The Disappointment Engine by Jacob Hashimoto featured in Design Milk

We are thrilled to return to The Armory Show for the fair's 2023 edition at the Javits Center.

Liz Nielsen is featured in Artsy's feature on contemporary abstract photographers.

Paul Laster writes on Elise Ansel: Sea Change for Galerie Magazine.

Raffi Kalenderian's recent exhibition is featured in Artnet News.

Elise Ansel: Sea Change is reviewed by Alfred Mac Adam for The Brooklyn Rail.

Paul Laster features our booth in his coverage of Intersect Aspen Art Fair. 

Karen Wilkin reviews Lisa Corinne Davis: You Are Here? in the Summer 2023 issue of The Hudson Review.

Sebastian Blanck and Isca Greenfield-Sanders are featured in Women's Wear Daily.

Elise Ansel: Sea Change is included in this week's NYC Arts roundup by Observer!

Amy Bennett's Delivery (2019) is on view at the Museum of Fine Art Boston through 2025.

Lauren Nickou reviews Trudy Benson's exhibition Plastic Paintings at Galerie Krinzinger.

Brooklyn Magazine's Vittoria Benzine reviews Markus Linnenbrink's "EVERYTHINGBETWEENTHESUNANDTHEDIRT" as a must-see show this summer.

Listen to Jim Isermann's interview with Brian Alfred for the latest episode of Sound & Vision.

Markus Linnenbrink's new publication, FLAMINGLOVEANDDESTINY, features the artist's site-specific installations, published by Fundación DIDAC in collaboration with Galería Max Estrella. 

Natalie Frank: The Raven and The Lion Tamer is featured in artnet news.

Jerry Saltz reviews Natalie Frank: The Raven and The Lion Tamer for New York Magazine.

As part of Staatliche Kunsthalle Karlsruhe's collection, Pia Fries's work is on view at the ZKM Center for Art and Media in Karlsruhe, Germany. 

Liz Nielsen is on view in Sense of Place at the Strohl Art Center at the Chautauqua Institution.

Markus Linnenbrink is interviewed by Brian Alfred for Sound & Vision.

Jim Isermann contributes to Cultured's Pride feature, reflecting on the late Scott Burton. 

Whitney Bedford is on view at the Santa Barbara Museum of Art as part of the exhibition Inside/Outside.

Carol Real of Art Summit interviews Alexandra Grant about her artistic practice. 

Rico Gatson: Visible Time at the USF Contemporary Art Museum is reviewed by Tom Winchester for Art Critter.

Congratulations to Inka Essenhigh on The Farnsworth Museum of Art's recent acquisition of Forest with Dappled Light (2022).

Rico Gatson: Visible Time is now on view at the USF Contemporary Art Museum.

Bo Bartlett: Earthly Matters at MOCA Jacksonville is reviewed by Tom Szaroleta for The Florida Times-Union.

Beverly Fishman: Something For the Pain is reviewed by Jason Stopa for The Brooklyn Rail.

Lisa Corinne Davis: You Are Here? is reviewed by Barbara A. MacAdam for The Brooklyn Rail.

Bo Bartlett's exhibition Earthly Matters travels to MOCA Jacksonville, on view 26 May through 10 September.

Lisa Corinne Davis' exhibition You Are Here? is highlighted in Culture Type.

Brian Alfred interviews Alexandra Grant for Sound & Vision.

Beverly Fishman's exhibition Something For The Pain is reviewed by Max Lakin in The New York Times.

Inka Essenhigh is interviewed by Katie White for artnet news.

Kelly Beall reviews Beverly Fishman's exhibition Something For The Pain in Design Milk.

Miles McEnery Gallery is pleased to exhibit at the 2023 edition of Taipei Dangdai. Presenting a three-person booth, the exhibition features works by Tomory Dodge, Beverly Fishman, and Raffi Kalenderian. 

Inka Essenhigh's exhibition is included in Cultured Magazine + Arkive's NY Art Week Guide.

Cirque De La Vie, an exhibition of works by Bo Bartlett, is on view at the Lyme Academy of Fine Arts.

Inka Essenhigh's current exhibition is highlighted as a "Must-See" in Galerie Magazine this May. 

Miles McEnery Gallery is pleased to announce representation of Rosson Crow.

Rebecca Hart's essay on Beverly Fishman is featured in issue 510 of artpress.

