WANAFOTO: Miles McEnery Gallery

Showing posts with label Miles McEnery Gallery. Show all posts

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

22/03/19

Jason Middlebrook @ Miles McEnery Gallery, NYC

Jason Middlebrook
Miles McEnery Gallery, New York
Through 13 April 2019

JASON MIDDLEBROOK

The Line Where an Object Begins and Ends, 2018

Acrylic on walnut, 102 x 26 x 1 1/2 inches, 259.1 x 66 x 3.8 cm

Courtesy the artist and Miles McEnery Gallery, New York

MILES MCENERY GALLERY presents an exhibition of new paintings by JASON MIDDLEBROOK for his inaugural solo show with the gallery. The exhibition is on view at 520 West 21st. It is accompanied by a fully illustrated publication, featuring an essay by Mary-Kay Lombino.

Jason Middlebrook’s bold and glossy, yet surprisingly nuanced sculptures are a representation of man’s relationship with nature. Trees transformed into wooden planks with sliced cross-sections depict painted patterns comprised of geometric abstractions. Using three-dimensional constructions, Jason Middlebrook challenges viewers to think below the surface and invites them to reflect on nature as a work of art—calling attention to, how above any human activity, the natural world continues to prevail.

The three-dimensional works leaning against the walls of Miles McEnery Gallery embrace elements of both botany and geometry. Influenced by an aversion to wastefulness and a fond admiration for the natural world, Middlebrook’s pieces respect and acknowledge nature while simultaneously celebrating form through the artist’s brushwork. To create his intriguing planks, Middlebrook first meticulously studies the shape of the wood and lets it guide his next steps. Using the smooth side of the surface, Middlebrook paints the wood while taping off the margins of the patterns that in some cases completely cover the surface, and in others operate more as a net or a screen. This process allows the imperfect qualities of the wood to show through from the background, reminding viewers of the fundamental properties of the material itself. Through this process Middlebrook creates a juxtaposition between the artificial geometric patterns of the painting and the natural patterns of the grain. Additionally, the colors of the paint are purposely bright and striking to highlight the tension between man and nature. Using these techniques, Middlebrook draws attention to the tree and its form, making a statement with a delicate hand.

The natural world has played a central role in Jason Middlebrook’s work from the beginning. In this series of planks, Jason Middlebrook highlights the human interaction with nature, and emphasizes that art needs to reach beyond the space in which it is shown. As Mary-Kay Lombino describes, “For Middlebrook, abstraction is more than a preoccupation with line, form, color, and composition. In Middlebrook’s work, abstraction serves as a framework for his ideas about man’s degradation of nature’s resources and about the planet’s cycle of growth, decay, and regrowth.”

JASON MIDDLEBROOK (b. 1966 in Jackson, MI) received his Bachelor of Fine Arts degree in 1990 from the University of California at Santa Cruz, and his Master of Fine Arts degree in 1994 from the San Francisco Art Institute. He also participated in the Independent Study Program at the Whitney Museum of American Art, New York, NY in 1994-1995, and completed an Iaspis Residency in Stockholm, Sweden in 2009-2010.

Recent solo exhibitions include Jeff Bailey Gallery, Hudson, NY; “My Grain,” Galleria Pack, Milan, Italy; “Drawing Time,” David B. Smith Gallery, Denver, CO; “The Small Spaces in Between,” Gallery 16, San Francisco, CA; “Your General Store,” New Mexico State University, Las Cruces, NM; “Gold Rush,” Peters Projects, Santa Fe, NM; “Jason Middlebrook: Mosaic Tree Stumps,” Jeff Bailey Gallery, Hudson, NY; Morgan Lehman Gallery, New York, NY; “There is a map in every tree,” Monique Meloche, Chicago, IL; “Line over Matter,” Lora Reynolds Gallery, Austin, TX; “Submerged,” SCAD Museum of Art, Savannah, GA; “The Line That Divides Us,” Lora Reynolds Gallery, Austin, TX; “My Landscape,” Massachusetts Museum of Contemporary Art, North Adams, MA; and “Underlife,” Albright-Knox Gallery, Buffalo, NY.

