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Miles McEnery Gallery

Miles McEnery Gallery Miles McEnery Gallery is a contemporary art gallery in the Chelsea neighborhood of New York, NY with At other times it’s awkward. And unsettling. Often both.

Miles McEnery Gallery presents exhibitions by a multigenerational roster of artists whose works are linked by their drive to discover the points at which the paths of pleasure and knowledge intersect. Sometimes that happens organically: minds and bodies working in concert as insight and enjoyment dovetail gracefully. And consequential. Conflict enters the picture when what you feel and what you kn

Miles McEnery Gallery presents exhibitions by a multigenerational roster of artists whose works are linked by their drive to discover the points at which the paths of pleasure and knowledge intersect. Sometimes that happens organically: minds and bodies working in concert as insight and enjoyment dovetail gracefully. And consequential. Conflict enters the picture when what you feel and what you kn

Operating as usual

Join us in wishing David Allan Peters a very happy birthday!…
12/07/2022

Join us in wishing David Allan Peters a very happy birthday!


Daniel Rich: Flat Earth opens this Thursday, 8 December, at 525 West 22nd Street. Join us at the gallery that evening fr...
12/06/2022

Daniel Rich: Flat Earth opens this Thursday, 8 December, at 525 West 22nd Street. Join us at the gallery that evening from 6-8pm for the opening reception!

“This new body of work consists of twelve paintings in highly saturated colors that meticulously show, from the viewpoint of the street, oblique angles of modernist buildings in midtown Manhattan. Titled after a specific address, each painting seems convincingly real, as a sense of perspective draws the eye into space, as though we are seeing a representation of the semi-abstract exterior structure… The paintings are heavily cropped—we never see a full view from bottom to top, but instead are presented with a sharp corner…, a section of skyscraper with edge-to-edge material…, or a series of repeated window panes that recess into the distance… Windows and reflective glass abound in these works. The street is being watched and viewed, and the buildings bear witness.” - Wells Fray-Smith

Image (detail): Zeitenwende #3 / 909 3rd Ave, 2022, Acrylic on dibond, 83 x 60 inches, 210.8 x 152.4 cm


Spectral Visions, Rico Gatson’s second solo exhibition with the gallery, opens next Thursday, 8 December at 515 West 22n...
12/03/2022

Spectral Visions, Rico Gatson’s second solo exhibition with the gallery, opens next Thursday, 8 December at 515 West 22nd Street. Join us for the opening reception that evening from 6-8pm!

“Triangles and inverted triangles, circles of various diameters, vertical or horizontal stripes in negative space, aligned segments, remain his favored graphical tactics to organize the field. But new things are happening. The overlaps have grown more intense, their geometries more involved. The color decisions are intuitive and irregular. New forms are birthed in the vortex. Some are implicit, relying for their manifestation on the play of optics, the mind’s eye. Others are right there in the design. They break and tumble across the surface. Getting loose. Getting free,” Siddartha Mitter in her essay accompanying the exhibition’s catalogue.

Untitled (Expanded Light Consciousness II), 2022, Acrylic paint and glitter on wood, 36 x 80 inches, 91.4 x 203.2 cm


Wishing a very happy birthday to our good friend, Brian Alfred!…
12/02/2022

Wishing a very happy birthday to our good friend, Brian Alfred!


An exhibition of new works by Tomory Dodge opens 8 December at 520 West 21st Street. That evening, join us for an openin...
12/02/2022

An exhibition of new works by Tomory Dodge opens 8 December at 520 West 21st Street. That evening, join us for an opening reception to celebrate the artist from 6-8pm!
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“Philosophical skepticism is an approach to questioning both our assumptions about reality and our ability to know and understand. In the hands and mind of the painter Tomory Dodge, it is a method of painting, of questioning each aesthetic choice by building up an image and painting it out—scraping down and rebuilding the work to leave a history in the rich surfaces.