Pia Fries' work is exhibited in The Adventure of Abstraction at the Sprengel Museum Hannover.

Shannon Finley's solo exhibition Aftermathematics at Mies van der Rohe Haus is reviewed by Ingeborg Ruthe in Berliner Zeitung.

Shannon Finley's solo exhibition Aftermathematics at the Mies van der Rohe in Berlin is on view 16 April through 25 June 2023.

Miles McEnery Gallery is delighted to present an exhibition of works by gallery artists at the 2023 edition of EXPO CHICAGO.

Kellie Jones has been named the inaugural Hans Hofmann Professor of Modern Art, a new professorship established at Columbia University with a generous gift from the Renate, Hans and Maria Hofmann Trust.

Works by Rico Gatson are on view throughout Chicago as part of EXPO CHICAGO's OVERRIDE | A Billboard Project.

Rico Gatson’s Untitled (Triple Consciousness) (2022) is on view as part of The Social Justice Billboard Project at George Floyd Square in Minneapolis.

Inka Essenhigh is included in the exhibition Rounding the Circle: The Mary and Al Shands Collection, on view at the Speed Art Museum through 6 August.

Judy Pfaff is included in the exhibition After "The Wild": Contemporary Art from The Barnett and Annalee Newman Foundation Collection, on view at The Jewish Museum through 1 October 2023.

Dodai Stewart shares Ryan McGinness' reimagining of the new 'We ♥️ NYC' logo. 

Pia Fries is included in the exhibition Print is a Battlefield at Museo Villa dei Cedri.

Pia Fries exhibition durch sieben siebe is on view through August 2023 at Lido Malkasten, Künstlerverein Malkasten.

Inka Essenhigh is included in Salomé Gómez-Upegui's Artsy article, The New Generation of Transcendental Painters.

David Ambrose reviews Warren Isensee's current exhibition for Whitehot Magazine.

Reporter Jonathan Stringfellow interviews Bo Bartlett for Columbia University's, The Uproar. 

Aprik Gornik and her husband Eric Fischl are featured in Cultured Magazine.

Jerry Saltz reviews Warren Isensee's current exhibition for Vulture in New York Magazine.

Erin Lawlor's painting Majestic Mickey (2016) is on view in the exhibition The Cabin LA Presents: A Curated Flashback at the Green Family Art Foundation.

Earthly Matters is on view at the Bo Bartlett Center through 28 April 2023.

Warren Isensee is featured as one of Artnet's February "5 Intriguing Artists."

Erin Lawlor is featured as one of Artsy's 5 Artists on Our Radar in February 2023.

Warren Isensee's current exhibition is reviewed by Eli Anapur in Widewalls.

Douglas Melini's The Forms of Thought (2010) is on view in the exhibition Triangles within a Square: Art and Mathematics at the Tang Teaching Museum.

Jacob Hashimoto's site-specific installation, The Fractured Giant, is on view at the Boise Art Museum through January 2024. 

James Siena is included in the exhibition, The Searchers, presented by the Philadelphia Art Alliance at University of the Arts, now on view. 

Evan Pricco reviews Daniel Rich's Flat Earth in Juxtapoz Magazine. 

Rico Gatson is included in Poor People’s Art: A (Short) Visual History of Poverty in the United States, now on view at the USF Contemporary Art Museum. 

Invincible Summer, a solo exhibition of paintings by Erin Lawlor, is on view through 19 March at the Wellington Arch Museum in collaboration with Vigo Gallery.

Spectral Visions is featured in Galerie Magazine.

Rico Gatson's exhibition Spectral Visions is included in the digital weekly of Air Mail

Rico Gatson is featured on the Cerebral Women Art Talks podcast. 

Jaocb Hashimoto's installation This Particle of Dust is on view through December 2023 at the Tampa Museum of Art.

Miles McEnery Gallery is pleased to announce representation of Jim Isermann.

James Siena's solo exhibition at 525 West 22nd Street is reviewed by John Yau in Hyperallergic. 

Fiona Rae's solo exhibition at 511 West 22nd Street is reviewed in The Brooklyn Rail.

Franklin Evans discusses his work perpetualstudio in the exhibition What a Wonderful World at Museo MAXXI.

Rico Gatson's Toni #2 (2021) has been acquired by the Nasher Museum of Art at Duke University in Durham, NC.