Recent group exhibitions include “Arboreal,” Moss Art Center, Virginia Tech, Blacksburg, VA; “New Acquisitions / Nuevas Adquisiciones: UAG Permanent Collection 2015-2017,” University Art Gallery, New Mexico State University, Las Cruces, NM; “Wood as Muse,” The Art Complex Museum, Duxbury, MA, curated by Donna Dodson and Andy Moerlein; “Maker, Maker,” Children’s Museum of the Arts, New York, NY, curated by Paul Laster and Renée Riccardo; “Taconic North,” LABspace, Hillsdale, NY, curated by Susan Jennings and Julie Torres; “Cortesie per gli ospiti,” Galleria Pack, Milan, Italy; “Casa Futura Pietra,” Parco Archeologico di Siponto, Siponto, Italy; “Painting @ The Very Edge of Art,” Contemporary Art Galleries, University of Connecticut, Storrs, CT; “The Big Show 9,” Peters Projects, Santa Fe, NM; “Painting is Dead?!, Figure One, University of Illinois, Champaign, IL; “Misappropriations: New Acquisitions,” Orange County Museum of Art, Newport Beach, CA; “Geometries of Difference: New Approaches to Ornament and Abstraction,” Dorsky Museum of Art, State University of New York, New Paltz, NY; “Into The Woods, ” Morris-Warren Gallery, New York, N Y; “NO W-ISM: Abstraction Today, ” Pizzuti Collection, Columbus, OH; “My Landscape, abstracted,” Museum of Fine Arts, Boston, MA; “SITElines,” SITE Santa Fe, Santa Fe, NM; “Jason Middlebrook / Letha Wilson, ” Retrospective, Hudson, N Y; “Painting: A Love Story, ” Contemporary Arts Museum Houston, Houston, TX; “Second Nature, ” Albany International Airport , Albany, N Y; “ Visual Arts Faculty Exhibition, ” Benning ton College, Benning ton, V T; “Expanding the Field of Painting,” Institute of Contemporary Art, Boston, MA; and “Pattern: Follow the Rules,” Broad Art Museum, Michigan State University, East Lansing, MI, which traveled to Museum of Contemporary Art, Denver, CO.

His work is included in the permanent collections of Addison Gallery of American Art, Andover, MA; Albright-Knox Art Gallery, Buffalo, NY; Altoids Collection, New York, NY; Arthouse, Austin, TX; British Airways Art Collection, Waterside, United Kingdom; Denver Art Museum, Denver, CO; Harn Museum, University of Florida, Gainesville, FL; Marte Museum, San Salvador, El Salvador; Microsoft Corporate Art Collection, Redmond, WA; Museum of Contemporary Art, Chicago, IL; Museum of Modern Art, NewYork, N Y; NASA Art Program, Washington, D.C. ; New Museum, New York, N Y; Pacific Bell, San Francisco, CA; Progressive Art Collection, May eld, OH; and Whitney Museum of American Art, New York, NY.

Jason Middlebrook lives and works in Hudson, NY.

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

Wolf Kahn @ Miles McEnery Gallery, NYC

Wolf Kahn
Miles McEnery Gallery, New York
Through 13 April 2019

WOLF KAHN

Bright, but not too Bright, 2018

Oil on canvas, 30 x 30 inches, 76.2 x 76.2 cm

Courtesy the artist and Miles McEnery Gallery, New York

MILES MCENERY GALLERY presents an exhibition of works by WOLF KHAN, on view at 525 West 22nd Street. The exhibition is accompanied by a fully illustrated catalogue, featuring an essay by Martica Sawin.

Including paintings dating from the 1960s as well as a selection of recent works, this exhibition illustrates the evolution of Wolf Kahn’s prolific career and his continuing exploration of the relationships between color and form. Wolf Kahn’s earlier, more densely painted canvases often feature darker, tonal hues, while his works from the late ‘60s represent a transition to an increasingly vivid palette. Illuminated by brilliant bands of color, his vigorously painted landscapes possess a captivating rhythm and alluring vibrancy. By juxtaposing bolds tones with the muted shades of the natural world, Wolf Kahn produces a kind of contrast that energizes the surface of the canvas while simultaneously creating a sense of balance. After decades of painting, Wolf Kahn’s masterful use of color remains his primary subject.