The results of his approach leave a poetic record of the painting’s process of becoming. It is a form of subjective archaeology: The lexicon of colors, forms, patterns, and lines make up the artifacts of a rich dig into the loamy, synaptic soil of his imagination and memory. Dodge has said that by using this method, he earns the poetic resolution that his paintings convey. The results are, in a sense, the broken fragments of an ancient figure, discovered through the methodical process of sifting through the soil of his cultural and personal history, and pieced back together to contain some kind of homage to truth.” - Gary Brewer

Map Maker, 2022, Oil on canvas, 48 x 48 inches, 121.9 x 121.9 cm


Miles McEnery Gallery is pleased to announce representation of Jim Isermann. Isermann’s inaugural solo exhibition at the...
11/29/2022

Miles McEnery Gallery is pleased to announce representation of Jim Isermann. Isermann’s inaugural solo exhibition at the gallery will take place June 2023.

A longtime resident of Palm Springs, Jim Isermann is known for his artistic practice that spans an array of media over nearly four decades. Situated at the intersection of fine art, mid-century design, and decorative craft, Isermann’s work is acutely attentive to pattern, color theory, and geometry. Moreover, Isermann’s art has been crucial to the elevation of design and the Arts and Craft movement as disciplines holding the same powerful and critical capacity of painting and sculpture.

Rooted in queerness and camp aesthetics, Isermann’s work builds off his personal identity. With a desire to upend the restrictions of domestic space, he challenges the historically-gendered lens of both the Minimalist and Craft art movements. Intention is at the work’s core. Occasions of precision and asymmetry, feelings of joy and chaos: each mark, mold, and tuft is weighed and calculated, evolving into an oeuvre overflowing with spontaneity and life.

Visit the link in our bio to read the full announcement.

[1] Jim Isermann in his studio, 2022 by Jason Schmidt [2] Untitled (Flower S**g Painting), 2022, Wool, acrylic paint on canvas over aluminum panels, 68 x 68 x 2 1/2 inches


We are thrilled to share that Rico Gatson’s work Toni #2 (2021) has been acquired by the Nasher Museum of Art!…‘Toni #2 ...
11/26/2022

We are thrilled to share that Rico Gatson’s work Toni #2 (2021) has been acquired by the Nasher Museum of Art!

‘Toni #2 comes from an ongoing series of Icons, sparse geometric compositions incorporating appropriated photographs of cultural luminaries with colorful rays emanating from their bodies. These works draw on some of the formal qualities of the Bauhaus and Constructivism; they adopt the black, gold and green colors of pan-Africanism; and most importantly, they have been inspired by the 1960s political graphic design of Emery Douglass, the Black Panthers’ minister of culture.

In bringing together these elements, Gatson creates images that are part devotional object and part political poster, encouraging us to consider connections between the cultural figures themselves and the greater socio-political impact of their work. Depicted here is the American novelist and Nobel Laureate, Toni Morrison, whose best-known works include Song of Solomon and the highly-acclaimed Beloved.’

Visit the link in our bio to read the Nasher’s full acquisition announcement.

Toni #2, 2021, Color pencil and photograph collage on paper, 22 x 30 inches



James Siena’s current solo exhibition is reviewed by John Yau in Hyperallergic! Read the full review at the link in our ...
11/25/2022

James Siena’s current solo exhibition is reviewed by John Yau in Hyperallergic! Read the full review at the link in our bio and visit Siena’s exhibition at 525 West 22nd Street.

"Intrigued by both the connection and breakdown between machine and human, Siena’s art diverges from the Warholian model of the artist as robotic machine and the long-cherished model of the artist as omnipotent creator, maker of frozen moments in time. We don’t see time stopped in Siena’s work, but rather the pathways he’s taken to mark what he can neither break free of nor transcend: time passing. His work is about addressing his passage in time, knowing that mortality and termination are getting ever closer. It is when Siena most deeply inhabits this state of consciousness that his work become something to reflect upon, and get lost in.”

Installation image of Trectiuff, 2020, Acrylic and graphite on linen, 75 x 120 inches, 190.5 x 304.8 cm




Fiona Rae’s current exhibition is reviewed by Barbara A. MacAdam in The Brooklyn Rail!…"Playful and bookish, Rae punctua...
11/23/2022

Fiona Rae’s current exhibition is reviewed by Barbara A. MacAdam in The Brooklyn Rail!

