishing human realms from nature, we are indivisible from it,” writes Annie Godfrey Larmon in the catalogue essay, “We might think of Gornik’s paintings, then, as images of the landscape as it is internalized. When she paints the glint of sun on water, she translates a feeling stored in memory about the sun hitting water, about being within and of the environment. In this way, her work finds resonance in the paintings of Joan Mitchell, who took a synesthetic approach to landscapes and who sought (to paraphrase Mitchell) to paint what nature left her with.”

APRIL GORNIK (b. 1953 in Cleveland, OH) received her Bachelor of Fine Arts from the Nova Scotia College of Art and Design in Halifax, Canada. Since then, April Gornik has gone on to become one of the foremost figures of contemporary American landscape painting, having exhibited at the 1989 Whitney Biennial and both the 41st and 56th editions of the Venice Biennale. In 2021, she cofounded The Church, an innovative artist residency and exhibition space in Sag Harbor, NY.

April Gornik has been the subject of recent solo exhibitions at Miles McEnery Gallery, New York, NY; Danese/Corey Gallery, New York, NY; Pace Prints, New York, NY; Dayton Art Institute, Dayton, OH; Barbara Edwards Contemporary, Toronto, Canada; Heckscher Museum of Art, Huntington, NY; Allen Memorial Art Museum, Oberlin, OH; Art Gallery of Nova Scotia, Halifax, Canada; Sheldon Memorial Art Gallery, Lincoln, NE; and the Neuberger Museum of Art, Purchase, NY.

Her work has been included in group exhibitions at numerous international institutions including the Aspen Art Museum, Aspen, CO; Institute of Contemporary Art, Boston, MA; Minneapolis Institute of Art, Minneapolis, MN; National Museum of Women in the Arts, Washington, D.C.; Parrish Art Museum, Southampton, NY; The Phillips Collection, Washington, D.C.; Royal Academy of Arts, London, United Kingdom; San Francisco Museum of Modern Art, San Francisco, CA; and the Whitney Museum of American Art, New York, NY.

April Gornik’s work may be found in the collections of the Art Gallery of Ontario, Toronto, Canada; Blanton Museum of Art, Austin, TX; Fine Arts Museums of San Francisco, San Francisco, CA; The Jewish Museum, New York, NY; The Metropolitan Museum of Art, New York, NY; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York, NY; National Museum of Women in the Arts, Washington, D.C.; Smithsonian American Art Museum, Washington, D.C.; and the Whitney Museum of American Art, New York, NY, among others.

The artist April Gornik lives and works in Sag Harbor, NY.

Related post on Wanafoto:

April Gornik: New Work @ Danese Gallery, New York, (October – December 2001)

MILES McENERY GALLERY

525 West 22nd Street, New York, NY 10011

www.milesmcenery.com

02/10/23

Pia Fries @ Miles McEnery Gallery, NYC - "heliopedi" Exhibition

Pia Fries: heliopedi

Miles McEnery Gallery, New York

7 September - 21 October 2023

PIA FRIES

floredot C, 2023

Oil and silkscreen on wood

67 x 86 5/8 inches, 170.2 x 220 cm

Miles McEnery Gallery presents heliopedi, an exhibition of paintings by PIA FRIES, on view at 515 West 22nd Street in New York City.

In this cycle of paintings—which spans 18 years—Pia Fries holds freedom and limits in taut balance. Vigorous gestural abstraction and razor-sharp precision of line are intertwined. Fragmented and enlarged, 17th century etchings—fractions of the male form by Dutch engraver Hendrick Goltzius, and flora and fauna by German entomologist and botanical illustrator, Maria Sibylla Merian—appear repeatedly in the compositions on view, peeking out from Fries’ own bold and decisive sweeps of oil paint.

“We discover a new wildness of material, image and meaning in Fries’ paintings,” writes Christopher Bedford in the catalogue essay, “Fries is interested in describing something new—a new type of painting more grounded in discovery than in either abstract or representational. Her paintings are both, and she refuses to choose.”