While Wolf Kahn’s subject matter remains rooted in reality, his abstract methods of representation reveal a unique dynamic between representational painting and abstract principles. As Martica Sawin suggests, “The significance of his contribution to the panorama of contemporary American art lies in the way his works preservecertain values of modernism, pay homage to the nature that surrounds us, embody the highest level of painterly performance, and take cognizance of changing ways of thinking about and producing art, while not letting go of what has gone before.”

Wolf Kahn works intuitively, letting the painting guide his next movements. With over 70 years of experience, he continues to challenge himself, painting nearly everyday, and his work remains ever evolving. “I have to keep my innocence of spirit,” Wolf Kahn says. “You have to allow for failure. If you can’t grow at 91, when can you grow? I’m striving for the moment where the painting starts giving me a hard time.”

WOLF KAHN was born in Stuttgart, Germany, in 1927. He immigrated to the United States by way of England in1940. 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, and 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 Hofmannstudents established the Hansa Gallery, a cooperative gallery where Kahn had his rst solo exhibition. In 1956, he joined the GraceBorgenicht Gallery, where he exhibited regularly until 1995. Kahn has 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.

Traveling extensively, he has painted landscapes in Egypt, Greece, Hawaii, Italy, Kenya, Maine, Mexico, and New Mexico. He spends his summers and autumns in Vermont on a hillside farm, which he and his wife, the painter Emily Mason, have owned since 1968, but his primary residence is in New York City.

Wolf Kahn’s work is set apart by his masterful synthesis of artistic traits—the modern abstract training of Hans Hofmann, the palette of Matisse, Rothko’s sweeping bands of color, the atmospheric qualities of American Impressionism. The fusion of color, spontaneity and representation has produced a rich and expressive body of work.

Wolf Kahn regularly exhibits 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 National Museum of American Art, Washington, D.C.; and the Los Angeles County Museum of Art, Los Angeles, CA.

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

15/02/19

Judy Pfaff @ Miles McEnery Gallery, NYC

Judy Pfaff
Miles McEnery Gallery, New York
Through 9 March 2019

JUDY PFAFF

Quartet One, 2018

Photographic inspired image, wire frame, acrylic, aluminium discs, fungus, paper, glitter. Styrofoam, fluorescent light, drawing in artist's frame

120.75 x 156 x 32 inches. 306.7 x 396.2 x 81.3 cm

Courtesy of the artist and Miles McEnery Gallery, New York

MILES MCENERY GALLERY presents an exhibition of works by JUDY PFAFF, on view at 520 West 21st Street. The exhibition is accompanied by a fully illustrated catalogue, featuring an essay by David Levi Strauss.

Often considered a pioneer of installation art, Judy Pfaff’s limitlessly innovative work evades categorization and breaks boundaries. In the early 1970s, while she was enrolled in the painting MFA program at Yale, renowned artist Al Held became her lifelong mentor and encouraged her to move beyond the limitations of the picture plane—an idea which she took to exceptional new heights. Oscillating between the two- dimensional and three-dimensional, Judy Pfaff’s installations react to and penetrate the spaces they inhabit, transforming them into explosively dynamic environments that entice and engage the viewers’ senses.

Pulling from a variety of disciplines—including sculpture, painting, and printmaking—Judy Pfaff’s works are unrestricted by the use of a single medium. In utilizing a diverse range of materials, Judy Pfaff is able to draw inspiration from the realms of both the natural and the spiritual, as well as art historical imagery, and represent their essence in a distinctive and engaging manner.

The title of Irving Sandler’s monograph, Judy Pfaff: Tracking the Cosmos, hints at the broad reach of Judy Pfaff’s art. Quartet, her major work in the exhibition at Miles McEnery Gallery, is the newest manifestation of the artist’s ambitious quest to investigate nature, life, and human experience to their fullest. Created from a rich primordial soup of materials, the artist has produced an opulent set of works that she refers to as “wall installs”— tamer translations of the installations she is known for. Forever thinking outside of the box, Judy Pfaff uses a tsunami of materials and objects made and found; photographically derived digital images on paper to aluminum disks, wire fencing, acrylic, melted plastic, paper lanterns, fungus, artificial flowers, electric lighting, encaustics, and more. Complex and captivating, they create an experience that is both visual and tactile, inviting focused contemplation to fully perceive their many intricate parts.