"Playful and bookish, Rae punctuates her paintings with alphabetical triggers, using different fonts that she stretches out into bumpy, Disney-esque landscapes pocked with high and low associations. She plumbs time and space through a wilderness of symbols and references. Her palette over the years has segued from dense and dark to light and airy, with the newest work being pastel-hued, spacious and gestured, and set against a white ground. The paintings—oil and acrylic on linen and gauzy-toned works on paper—consist of stray forms, words, and cartoon characters in the act of becoming."

At the link in our bio, read MacAdam’s full review.

[1] I've seen things you people wouldn't believe, 2022, Oil and acrylic on linen, 60 x 50 inches



“Nielsen has studied the scientific processes behind color and light, learning how wavelengths and exposure times result...
11/22/2022

“Nielsen has studied the scientific processes behind color and light, learning how wavelengths and exposure times result in different hues and intensities. Look closely at the edges of some of her shapes or along whole borders, and you will see a layering of exposures, a sign that her work has its technical roots in photochemistry, however significantly it has evolved beyond the simple point-and-shoot. (There is no actual camera involved here.) The bleeding, wisping colors throughout each piece breathe movement and life into the work, providing a new level of depth. It is as if the whole thing is vibrating, pulsating off the page,” Grace Edquist.

Liz Nielsen: Edge of Forever is on view through this Saturday, 26 November. Visit the exhibition at 520 West 21st Street and explore the exhibition’s online viewing room at the link in our bio.


"In a dramatic shift in the way he pieces together his paintings, McGinness is now using a single drawing as the skeleto...
11/18/2022

"In a dramatic shift in the way he pieces together his paintings, McGinness is now using a single drawing as the skeleton or lattice for an entire canvas… The gateway was a series of 'Mother and Child' drawings McGinness began several years ago, including one based on a snapshot of his wife sitting in a mod Eero Aarnio-designed Ball Chair with their two daughters, Evelyn and Maxine. In McGinness’ simplified version, the central maternal form enfolds a child’s silhouette under each arm, all ensconced within the egg-like shape. It’s a new look at the age-old trope of Madonna and Child—an updated icon.”

In her essay on Ryan McGinness’ new body of work, Hilarie M. Sheets elaborates on the artist’s process of working from personal sketches rather than sourcing material from “the cultural and public domain.” At the link in our bio, read Sheets’ essay in the digital catalogue accompanying McGinness’ current exhibition, New Narratives. New Narratives, featuring Mother and Child (2022), is on view at our 515 West 22nd Street gallery through next Saturday, 26 November.

[1,2] Mother and Child, 2022, Acrylic and metal leaf on canvas, 84 x 60 inches [3,4] details


Fiona Rae is one of Artnet News’ 5 Novel and Noteworthy Artists to watch this month! Rae’s current exhibition at the gal...
11/16/2022

Fiona Rae is one of Artnet News’ 5 Novel and Noteworthy Artists to watch this month! Rae’s current exhibition at the gallery is on view through 26 November at our 511 West 22nd Street location.

“British artist Fiona Rae is perhaps best known for paintings that draw from an incredibly diverse range of inspiration, from Abstract Expressionism to Japanese anime and traditional typography. Rae’s inaugural solo show at Miles McEnery Gallery in New York (through November 26) features both recent paintings and works on paper. In her latest series, Rae investigates the many ways that abstraction operates both in visual art and in literature. Using lines drawn from classic and popular literature as titles of and as visual motifs, she challenges art hierarchies and at the same time explores new dimensions of the numerous influences that inform her work.”

Visit the link in our bio to read the full Artnet News article.



Congratulations to Inka Essenhigh, one of last night’s honorees at the Hirshhorn’s Artist X Artist New York Gala!…[1] In...
11/15/2022

Congratulations to Inka Essenhigh, one of last night’s honorees at the Hirshhorn’s Artist X Artist New York Gala!

