525 W 22nd Street New York, NY 10011
Tel: +1 (212) 445 0051
Tuesday - Friday, 10:00 a.m. - 6:00 p.m. and by appointment
COMING SOON: 520 West 21st Street New York, NY 10011
Miles McEnery, Principal
Kayla Moser, Assistant to Miles McEnery
James Yohe, Executive Director
Avery McEnery, Director of Finance
Lucasta Partridge-Hicks, Director of Sales
Anastasija Jevtovic, Director of Publications
Ainslie Jamerson, Gallery Associate
Isabelle Brooks, Gallery Assistant
Clementina Davila Tejeida, Gallery Assistant
Miles McEnery Gallery is a contemporary art gallery located in the Chelsea neighborhood of New York City.
The gallery is the evolution of Ameringer | McEnery | Yohe where McEnery was a partner and the managing director.
Ameringer | McEnery | Yohe emerged in 1999 in the wake of the closing of the venerable André Emmerich Gallery, where Will Ameringer and James Yohe served as directors. The André Emmerich Gallery was sold to Sotheby’s in 1996 after more than forty years in business, and it subsequently ceased operations in 1998.
Ameringer | McEnery | Yohe traces its roots to 41 East 57th Street on the corner of Madison Avenue in the iconic Fuller Building, originally constructed in 1929 in the Art Deco Style.
Specializing in Post-War American Art with an emphasis on Abstract Expressionism, Color-Field, Hard-Edge, and related painting, the gallery routinely mounted major exhibitions by Helen Frankenthaler, Al Held, Hans Hofmann, Morris Louis, Robert Motherwell, John McLaughlin, Kenneth Noland, and Jules Olitski, among notable others.
It was granted membership to the Art Dealers Association of America (ADAA) in 2001 and Miles McEnery Gallery continues to exhibit at the ADAA Art Show. As a member of the ADAA, the gallery is committed to maintaining the highest standards of integrity, scholarship, and connoisseurship.
In 2002, Ameringer | McEnery | Yohe relocated to a Richard Gluckman designed space at 20 West 57th Street. It was formerly occupied by the Blum Helman Gallery, which was co-founded by Irving Blum of the influential Ferus Gallery, which operated from 1957 to 1966 in Los Angeles, CA.
In 2009, Ameringer | McEnery | Yohe moved to its current location at 525 West 22nd Street in Chelsea, which was formerly occupied by 303 Gallery. The expanded space allowed for more ambitious, and multiple concurrent, exhibitions.
Today, Miles McEnery Gallery continues in that Chelsea location. It is the primary representative of over thirty international contemporary artists and artists’ estates, and the exclusive representative of the Hans Hofmann and Esteban Vicente estates.
Since its founding, the gallery has specialized in the resale of select works of art from seminal Post-War and contemporary masters. It also has published significant catalogues that have accompanied its exhibitions, and has been instrumental in the publication of several artist monographs. Additionally, it regularly assists in the organization of institutional exhibitions and facilitates museum acquisitions.
The gallery was proud to be selected for inclusion in the inaugural installment of Art Basel Miami Beach in 2002 and has exhibited annually since. In 2013, the gallery exhibited at the first edition of Art Basel Hong Kong, and it routinely exhibits at art fairs nationally and internationally.
In anticipation of the celebration of its twentieth anniversary, Miles McEnery Gallery underwent a major renovation at its 525 West 22nd Street location in the winter of 2018. The gallery has grown both physically and conceptually since its inception, and this expansion resulted in greatly improved, updated, and redesigned galleries that show artwork to its optimal advantage and allow Miles McEnery Gallery to best serve the needs of the artists and clients it will collaborate with for decades to come.
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. At other times it’s awkward. And unsettling. And consequential.
Conflict enters the picture when what you feel and what you know tug you in different directions. That tension creates experiences that compel you to reorganize your relationship to the world—starting with your self, which is, hopefully, a fairly complex constellation of experiences and imaginings, facts and fantasies, realities and relationships.
The art exhibited at McEnery highlights the multilayered nature of identity, not to mention history and humanity. It also leaves people free to experience things for themselves. And once that individual experience has begun, it invites you to determine what that experience means for you, but not just to you alone.
Freedom and responsibility—or independence and interconnectedness with others—take shape before works that do not strive to provide answers to life’s big questions so much as to draw visitors into conversations with themselves, with their friends, and with strangers. Both internal and external, these dialogues can be insightful, and they can also be infuriating. They are often both. At their best, they sharpen perceptions, excite the imagination, stimulate thinking, and change behavior by making us aware of realities previously unseen.
Prescriptive art is nowhere to be found. Nor are one-dimensional works, single-issue statements, or academic rehashes of ideas that have been thoroughly worked through by previous generations.
Painting and drawing predominate. This is not because these media are historically important or intrinsically valuable, but because they are basic: simple technologies that record, often in exceptionally nuanced ways, the gestures and maneuvers of a consciousness in action (making decisions, adapting to circumstances, working through rough spots, and coming to conclusions—only to start all over again in the next painting or drawing). The drama—of striving to do something and then striving to do more—opens up all sorts of stories. Each story has lots to say about all sorts of situations, artistic and otherwise. Often both.
Both abstract and representational, the works at McEnery invite viewers into worlds within worlds. Familiar details give way to strangeness. What you thought you knew turns out to be different from what you actually know. Strangest of all, your journeys through the overlapping, intersecting worlds in these works do not take you away from the real world so much as they take you more deeply into it—more attentive to subtle differences and inspired to share such discoveries with others.