Fiona Rae is featured in Artnet News' November roundup.

Liz Nielsen's exhibition Edge of Forever is featured by Collector Daily

Norman Bluhm's summer exhibition at 525 West 22nd Street is reviewed by Barry Schwabsky in the November issue of Artforum.

Jacob Hashimoto: Fractured Giants is on view through 21 January 2024 at the Boise Art Museum.

Bo Bartlett's painting Hurtsboro has been acquired by the Gibbess Museum of Art in Charleston, SC.

Trudy Benson's Kintsugi (2021) is available to bid on in the Rema Hort Mann Foundation's 25th Anniversary Gala Silent Benefit Auction 2022.

Liz Nielsen's exhibition 'Edge of Forever' is featured in The Wall Street Journal

Judy Pfaff's solo exhibition smokkfiskur: a tale is now on view at the Museum of New Art, Portsmouth, NH

Enrique Martínez Celaya: The Foreigner's Song is reviewed by Irene Lyla Lee in The Brooklyn Rail

Brian Alfred's work is featured in the exhibition City, Country, Connectivity at the Kunst für Angeln e.V.

Elizabeth Magill's solo exhibition Flag Iris is reviewed by Millree Hughes in Culture Catch

Richard B. Woodward reviews the Parrish Art Museum exhibtion, 'Joaquín Sorolla and Esteban Vicente: In the Light of the Garden,' pairing the late-career works of two Spanish-born masters who found inspiration in the green spaces of their home. 

Rico Gatson is included in the exhibition Color Code at the McEvoy Foundation for the Arts.

Brian Alfred interviews Raffi Kalenderian for his podcast, Sound & Vision.

James Siena's upcoming exhibition is featured in the current issue of Art New England

David Allan Peters is included in the group exhibition Hybrid Spaces at Borusan Contemporary in Istanbul, Turkey.

Elliott Green is included in Symbiosis, a group exhibition curated by Beth Rudin DeWoody, at the Berkshire Botanical Garden.

5 Talents From the Artnet Gallery Network We’re Keeping an Eye on as the Fall Season Kicks Off

Spotlight: Cuban-Born Artist Enrique Martínez Celaya Conjures Themes of Identity and Longing in a Show of Allusive Recent Works in New York

Miles McEnery Gallery is delighted to participate in the 2022 edition of The Armory Show. Presenting a selection of works by gallery artists, the exhibition includes Whitney Bedford, Jacob Hashimoto, Raffi Kalenderian, Fiona Rae, James Siena, and Patrick Wilson.

Bo Bartlett: Earthly Matters is now on view at The Gibbes Museum of Art in Charleston, SC.

Lisa Corinne Davis' work is included in the exhibition Given Time at the Milton Resnick and Pat Passlof Fountation.

Miles McEnery Gallery is pleased to announce representation of Jacob Hashimoto.

Brian Alfred featured in an interview with Shoutout LA. 

Enrique Martínez Celaya: The Foreigner's Song is featured in Artnet News' Armory Week exhibition roundup.

Enrique Martínez Celaya: The Foreigner's Song is featured as one of Ocula Magazine's exhibitions to see in New York this fall.

Enrique Martínez Celaya: The Foreigner's Song is featured in this week's Air Mail

Colossal editor Kate Mothes interviews Jacob Hashimoto.

The multidisciplinary artist’s bold and bright works shine a spotlight on the African-American experience and pay homage to some of its historical icons

Judy Pfaff's exhibition at Truro Center for the Arts at Castle Hill is now on view through 2 September 2022.

Miles McEnery Gallery congratulates Michael Reafsnyder on being awarded a 2022 Pollock-Krasner Foundation Grant.

The Parrish Art Museum opens an exhibition featuring the work of Esteban Vicente in conversation with paintings by Joaquín Sorolla.

Rico Gatson is the second artist to create murals for the Birmingham Museum of Art's Wall to Wall installation series.

John Yau's review of Norman Bluhm's solo exhibition is featured in Hyperallergic.

Beverly Fishman is featured in The Detroit News for her exhibition Recovery at the MSU Broad Art Museum.

Lush and enchanting gardens were a continual muse for Spanish artists Sorolla and Vicente whose careers spanned different centuries.

Forcefield, a large-scale, site-specific installlation, is on view at Newburgh's Dutch Reformed Church from sunset to midnight every night through 30 September 2022. 