[1] Inka Essenhigh, Blue Mountain, 2022, Enamel on canvas, 32 x 28 inches [2,3] details



In the November issue of Artforum, Barry Schwabsky reviews Norman Bluhm’s summer exhibition at 525 West 22nd Street. ......
11/12/2022

In the November issue of Artforum, Barry Schwabsky reviews Norman Bluhm’s summer exhibition at 525 West 22nd Street.
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"Bluhm’s steady, curving surfaces insistently evoke the flesh, the human figure, in which, he held, 'all the great form really exists.' That the flesh that obsessed him was female is attested to by some of the paintings’ titles, such as 'Sooty Lady’ and 'Mermaid’s Delight,' both 1978. The paradox is that while the resulting imagery is 'absolutely corporeal,' as Jane Livingston wrote in a 1977 catalogue essay for the artist’s work, it never resolves into closed organic shapes. And as the pneumatic forms waft ever upward, they might just as easily be mingling currents of flowing colored air or water; volume and atmosphere become indistinguishable. The viewer is immersed in eddies of pleasure. Desire—as O’Hara might have recognized, had he lived into the 1970s—became Bluhm’s program for painting."

Read the full review and learn more about the artist’s inaugural exhibition with the gallery at the link in our bio.




“In the worlds depicted in Nielsen’s light paintings, time is an infinite loop. One is always arriving, looking through,...
11/10/2022

“In the worlds depicted in Nielsen’s light paintings, time is an infinite loop. One is always arriving, looking through, wandering in, traversing. Her saturated, gradient colors burst forth as an invitation to dwell. In our overly scheduled lives, with our self-imposed high expectations, our internal and external pressures, it’s nice to consider a kind of liminal space where to be or not to be is actually not the question—we are always just ‘being.’”

Edge of Forever, an exhibition of photograms by Liz Nielsen, is on view through 26 November at our 520 West 21st Street gallery. The exhibition is accompanied by a fully illustrated publication featuring an essay by Grace Edquist. At the link in our bio, read the digital edition of the catalogue and explore the show’s online viewing room.

Being With You, 2022, Analog Chromogenic Photogram, on Fujiflex, Framed Dimensions: 53 3/8 x 79 1/8 inches, 135.6 x 201 cm
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“Throughout her career, Rae has made paintings that are triumphs of abstraction, even as they manage to tell stories, to...
11/08/2022

“Throughout her career, Rae has made paintings that are triumphs of abstraction, even as they manage to tell stories, to illustrate layered and complex truths about our world and our interior lives. Some of these truths, the first-impression ones, are purely physical: how paint strokes resolve, how pigments layer, how line and shape redefine the plane. There is no small amount of visual pleasure in this kind of material fact checking; it is one of the reasons paintings have maintained their hold on us, decade after decade, century after century. Our eyes hunger for this kind of fluid, sensual play, the kind that Rae so generously offers.”

Fiona Rae’s solo exhibition is on view at our 511 West 22nd Street gallery through 26 November. At the link in our bio, read Christina Rees’ essay on Rae’s newest body of work in the digital edition of the exhibition’s catalogue.
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[1] If it be not now, yet it will come, 2022, Oil and acrylic on linen, 60 x 50 inches, 152.4 x 127 cm [2,3] details


“In ‘New Narratives,’ McGinness has taken on the challenges of traditional painting genres—landscape, figure, still life...
11/05/2022

“In ‘New Narratives,’ McGinness has taken on the challenges of traditional painting genres—landscape, figure, still life—albeit in a way that remains entirely on-brand for the artist. ‘Perception Management’ (2020), anchoring one wall in the exhibition, still has a cacophony of individual icons, looping and layered edge to edge. But its decorative flatness is undercut by a dazzling river of blue metal leaf snaking across the picture plane and creating the sense of a landscape from a bird’s-eye view.”

Perception Management (2020) is on view in Ryan McGinness: New Narratives at 515 West 22nd Street. Featured under the gallery’s skylights, the triptych is installed between two of McGinness’ narrative portraits: The Spaghetti Eater (2022) and Mother and Child Painting (2022). Read Hilarie M. Sheets’ essay on McGinness’ exhibition, which she aptly calls “the most personal show of his career,” at the link in our bio.