Keeping in line with her oeuvre, Judy Pfaff’s two-dimensional works on paper are far from flat. In her most recent pieces, she transforms handwritten account ledgers from India and sales receipts from a druggist in New York into canvases upon which to paint and draw. As David Levi Strauss suggests, “these works are always becoming, moving from one state of things to another, and the state of change extends as well into these works’ frames, individually activated and illuminated by fragments of gold and silver leaf.”

This notion holds true for all of Judy Pfaff’s beautifully uncontained works: always changing and inspiring, and wholly liberated from boundaries of any kind.

Miles McEnery Gallery will also present a coinciding solo booth of Judy Pfaff’s work at the ADAA’s The Art Show, from 28 February through 3 March, 2019, at the Park Avenue Armory.

JUDY PFAFF was born in London in 1946. She received her Bachelor of Fine Arts degree from Washington University in St. Louis, MO in 1971 and graduated from Yale University with a Master of Fine Arts degree in 1973.

Judy Pfaff has had over 100 major solo installations across the country and abroad at such venues as the Chazen Museum of Art, University of Wisconsin, Madison, WI; the Denver Art Museum, Denver, CO; the St. Louis Art Museum, St. Louis, MO; the Albright-Knox Art Gallery, Buffalo, NY; Contemporary Arts Center, Cincinnati, OH; and the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Judy Pfaff was the represented artist for the United States in the 1998 São Paolo Biennial. Her work is included in many public and private collections including the Albright-Knox Art Gallery, Buffalo, NY; Brooklyn Museum, Brooklyn, NY; Detroit Institute of Arts, Detroit, MI; High Museum of Art , Atlanta, G A; Chazen Museum of Art , Madison, WI; Museum of Modern Art , New York, N Y; Whitney Museum of American Art, New York, NY and National Museum of Women in the Arts, Washington, D.C.

Judy Pfaff is the recipient of numerous awards including the Lifetime Achievement Award from the International Sculpture Center (2014); a MacArthur Fellowship (2004); an Award of Merit Gold Medal for Sculpture from the American Academy of Arts and Letters, New York (2002); a Bessie Award (1984); and a Guggenheim Fellowship (1983), as well as two grants from the National Endowment for the Arts (1979 and 1986). She is the Richard B. Fisher Professor in the Arts and Co-Chair of the Studio Arts Program at Bard College, Annandale-on-Hudson, NY.

Recently, Judy Pfaff was the visiting artist in the Walter Gropius Master Artist Series at the Huntington Museum of Art in Huntington, WV. The artist currently lives and works in Kingston and Tivoli, NY.

MILES MCENERY GALLERY
525 W 22nd Street New York, NY 10011
520 W 21st Street New York, NY 10011
www.milesmcenery.com

Markus Linnenbrink @ Miles McEnery Gallery, NYC

Markus Linnenbrink
Miles McEnery Gallery, New York
Through 9 March 2019

MARKUS LINNENBRINK

THEDEVILSGOTMYNUMBER, 2018

Epoxy resin and pigments on wood

72 x 72 inches, 182.9 x 182.9 cm

Courtesy the artist and Miles McEnery Gallery, New York

MILES MCENERY GALLERY presents an exhibition of new works by MARKUS LINNENBRINK for his fourth solo show with the gallery. The exhibition is on view at 525 West 22nd Street. It is accompanied by a fully illustrated publication, featuring an essay by Frédéric Caillard.

Markus Linnenbrink’s energetic, three-dimensional paintings and sculptures are an experience of time and color. In this series of works, Markus Linnenbrink challenges viewers to contemplate the idea of time in art: how a moment may be captured and sustained within an arrangement of color.