David Carrier reviews DUAL: Lisa Corinne Davis & Shirley Kaneda at the New York Studio School in Two Coats of Paint.

Lisa Corinne Davis and Shirley Kaneda: Different strokes

Tomory Dodge is included in Abstract Los Angeles: Four Generations at the Brand Library & Art Center through 2 September. 

USF Contemporary Art Museum to open new exhibit

The recontextualization of Wolf Kahn's work will make it more accessible for researches, collectors, scholars, and the general public. 

The Lyrical Moment: Modern and Contemporary Abstraction by Helen Frankenthaler and Heather Gwen Martin at the USF Contemporary Art Museum in Creative Pinellas

Six cultural institutions to be awarded $800,000 in grant initiative honoring the joint legacy of the 62-years-married artists Wolf Kahn and Emily Mason

Rico Gatson's "Untited (Flag IIII) is included in the exhibition Light Play at the Birmingham Museum of Art.

The Lyrical Moment, an exhibition of works by Heather Gwen Martin and Helen Frankenthaler, is on view at the USF Contemporary Art Museum through 30 July 2022.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce representation of Lisa Corinne Davis.

Lisa Corinne Davis, alongside Shirley Kaneda, is featured in the exhibition DUAL at the New York Studio School through 17 July.

Rico Gatson is included in the show "The Artist's Eye" at the UC Berkeley Art Museum and Film Archive.

FLAMINGLOVEANDDESTINY, a site-specific installation by Markus Linnenbrink, is on view at Fundación DIDAC through 11 September 2022.

Brian Alfred in conversation with Maria Vogel in Hii Magazine.

Inka Essenhigh is included in The View from Here at the Center for Maine Contemporary Art.

Franklin Evans site-specific installation is included in the exhibition What a Wonderful World at Museo MAXXI.

Annie Lapin in conversation with Brian Alfred.

Brian Alfred discusses his new book Why I Make Art in Widewalls.

Michael Reafsnyder's current exhibition reviewed in Air Mail.

Beverly Fishman's solo exhibition "CURE" is on view at The Dayton Contemporary through 22 July 2022. 

Yunhee Min is one of the artists selected to create a site-specific artwork for the future Westwood/UCLA Station.

Elliott Green's exhibition at the gallery is one of David Ebony's top New York City shows this spring.

Curator and advisor Lolita Cros in conversation with artists Bahar Behbahani, Rico Gatson, and MTA Arts & Design director Sandra Bloodworth.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce worldwide exclusive representation of the Wolf Kahn Foundation.

Brian Alfred's latest exhibition ponders an Earth void of humans

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce representation of James Siena.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce representation of Fiona Rae.

Miles McEnery Gallery is pleased to announce the opening of a new gallery at 525 West 22nd Street this April. The new location will be the gallery’s fourth space in Chelsea, New York, providing an additional 7,000 square feet, bringing the gallery’s footprint to 26,000 square feet, across 22nd and 21st Streets.

John Yau's review of Elliott Green's solo exhibition, 'Is It an Artificial Paradise or an Artificial Hell or Both?,' is featured in Hyperallergic.

Castle in the Sky, Danny Ferrell's inaugural solo exhibition at the gallery, reviewed in Juxtapoz Magazine.

Yunhee Min has been awarded a Guggenheim Fellowship in Fine Arts by the John Simon Guggenheim Memorial Foundation.

8 Fascinating New York Gallery Shows to See in April 2022

By Ayla Angelos

Inka Essenhigh and April Gornik are included in the exhibition "Empire of Water" at The Church in Sag Harbor, NY.

Brian Alfred interviewed on the podcast Art Sense.

By Kevin Perry

Pia Fries is included in the exhibition Nord — Süd at Kunst Museum Winterthur

By Kara Cox

By Donald Padgett

Tom LaDuke featured in the March 2022 issue of Whitehot Magazine.

April Gornik interviewed by Alex Zoppa and Robyn Rosenfeld on the podcast ARTLAWS.

Danny Ferrell interviewed in Issue 13 of Maake Magazine.

Roy Dowell's solo exhibition at 511 W 22nd Street reviewed in The Brooklyn Rail.