“So long as visual information is evenly distributed at a granular scale, patterning as such doesn’t typically generate ...
11/02/2022

“So long as visual information is evenly distributed at a granular scale, patterning as such doesn’t typically generate overload; but when the grains that make up that information are nonrepetitive, the visual cortex short-circuits in a vain attempt to discern an organizing principle or fundamental logic. At that point things get interesting. The mind of the viewer adjusts and manages to absorb effects that previously were too much to take in. That is a condition I aspire to generate in a viewer.”

An exhibition of new works by James Siena is on view at our 525 West 22nd Street gallery through 26 November. Swipe for a closer look at ‘Aoxomoxoa, second version’ (2021) and visit the exhibition’s online viewing room at the link in our bio.

[1] Aoxomoxoa, second version, 2021, Acrylic and charcoal on linen, 36 x 48 inches, 91.4 x 121.9 cm [2,3] details


We're thrilled to be participating in this year's edition of The Art Show, hosted by the Art Dealers Association of Amer...
10/29/2022

We're thrilled to be participating in this year's edition of The Art Show, hosted by the Art Dealers Association of America. Taking place at The Park Avenue Armory, we will be exhibiting a solo booth of new works by Beverly Fishman. Visit us at Booth A5 from 3-6 November!

Beverly Fishman, Untitled (Abortion, Chronic Pain, Panic Disorder, Narcolepsy), 2022, Urethane paint on wood, 45 x 42 inches



Happy Birthday, James Siena!…Siena’s solo exhibition is currently on view at 525 West 22nd Street. Visit the link in our...
10/28/2022

Happy Birthday, James Siena!

Siena’s solo exhibition is currently on view at 525 West 22nd Street. Visit the link in our bio to learn more about the artist and his inaugural exhibition with the gallery.


For the second iteration of the Birmingham Museum of Art’s 'Wall to Wall’ commission series, Rico Gatson transforms the ...
10/27/2022

For the second iteration of the Birmingham Museum of Art’s 'Wall to Wall’ commission series, Rico Gatson transforms the walls of the museum’s lobby with portraits of two great Birminghamians: a life-size image of an iconic Birmingham figure, Reverend Fred L. Shuttlesworth, and an abstract portrait of artist and composer Sun Ra. Reverend Shuttlesworth and Sun Ra saw the potential in the world around them and used their energy to create profound change. Through community engagement, Gatson hopes to bring the energy from the Civil Rights movement into the present.

Gatson’s murals are on view through July 2023. Visit the link in our bio to learn more about the exhibition.
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Images courtesy of the Birmingham Museum of Art. ‘Wall to Wall’ is presented by PNC.



Trudy Benson’s work Kintsugi (2021) is available in the Rema Hort Mann Foundation's 25th Anniversary Gala Silent Benefit...
10/26/2022

Trudy Benson’s work Kintsugi (2021) is available in the Rema Hort Mann Foundation's 25th Anniversary Gala Silent Benefit Auction. Hosted by Artsy, the auction is live through 1 November and features over 120 donated works of art. Learn more about the foundation and visit the online auction at the link in our bio.

For 27 years, the Rema Hort Mann Foundation has been dedicated to improving the lives of others with Grants designed to help with Life, Art and Community. Founded in 1995 to carry forward the passion and strength of Rema Hort Mann, the Foundation has evolved into a dynamic and effective organization, surpassing $8 million dollars in grants awarded. This will be the Foundation's single most important fundraiser, and will help us to secure the future of the Foundation’s grant programs, share the legacy of Rema Hort Mann, and continue our work as an inclusive, community engaged arts organization committed to supporting cancer patients during treatment and funding promising emerging artists and artist community engagement projects.

All proceeds from the Gala & Art Auction goes directly to RHMF’s grant program.