PIA FRIES (b. 1955, Beromünster, Switzerland) attended the Lucerne University of Applied Sciences and Arts, Switzerland, before studying under Gerhard Richter at the Kunstakademie Düsseldorf, Germany. From 2014 to 2023, Pia Fries held a professorship at Munich’s Academy of Fine Arts.

Over the course of her nearly four-decade career, Pia Fries has exhibited internationally at numerous institutions and galleries. In 1999, her work was included in the 48th Venice Biennale exhibition, dAPERTutto, curated by Harald Szeemann. Notable solo exhibitions of her work have been held at Kunsthaus Baselland, Switzerland; Kunstpalast Düsseldorf, Germany; Musée d’Art Moderne de la Ville de Paris, France; Staatliche Kunsthalle Karlsruhe, Germany; Josef Albers Museum Quadrat Bottrop, Germany; Kunstmuseum Luzern, Switzerland, and elsewhere.

Pia Fries’ work is held in the collections of the Buffalo AKG Art Museum, Buffalo, NY; Detroit Institute of Arts, MI; Kunstmuseum Bonn, Germany; Kunsthaus Zürich, Switzerland; Kunstpalast Düsseldorf, Germany; Los Angeles County Museum of Art, CA; Musée d’Art Moderne de la Ville de Paris, France; Neues Museum Nürnberg, Germany; Sprengel Museum, Hanover, Germany; and the Staatsgalerie Stuttgart, Germany, among others.

Pia Fries lives and works in Düsseldorf, Germany and Lucerne, Switzerland.

The exhibition is accompanied by a fully illustrated publication featuring an essay by Christopher Bedford.

MILES McENERY GALLERY

515 West 22nd Street, New York, NY 10011

www.milesmcenery.com

01/10/23

Jacob Hashimoto @ Miles McEnery Gallery, NYC - The Disappointment Engine

Jacob Hashimoto

The Disappointment Engine

Miles McEnery Gallery, New York

7 September - 21 October 2023

Viruses, stained-glass windows, Atari circuit-board patterns, and leaf structures all collide in the eleven new sculptural works in The Disappointment Engine, JACOB HASHIMOTO’s first solo exhibition at Miles McEnery Gallery. Loosely referencing East Asian craft traditions, the work also draws from the visual language of weeds and invasive species; radio telescopes; as well as the architecture of churches and mosques built during plagues, all to ask: how might visual sampling exist at the root of identity formation?

Through his artworks, Jacob Hashimoto explores what it means to build an understanding of oneself from scratch, both as a denizen of the visually cacophonous digital age, but also as a Japanese American artist grappling with family histories of internment that resulted in shattered cultural inheritance.

At Miles McEnery Gallery, The Disappointment Engine features an immersive, site-specific hanging installation stretching from wall to wall. Forcing viewers to duck, sidestep, and recalibrate, it initiates a physical dance of give-and-take: otherworldly, but also unapologetic in its right to take up space.

JACOB HASHIMOTO (b. 1973) has been the subject of solo museum exhibitions at MACRO - Museum of Contemporary Art of Rome, Italy; Fondazione Querini Stampalia, Venice, Italy; Los Angeles County Museum of Art, CA; Schauwerk Sindelﬁngen, Germany; Wäinö Aaltonen Museum of Art, Turku, Finland; SITE Santa Fe, NM; Crow Museum of Asian Art, Dallas, TX; Tampa Museum of Art, FL; and the Boise Art Museum, ID.

His work is in the collections of the Los Angeles County Museum of Art, CA; Schauwerk Sindelingen, Germany; Microsoft Art Collection, Redmond, WA; Fondation Carmignac, Hyères, France; Civic Art Collection, San Francisco, CA; and the Tokiwabashi Tower Art Collection, Tokyo, Japan, among others. He has lectured at the Rhode Island School of Design; Temple University; The City College of New York; and Rowan Oak, the home of William Faulkner.