To create his glossy and brightly colored “drips”, the artist blends epoxy resin with powdered pigments, and then applies the medium to a wood panel over a watercolor-like background painting or an old personal photograph. This process creates a curtain of color that allows Linnenbrink to provocatively invite viewers into the depth of his paintings. The liquid interacts with gravitational force to render vertical stripes over his chosen back grounds. Additionally, Linnenbrink utilizes the nature of this process and transforms the overflow to create other signature paintings. These three-dimensional paintings are made by layering this pigmented resin which the artist drills and carves deep jagged rifts that result in a magni cent geological topography.

For this exhibition, Markus Linnenbrink also presents “DAYLIGHTTEARSTOMYEYES.” Fusing together acrylic, pigment, and sumi ink on wood and aluminum core, Markus Linnenbrink pushes his installation practice further. Black and white on the exterior–and color on the interior, his “room within a room” is an expansive, three-dimensional work that adapts to both the allowances and limitations of its environment.

Through his exploration of color and its impact on visual beauty, Markus Linnenbrink continues to emphasize the emotional, expressive, and pictorial qualities that are found in abstract art, using shapes, colors, forms, and gestural marks to achieve his desired effects. As Frédéric Caillard describes, Markus Linnenbrink’s works are “...a celebration of life, of its inner mechanism, of its ability to learn from history but also of its tendency to repeat the same mistakes, to regenerate, to grow on its own ashes. This very contrast–between the earnest and the joyful–is at the core of his practice.”

MARKUS LINNENBRINK (b. in Dortmund, Germany in 1961) attended The Gesamthochschule in Kassel and later the Academy of Fine Arts in Berlin. In 2016, Markus Linnenbrink completed two permanent public installations: an outdoor wall-painting at SLS Brickell Hotel and Residences, Miami, FL, and a series of paintings for 75 Rockefeller Plaza, New York, NY.

His most recent solo exhibitions include “THEREAINTNOEASY WAYOUT,” Galeria Maurizio Caldirola, Monza, Italy; “HEREIS TANDKNOCKINGON YOURDOOR, ” Taubert Contemporary, Berlin, Germany; “THEFIRSTONEISCR AZ YANDTHESECONDONEISNUTS,” Wasserman Projects, Detroit, MI; “THEGRASSISALWAYSGREENER,” Max Estrella Gallery, Madrid, Spain; “ THERIDENE VERENDS, ” Pennsylvania Academy of Fine Arts Museum, Philadelphia, P A; “SUNANDWATER” Patricia Sweetow Gallery, San Francisco, CA.

Recent group exhibitions include “Abstraction and Architecture,” University of Strasbourg, France; “Abstract Remix,” Taubert Contemporary at New Art Projects, London, United Kingdom; “Deck Voyage,” Borusan Contemporary, Istanbul, Turkey, curated by Necmi Sönmez; “Revisiones,” Galeria Impakto, Lima, Peru; “Off The Wall!,” Kunsthalle Nürnberg, Germany; “Selections of the Cleve Carney Collection,” Cleve Carney Art Gallery, College of DuPage, Glen Ellyn, IL; “3+4 B/W,” Taubert Contemporary, Berlin, Germany; “Local Color,” San Jose Museum of Art, CA; and “ROY G BIV,” Waterhouse & Dodd Gallery, New York, NY; among others.

His work is included in the permanent collections of The Hague, Ministry of Culture, The Netherlands; Hood Museum, Dartmouth College, NH; Neue Galerie, Kassel, Germany; NBC Rockefeller Center, New York, NY; Pennsylvania Academy of Fine Arts Museum, Philadelphia, PA; San Francisco Museum of Modern Art, San Francisco, CA; San Jose Museum of Art, CA; UCLA Hammer Museum, University of California Los Angeles, CA; Herzlya Museum of Art, Israel; West Collection, Philadelphia, PA; and Jorge Perez Collection, Miami, FL; among others.

Markus Linnenbrink lives and works in Brooklyn, NY.

Artist's website: www.markuslinnenbrink.com

MILES MCENERY GALLERY
525 W 22nd Street New York, NY 10011
520 W 21st Street New York, NY 10011
www.milesmcenery.com