Trudy Benson, Kintsugi, 2021, Acrylic and oil on canvas, 54 x 56 inches
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“Though her light paintings give off the dreamy aura that anything is possible, they are the result of a meticulous, met...
10/26/2022

“Though her light paintings give off the dreamy aura that anything is possible, they are the result of a meticulous, methodical process in which she arranges compositions made out of any given material atop large sheets of photo-sensitive paper and exposes only certain layers at a time. The exposures of each layer—sometimes 10, 25, or even 50 per work—must be planned in advance, since they are done in a specific order during one long session in the darkroom within her studio near the Hudson River. While her process may start with experimentation, in the end, it’s more like a tightly choreographed dance.”

Liz Nielsen’s exhibition ‘Edge of Forever’ is on view at our 520 West 21st Street gallery through 26 November. At the link in bio, explore the exhibition’s online viewing room and read Grace Edquist’s essay on the work in the digital edition of the show’s publication.


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525 W 22nd Street
New York, NY
10011

Opening Hours

Tuesday 10am - 6pm
Wednesday 10am - 6pm
Thursday 10am - 6pm
Friday 10am - 6pm
Saturday 10am - 6pm

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(212) 445-0051

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ON VIEW | Rico Gatson’s installation is featured in the exhibition “GEOMETRIES” at the Sugar Hill Children’s Museum. The mural is a translation of Gatson’s painting “Untitled (Flag VII)” (2020) and will remain on view through 20 August 2022. Curated by Damien Davis, “GEOMETRIES” features the work Chris Bogia, Marisol Martinez, and Tariku Shiferaw alongside Gatson’s installation.

"Learning about shapes, spaces, and spatial concepts is foundational to the pedagogy of early language, literacy, reading and mathematical thinking. We use geometric thinking when we build with blocks, assemble puzzles or create patterns. For adults, the use of geometry often takes the form of rationalizing and understanding abstract concepts and relationships. How can this investigation of lines and shapes help us illustrate the ways in which ideas connect to each other, while having the potential to encircle, abstract and diagram really big ideas?

Through the use of geometric shapes and figures as building blocks, GEOMETRIES aims to showcase the many ways in which shape, color and lines can be used to articulate complex ideas. The four artists involved bridge the gap between childhood and adulthood, with an emphasis on the complex issues of adults, such as mental health, accessibility to education and who education is for, black history and political movements.”
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Image: Timothy Lee Photography




ON VIEW | Visit Jason Middlebrook’s exhibition ‘Light Lines’ through 23 July at 525 West 22nd Street. Not in New York? Explore the exhibition’s online viewing room at the link in bio.

"I kind of feel like a visitor making this gesture on the surface of the wood; the tree basically did all the work — a 100 years of work. My paint, it’s just sitting there kind of like a skin… I believe that time plus effort equals a response.”


Happy Birthday to the brilliant Erin Lawlor!


ON VIEW | “Flesh Glitch” (2021) is on view in Heather Gwen Martin’s solo exhibition ‘Verse’ at 515 West 22nd Street. ➡️ Swipe for a closer look at the painting, on view at the gallery through 23 July.
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“Such powerful color conversations are contained within and among the shapes for the artist, who speaks of the forms as ‘energy or forces that move in and out of the work.’ Indeed, these shapes are not simply abstract but stem from an intensive investigation of the role abstraction plays in everyday life. Most often, these elements are determined by the resonance of an experience or are inspired by the direct observation of an object as it optically morphs in response to an external light shift,” Kara L. Rooney.

‘Flesh Glitch,’ 2021, Oil on linen blend, 46 x 39 inches


ON VIEW | ‘CURE,’ Beverly Fishman’s solo exhibition at The Contemporary Dayton, is on view through 22 July 2022.

Beverly Fishman is an American painter and sculptor whose work explores science, medicine, and the body. Her large, exquisitely crafted object-paintings feature titles like 'Untitled (Epilepsy, Pain, Chronic Pain, Op**te Dependence),' derived from geometric arrangements of tablets, capsules, and pills; prescribed cocktails for the ailments outlined parenthetically in each work’s title.