Related Posts on Wanafoto:

Jacob Hashimoto @ Rhona Hoffman Gallery, Chicago - Misunderstandings - Text by Stephanie Cristello (October 2021)

Jacob Hashimoto @ Galerie Forsblom, Helsinki - Progress (January 2021)

MILES McENERY GALLERY

511 West 22nd Street, New York, NY 10011

www.milesmcenery.com

03/04/21

Markus Linnenbrink @ Miles McEnery Gallery, NYC - WEREMEMBEREVERYONE

Markus Linnenbrink: WEREMEMBEREVERYONE

Miles McEnery Gallery, New York

1 April - 8 May, 2021

MARKUS LINNENBRINK

NOPRESENCENOHELLOIGOTAPLANNOWHERETOGO, 2020

Epoxy resin and pigments on wood

Diptych, 88 x 107 3/4 inches , 223.5 x 273.7 cm

MILES McENERY GALLERY is pleased to present an exhibition of new works by MARKUS LINNENBRINK. WEREMEMBEREVERYONE is the artist’s fifth solo exhibition at the gallery. The exhibition is accompanied by a fully illustrated publication featuring an essay by Cat Kron.

Over the course of his thirty-year career, the German-born, Brooklyn-based artist’s paintings have taken form primarily in three distinct processes, which he identifies as drips, drills, and reverses. The genesis of the works developed from the artist’s formative question: “What if you take your will out of the equation and just pay attention to process?” Markus Linnenbrink’s skillfully engineered paintings derive from the artist’s exploration of color with attention to the behavior of material.

Markus Linnenbrink blends a myriad of pigments with epoxy resin to create a magnificent formation of colors. The drip process, demonstrated in paintings such as, NOPRESENCENOHELLOIGOTAPLANNOWHERETOGO, takes place when the artist pours cups of pigment from the top of the canvas allowing for ribbons of color to be interspersed on the surface. The artist repurposes accumulated layers of resin from the drip paintings to form his drills, as seen in immersive works like EXPLAINMYHEART. Dense with evidence of time and labor, Markus Linnenbrink drills into the surface to reveal layers of contrasting, saturated color.

The artist’s most recent endeavor, which also takes painting to new limits sculpturally and coloristically, are his reverses. “Linnenbrink’s reverses take the drills’ use of excavation as a means of producing surprising revelations but instead invert it. For these works, which are classified as paintings but which dip and jut out from the wall at varying points like topographical elevation maps, the artist creates a variegated vinyl mold,” explains Kron.

WEREMEMBEREVERYONE encompasses Linnenbrink’s ongoing investigation into color, material, time, and, his quest for spontaneity. “In all three processes, there is an element of chance that sits in tension with the works’ anti-figurative, gestural appearance.”

MARKUS LINNENBRINK (b. Dortmund, Germany in 1961) attended Gesamthochschule in Kassel, Germany and the Academy of Fine Arts in Berlin, Germany.

Recent solo exhibitions include “IWANNABEWHEREYOUARE,” Taubert Contemporary, Berlin, Germany; “SLEEPWALKPARADISE,” Patricia Sweetow Gallery, San Francisco, CA; “WHOLEWIDEWORLDWONDERFUL,” Galería Max Estrella, Madrid, Spain; “LETMETELLYOUWHATTHERIVERSGONNADO,” Miles McEnery Gallery, New York, NY; “THEREAINTNOEASYWAYOUT,” Maurizio Caldirola, Monza, Italy; “HOWCANISLEEPWITHROCKSINMYBED,” Ameringer | McEnery |Yohe, New York, NY; “ WHENTHEPASTWASPRESENTSOWILLBENOW,” Taubert Contemporary, Berlin, Germany; “ THEFIRSTISCRAZYANDTHESECONDISNUTS,” Wasserman Projects, Detroit, MI; “ THEGRASSISALWAYSGREENER,” Galería Max Estrella, Madrid, Spain; “THERIDENEVERENDS,” Pennsylvania Academy of Fine Arts Museum, Philadelphia, PA; “day after day it reappears,” Patricia Sweetow Gallery, San Francisco, CA and “so here is what you gonna do,” ft-contemporary, Berlin, Germany.

Recent group exhibitions include “Farbanstöße. Farbe in der neueren Kunst,” Kunstsammlung der Ruhr-Universität Bochum, Situation Kunst (für Max Imdahl), Bochum, Germany; “Water Reverie,” Borusan Contemporary, Istanbul, Turkey; “The Responsive Eye Revisited: Then, Now, and In-Between,” Miles McEnery Gallery, New York, N Y; “Abstraction& Architecture, (Days of Architecture),” Strasbourg, France; “Belief in Giants,” Miles McEnery Gallery, New York, N Y; “abstract remix,” New Art Projects, London, United Kingdom; “Deck Voyage,” (curated by Necmi Sönmez), Borusan Contemporary, Istanbul, Turkey; “Revisiones,” Galeria Impakto, Lima, Peru; “Off The Wall!” (curated by Harriet Zilch), Kunsthalle Nürnberg, Nuremberg, Germany; “Selections of the Cleve Carney Collection” (curated by Barbara Wiesen), Cleve Carney Art Gallery, McAninch Arts Center, Glen Ellyn, IL; “3+4 B/W,” Taubert-Contemporary, Berlin, Germany; “Local Color,” San José Museum of Art, San José, CA and “Roy G Biv,” Waterhouse & Dodd Gallery, New York, NY; among others.

His work is included in the permanent collections of Ministry of Culture, The Hague, The Netherlands; Hood Museum of Art, Dartmouth College, Hanover, NH; Pennsylvania Academy of Fine Arts Museum, Philadelphia, PA; San Francisco Museum of Modern Art, San Francisco, CA; San José Museum of Art, San José, CA; and Hammer Museum, University of California Los Angeles, Los Angeles, CA; among others. In 2016, Markus Linnenbrink completed two permanent public installations: an outdoor wallpainting at SLS Brickell Hotel and Residences, Miami, FL, and a site-specific, large-scale painting for the lobby of 75 Rockefeller Plaza, New York, NY.

Markus Linnenbrink lives and works in Brooklyn, NY.

MILES McENERY GALLERY

525 West 22nd Street, New York, NY 10011

www.milesmcenery.com

10/06/19

David Allan Peters @ Miles McEnery Gallery, NYC

David Allan Peters
Miles McEnery Gallery, New York
Through 6 July, 2019

DAVID ALLAN PETERS

Untitled #3, 2019

Acrylic on panel, 48 x 36 inches, 121.9 x 91.4 cm

Courtesy of the artist and Miles McEnery Gallery, New York

MILES MCENERY GALLERY is pleased to present an exhibition of works by DAVID ALLAN PETERS, on view at 520 West 21st Street. The exhibition is accompanied by a fully illustrated publication, featuring an essay by Phoebe Hoban.

Los Angeles based artist David Allan Peters’ brilliantly kaleidoscopic works push the boundaries of acrylic paint as well as traditional practices of painting. Using a linocut knife, Peters dives into his works, cutting, sculpting, and carving through finely layered paint to reveal intricate, pulsating color patterns.

Once his panels are adequately layered, Peters maps out a grid before beginning the highly physical process of cutting into his works. “Once I start cutting, that’s when the color and pattern starts happening,” Peters says. “I can go deeper, higher, lower. That’s the payoff, nding the right mixture to make the painting harmonious.”

From a distance, David Allan Peters’ vibrantly variegated works appear attened but a closer look reveals their carefully crafted, undulating texture and a multitude of varying perspectives. As Phoebe Hoban writes, “Peters meticulously carves away the surface of his vividly colored, tactile paintings to reveal their underlying layers. Ghosts of earlier images don’t gradually emerge: The artist literally cuts open his work so that you can see it, and then see it again. A masterful synthesis of process and product, art and artifact, each piece, like a topographical map, is a textured strati cation that artfully tracks its own history.”