Fishman imbues her glossy, exuberant pieces with the hidden implication of what lurks beneath the façade of pharmaceutical culture: the manipulative effect of color on the psyche and the penchant of these colors to mark mental connections between consumer and drug.



ON VIEW | “The Things I Can’t Forget,” Isca Greenfield-Sanders’ third solo exhibition with the gallery, is on view at 511 West 22nd Street through 23 July.
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“Greenfield-Sanders makes all sorts of decisions as she creates her works from scratch. In some ways, what she does can be compared to the skill set of an author who writes nonfiction novels or the director of a movie that features real-life characters,” Phyllis Tuchman in ‘Points of View,’ the essay that accompanies the exhibition’s publication.

Visit the link in bio to read Tuchman’s essay in the digital edition of the catalogue.

'Blue Wave (Detail),' 2022, Mixed media oil on canvas, 63 x 63 inches
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ON VIEW | David Allan Peter’s solo exhibition is on view at 520 West 21st Street through 23 July.

“David Allan Peters’ hallucinogenic paintings have a vibrant quality that is distinctly Californian. . . The patterned notches in these layers of paint vaguely recall organic shapes—tree rings or waves, if such naturally occurring phenomena were washed in baby blues and hot pinks,” M. Osberg (2016).

Visit the link in bio to explore the exhibition’s online viewing room.


💥• Michael Reafsnyder, ‘Firecracker,’ 2021, Acrylic on linen, 52 x 60 inches

ON VIEW | “DUAL,” an exhibition featuring the works of Lisa Corinne-Davis alongside Shirley Kaneda, is on view at the New York Studio School through 17 July.

"Lisa Corinne Davis and Shirley Kaneda create bold, colorful abstractions that contain a multitude of meaning through both free expression and restraint, a duality that informs the base geometric structures of their compositions—the grid for Davis, vertical stripes for Kaneda. The destabilized visual fields evidence layers of history—art history, immigration and identity, place and memory—through a palimpsestic interplay of biomorphic and hard-edge forms… Both Davis and Kaneda challenge art historical paradigms, particularly twentieth-century white, masculine modernism and hermetic traditions of abstraction… DUAL showcases the work of two artists who force abstraction to dialogue with the exterior world by engaging in pressing concerns over race and gender, among others. Their unique visual rhetoric creates intangible physical spaces that resonate as psychological ones and invite viewers to actively participate in the formation of new structures of knowledge."

Installation images courtesy of the New York Studio School.


ON VIEW | ‘Light Lines,’ Jason Middlebrook’s second solo exhibition with the gallery, is on view at 525 West 22nd Street through 23 July.

Explore the exhibition’s online viewing room at the link in bio.

‘Ten Skies Towards Night,’ 2022, Acrylic on maple and walnut, 29 1/4 x 25 3/4 x 2 3/4 inches


Wishing the happiest of birthdays to our good friend Michael Reafsnyder!

ON VIEW | Isca Greenfield-Sander’s solo exhibition, ‘The Things I Can’t Forget,’ is on view through 23 July at 511 West 22nd Street.

“These paintings, which feature so many plants and flowers, also are the most animated. Do we hear birds chirping? No, it is more like insects issuing a symphony of sounds. And, as we imagine their cacophonous tones, we realize just what a rich sensory experience Isca Greenfield-Sanders offers viewers of her art. This is landscape painting refreshed and practiced with understated originality,” Phyllis Tuchman.

Visit the link in bio to explore the exhibition’s online viewing room.

‘Mountain View,’ 2022, Mixed media oil on canvas, 68 x 68 inches


Join us in sending best wishes to Daniel Rich on his birthday!


🌈Wishing everyone a very happy Pride!🌈


Happy Birthday to the brilliant Amy Bennett!

“Forward” (2022) is on view in 'Heather Gwen Martin: Verse’ at 515 West 22nd Street through 23 July.
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"Martin sees painting as she sees the world around her. It’s a space in which other things occur— shapes, movement, color combinations, and dramatic shifts of scale,” Kara L. Rooney.

Explore the exhibition’s online viewing room at the link in bio.


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