DAVID ALLAN PETERS (b. 1969, Cupertino, CA) received his Bachelor of Fine Arts degree from the San Francisco Art Institute in San Francisco, CA, and his Master of Fine Arts degree from Claremont Graduate University in Claremont, CA.

He has had numerous solo exhibitions, including Royale Projects: Contemporary Art, Los Angeles, CA; Weber Fine Art, Greenwich, CT; Ameringer | McEnery | Yohe, New York, NY; Royale Projects: Contemporary Art, Palm Desert, CA; AKA PDX, Portland, OR; “Super Optic,” Chandra Cerrito Contemporary, Oakland, CA; “Paintings,” Marc Arranaga Contemporary Art, New York, NY; and “Integrity Spiral,” Ruth Bachofner Gallery, Santa Monica, CA.

Recent group exhibitions include the Laguna Art Museum, Laguna Beach, CA; “Belief in Giants,” Miles McEnery Gallery, New York, NY; Art Toronto 2017, Royal Projects, Toronto, Canada; “Hello My Name Is. . . Los Angeles,” Royale Projects, Los Angeles, C A; “ Aftermath Post- Minimal Abstraction,” Chandra Cerrito Contemporary, Oakland, CA; “Looking Back at Tomorrow,” Royale Projects: Contemporary Art, Palm Desert, CA; “Fresh,” Museum of Contemporary Art, Los Angeles, CA; “Palette To Palate,” Laguna Art Museum, Laguna Beach, CA; “Spectrum,” Kellogg Gallery, Cal Poly Pomona, Pomona, CA; and “Strataigraphic,” Chandra Cerrito Contemporary, Oakland, CA.

He is the recipient of the Nora Bartine Memorial Award from De Anza College, Cupertino, CA, in 1994.

David Allan Peters lives and works in Los Angeles, CA.

MILES MCENERY GALLERY
520 West 21st Street, New York, NY 10011
www.milesmcenery.com

Suzanne Caporael @ Miles McEnery Gallery, NYC

Suzanne Caporael
Miles McEnery Gallery, New York
Through 6 July, 2019

SUZANNE CAPORAEL

747 (blue, 3), 2018

Oil on linen, 66 x 48 inches, 167.6 x 121.9 cm, MMG#30992

Courtesy of the artist and Miles McEnery Gallery, New York

MILES MCENERY GALLERY presents an exhibition of new paintings by SUZANNE CAPORAEL at 525 West 22nd Street, It is accompanied by a fully illustrated publication featuring an essay by Dr. James G. Snyder, and a poem titled Caesura by Sally Van Doren.

Suzanne Caporael’s new body of work, titled Blue Uniform, is both of the mind and of the senses. Characterized by deep blues and the decisive placement of simple shapes that seem familiar yet just out of reach, the paintings reflect and respond to the complex relationship between the quotidian surroundings of the quiet studio and the dissensus and visual chaos of the outside world. The polysemic titles which avoid description or meaning invite contemplation while revealing the artist’s long-standing engagement in the lexicology of form. Spare and deliberate, each image is intrinsic to its process and its properties of wood, linen and paint. This economy of means and meaning may be meditative or challenging. Suzanne Caporael consciously leaves that choice to the viewer.

The act of observation is an essential part of the process, and with it the hand of the artist progressively becomes visible to viewers. As Dr. James Snyder puts it: “Her paintings speak to us in conceptual terms, but their value is not reducible to their conceptual content. They present abstractions of ordinary objects while also reminding us that they were made by someone and that, similarly, they are being appreciated by someone. ”

With these new works, Suzanne Caporael continues to create paintings that both display and invoke a discipline of thought and makes us re ect upon our own perceptions. As noted in The New York Times, “Caporael’s paintings are a curious mix of the aesthetic and the conceptual ... the paintings are sensuous and lyrical as well as rigorously formal.”

SUZANNE CAPORAEL was born in Brooklyn, NY, in 1949.

The artist completed her BFA and MFA at the Otis Art Institute in Los Angeles, CA. She had her rst exhibition in 1984, when her work was presented at the Newport Harbor Art Museum (now the Orange County Museum of Art) by Paul Schimmel, then the museum’s director. She was awarded a National Endowment grant in painting in 1986, and she has been a visiting professor at the University of California, Santa Barbara and the San Francisco Art Institute. In 2009, she was a guest artist-in-residence at the Josef and Anni Albers Foundation. Her prints have been published in collaboration with Tandem Press, Madison, WI.

Her work is represented in many major museum collections, including the Whitney Museum of American Art, New York, NY; Museum of Contemporary Art, Los Angeles, CA; Art Institute of Chicago, Chicago, IL; Los Angeles County Museum of Art, Los Angeles, CA; Milwaukee Art Museum, Milwaukee, WI; Legion of Honor / Fine Arts Museums of San Francisco, San Francisco, CA; San Francisco Museum of Modern Art, San Francisco, CA; Honolulu Museum of Art, Honolulu, HI; and the Yale University Art Gallery, New Haven, CT.

Suzanne Caporael lives and works in Lakeville, CT, with her husband, the novelist Bruce Murkoff.

MILES MCENERY GALLERY
525 West 22nd Street, New York, NY 10011
www.milesmcenery.com

16/04/19

Tomory Dodge @ Miles McEnery Gallery, NYC

Tomory Dodge
Miles McEnery Gallery, New York
18 April - 24 May 2019

TOMORY DODGE

Rabbit, 2019

Oil on canvas

60 x 48 inches, 152.4 x 121.9 cm

MILES MCENERY GALLERY presents an inaugural solo exhibition of new paintings by TOMORY DODGE, at 525 West 22nd Street. The exhibition is accompanied by a fully illustrated publication featuring an essay by Christopher Miles.

Tomory Dodge’s new paintings are dynamic, liminal, and constantly in flux. In this new body of work, Tomory Dodge continues to explore concepts of transition by continuously building, destroying, and transforming layers of thick oil paint with fluid brushstrokes. His works depict irregular shapes and clashing planes that coalesce into compositions of organized chaos, challenging viewers to reflect on the process and meaning of picture-making.

The paintings on view show the making of a painting, its transformations, discoveries, and ultimately its arrival. Emphasizing on the idea that painting has somewhere to go in the modern world, just like it did before, Tomory Dodge approaches each work with an open mind. First, he sees the paint itself, its application, texture, color, and thickness. Second, he observes the representations–abstract and figurative–that the paint naturally makes. Through a process of experimentation and transformation, the artist’s practice consists of finding the painting within a painting by creating a large composition of smaller paintings all together.

Tomory Dodge’s process contains duality that is instinctual yet focused on the physicality of paint and the process of painting. Using non- deciphering titles, he creates opportunities to experiment in numerous ways, including negative and positive space, and pattern. In one single image, the artist calls into question boundaries, fluidity of content and content’s inseparability from form. As Christopher Miles says, “For Dodge, painting is a place where all of the stars in you and me can’t be accounted for numerically or pictorially, but where the feeling and the thought that go with those words can be found, right where the artist found it. Dodge’s paintings are caught in the act, by their maker and their viewers.”

Christopher Miles also notes, “Dodge’s paintings establish agency–made by the artist launching into and working through puzzles, fine messes, and maybe even occasional quagmires to world-build within the universe of the canvas, and to propose painting that is informed, astute, imaginative, and alive.”

TOMORY DODGE (b. 1974 in Denver, CO) received his Bachelor of Fine Arts degree in 1998 from the Rhode Island School of Design in Providence, RI, and his Master of Fine Arts degree in 2004 from the California Institute of the Arts in Valencia, CA. He also completed the Rhode Island School of Design European Honors Program in Rome, Italy in 1997.

Recent solo exhibitions include Miles McEnery Gallery, New York, NY; Lux Art Institute, Encinitas, CA (2018); Cherry and Martin (2018); CRG Gallery, New York, NY (2017, 2014, 2011); Inman Gallery, Houston, TX (2017); ACME., Los Angeles, CA (2015, 2013, 2012); Alison Jacques Gallery, London, United Kingdom (2014, 2010); and Monica De Cardenas Galleria, Zuoz, Switzerland (2012). Recent group exhibitions include “Yin/Yang,” O-O L A, Los Angeles, CA; “Belief in Giants,” Miles McEnery Gallery, New York, NY; “Color & Pattern,” Pivot Art + Culture, Seattle, WA; “Stranger Than Paradise,” Rhode Island School of Design Museum, Providence, RI; “Tom Friedman (+The Birthday Show),” 1969 Gallery, New York, NY; “Passage,” ACME., Los Angeles, CA; “I’ll Not Be In Your Damn Ledger,” CRG Gallery, New York, NY; “Grafforists,” Torrance Art Museum, Torrance, CA; “Cult of Color,” Circuit 12, Dallas, TX; “Lost in a Sea of Red,” The Pit, Glendale, CA; “One Foot on the Ground,” James Harris Gallery, Seattle, WA; “Mona,” 68 Projects, Berlin, Germany; “Remains,” Durden and Ray, Los Angeles, CA; “An Appetite for Painting,” Museum of Contemporary Art, Roskilde, Denmark; “NOW-ISM: Abstraction Today,” Pizzuti Collection, Columbus, OH; “An Appetite for Painting, National Museum of Contemporary Art, ” Oslo, Norway; “Painters’ Painters, ” Saatchi Gallery, London, United Kingdom; “INCOGNI TO 10, ” Santa Monica Museum of Art, Santa Monica, CA; “20 Years of ACME.,” ACME., Los Angeles, CA; “Odd Harmonics,” Judith Charles Gallery, New York, NY; “Tomory Dodge & Denyse Thomasos: Directions to a Dirty Place,” Southeastern Center for Contemporary Art, Winston-Salem, NC; “Pulp2,” Beta Pictoris Gallery, Maus Contemporary, Birmingham, AL; “To Live and Paint in LA,” Torrance Art Museum, Torrance, C A; and “Chasm of the Supernova, ” Center for the Arts Eagle Rock, Los Angeles, CA .

His artworks are included in the permanent collections of Berkeley Art Museum, Berkeley, CA; Henry Art Gallery, Seattle, WA; Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY; Knoxville Museum of Art, Knoxville, TN; Los Angeles County Museum of Art, Los Angeles, CA; Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS; Orange County Museum of Art, Newport Beach, CA; Orlando Museum of Art, Orlando, FL; RISD Museum, Rhode Island School of Design, Providence, RI; San Francisco Museum of Modern Art, San Francisco, CA; Smithsonian American Art Museum, Washington, DC; USC Fisher Museum of Art, Los Angeles, CA; Whitney Museum of American Art, New York, NY; Weatherspoon Art Gallery, Greensboro, NC; and Yale University Art Gallery, New Haven, CT.

Tomory Dodge lives and works in Los Angeles, CA.

MILES MCENERY GALLERY
525 West 22nd Street, New York, NY 10011
www.milesmcenery.com

11/04/19

John Sonsini @ Miles McEnery, New York

John Sonsini
Miles McEnery, New York
18 April - 24 May 2019

JOHN SONSINI

Miguel Antonio, 2018

Oil on canvas

72 x 48 inches, 182.9 x 121.9 cm

Courtesy John Sonsini and Miles McEnery, New York

MILES MCENERY GALLERY presents an exhibition of works by JOHN SONSINI, on view at 520 West 21st Street. The exhibition is accompanied by a fully illustrated publication featuring an essay by Marie Heilich.

Invigorated by expressive brush strokes and larger than life scale, John Sonsini’s paintings of “Los Angelenos”—Los Angeles Latinos—present a visceral take on portraiture. Widely known for his portraits of “Day Workers,” the paintings in this current exhibition depict various sitters from the artist’s Pico Union/Koreatown neighborhood near to downtown Los Angeles.

John Sonsini is less interested in an observational realism and more engaged with capturing a sensation of the sitter’s presence through his unique handling of oil paint. In the artist’s own words “I paint men who I think are remarkable people, and I try to make the paint behave in a way that will convey that”.

In John Sonsini’s works, the sitters—usually single gures or small groups—are painted in the artist’s Los Angeles studio in daily sessions until each painting is complete. Illuminated by solid, colored backgrounds, the subject of the portrait is often accompanied by objects from daily life such as caps, suitcases, wallets, or soccer balls. The inclusion of these items in John Sonsini’s portraits are there to suggest, rather than to explicitly reveal, a sitter’s narrative.

A similar form of inquiry is posed by John Sonsini’s still life works. In the absence of living figures, his evocatively painted objects—often items left behind by sitters—possess the curious ability to evoke their own narratives and create an intensely intriguing sense of presence through absence.

While his paintings, like all portraiture, can be viewed through a socially and politically oriented prism, John Sonsini is most concerned with putting the psychological and emotional dynamic between himself and his sitters at the forefront. As Marie Heilich writes, “Because Sonsini has had so many lived experiences with the sources of his imagery that a viewer seeing his work for the first time is not privy to, social contexts are ripe for invention or distortion. Nonetheless, Sonsini decidedly accepts every reaction to his work to allow viewers to uninterruptedly have the intellectual and emotional space to formulate their own point of view.”

JOHN SONSINI was born in 1950 in Rome, NY.

Recent solo exhibitions include “A Day’s Labor: Portraits by John Sonsini,” Art Design & Architecture Museum, University of California, Santa Barbara, CA; “Daywork: Portraits,” Long Beach Museum of Art, Long Beach, CA; Ameringer | McEnery | Yohe, New York, NY; “John Sonsini,” Patrick Painter Gallery, Los Angeles, CA; “John Sonsini: New Paintings,” Bentley Gallery, Phoenix, AZ; “John Sonsini: Paintings,” Kucera Gallery, Seattle, WA; “John Sonsini: New Paintings,” Inman Gallery, Houston, TX.

Recent group exhibitions include “Collecting on the Edge,” Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT; “Belief in Giants,” Miles McEnery Gallery, New York, NY; “Modern and Contemporary,” Cantor Arts Center, Stanford University, Stanford, C A; “ The Sweat of Their Face: Portraying American Workers, ” National Portrait Gallery, Washington, D.C. ; “¡Cuidado! - The Help,” Greg Kucera Gallery, Seattle, WA; “Human Interest: Portraits from the Whitney’s Collection,” Whitney Museum of American Art, New York, NY.

His work may be found in the public collections of the AD&A Museum University of California, Santa Barbara, CA; the Addison Gallery of American Art, Autry Museum of the American West, Los Angeles, CA; Philips Academy, Andover, MA; Birmingham Museum of Art, Birmingham, AL; Bronx Museum of the Arts, New York, NY; Cornell University, Permanent Collection, Ithaca, NY; The Broad Art Foundation, Santa Monica, CA; The Frances Young Tang Museum, Skidmore College, Saratoga Springs, NY; Hammer Museum, University of California, Los Angeles, Los Angeles, CA; Henry Art Gallery, University of Washington, Seattle, WA; High Museum of Art, Atlanta, GA; Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, CA; Museum of Contemporary Art, San Diego, CA; Nerman Museum of Contemporary Art, Johnson County Community College, Overland Park, KS; Nora Eccles Harrison Museum of Art, Utah State University, Logan, UT; Portland Art Museum, Portland, OR; San Francisco Museum of Modern Art , San Francisco, C A; Santa Barbara Museum of Art , Santa Barbara, C A; The Smithsonian American Art Museum, Washington, D.C.; The Solomon R. Guggenheim Museum, New York, NY; The Weatherspoon Museum, University of North Carolina at Greensboro, Greensboro, NC; and The Whitney Museum of American Art, New York, NY.

John Sonsini lives and works in Los Angeles, CA and Queretaro, Mexico.

MILES MCENERY GALLERY
520 West 21st Street, New York, NY 10011
www.milesmcenery.com