Charities providing aid - and the fundraisers supporting them

Emily Eveleth’s doughnuts: Paintings good enough to eat

"Judy Pfaff’s current installation of wall-hung works (on view through February 18, 2022) is aptly titled “opsins,” after the tiny proteins that calibrate color within the eye’s light-sensitive retinas." 

Interview: Ryan McGinness on NFTS and the Art World 

"Digital art has, up to this moment, relied on materialization and singular playback tools to be appreciated in the market. Not Anymore." 

Beverly Fishman's solo exhibition "Recovery" is on view through 7 August 2022 at the MSU Broad Museum.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Liz Nielsen. 

REVIEW: Hans Hofmann’s Chimbote Mural paintings, on view through the 29th of January at Miles McEnery Gallery, clearly articulate Hofmann’s dazzling contribution to the doctrines of Modern Art. Often times, when his name is mentioned in conversation, you might first hear what an important teacher he was, perhaps suggesting his artistic output was not quite equal to his teaching skills. For those individuals, you need to take a trip to 520 West 21st Street, where Hofmann’s true greatness as an artist is in full view.

Liz Nielsen at Over the Influence Los Angeles 

"The twenty monumental photograms comprising Liz Nielsen’s show here, “I’d Like to Imagine You’re in a Place Like This,” are like mosaics of liquefied jewels. The artist refers to them as “light paintings,” and her early training in painting and printmaking certainly shines through."

Holiday With The Arts In America’s 10 Largest Cities

Portsmouth, NH—The Museum of New Art-Portsmouth (MONA) is proud to announce its inaugural exhibition, THEREARESPACESTHATBREATHE by Markus Linnenbrink. The exhibition includes a full room site-specific installation inspired by the architectural spaces of the Museum of New Art, sculptures, paintings, works on paper and ceramics. This exhibition will be a survey presentation of the artist’s oeuvre.

Inside Beverly Fishman and Gary Lang’s ‘Zenax’ Exhibition at Library Street Collective

The joint exhibition in downtown Detroit presents new paintings by both artists.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Alexander Ross. 

Alexander Ross has been exhibiting his paintings and drawings throughout the United States and Europe for over twenty-five years. 

How Much Syrup Can a Doughnut Leak?

Emily Eveleth’s paintings of doughnuts are lurid, funny, unsettling, sexy, off-putting, luscious, puffy, bawdy, and excessive.

Rico Gatson's work Bird, 2015 is included in the exhibition "Black American Portraits" on view at the Los Angeles County Museum of Art through 17 April 2022.

TWO x TWO for AIDS and Art is an annual contemporary art auction held in the Richard Meier-designed Rachofsky House in Dallas, benefiting two organizations—the Dallas Museum of Art and amfAR, The Foundation for AIDS Research.

Thanks to the phenomenal support of the dealer and artist community, corporate sponsors, and Dallas patrons, TWO x TWO for AIDS and Art’s annual benefit gala dinner and art auction has raised over $93 million in its 21-year history in support of amfAR’s AIDS research initiatives and the DMA’s contemporary art acquisition program.

Leslie Wayne interviews Lisa Corinne Davis in BOMB Magazine.

Amy Bennett's painting Delivery, 2019 was acquired by The Museum of Fine Arts, Boston as a promised gift of The American Academy of Arts and Letters.

The Berkeley Art Museum and Pacific Film Archive is pleased to present "New Time: Art and Feminisms in the 21st Century," a group exhibition featuring Inka Essenhigh and seventy-six artists and collectives. 

"The exhibition is organized around eight themes: hysteria; the gaze; revisiting historical subjects through a feminist lens; the fragmented female body; gender fluidity; labor, domesticity, and activism; female anger; and feminist utopias."

The exhibition will remain on view until 30 January 2022.

The right partnership between an artist and a gallery is one that fosters growth and helps to move an artist’s career forward. For many artists, joining a new gallery can often open up different possibilities when it comes to their practice. It also often introduces their work to a wider net of curators and collectors. The relationship between gallery and artist has become all the more crucial as the world slowly begins to open back up after a year and a half of disruption brought on by the ongoing pandemic. Below, we highlight nine artists who made major gallery moves this past summer.

MILES McENERY GALLERY is pleased to announce our fall program.  

David Ebony’s Top 10 New York City Gallery Highlights

Amy Bennett's mural Heydays (2011-2021) located in the 86 St (R) Station has been expanded with the station's recent construction

Alexandra Goldman sits down with artist Franklin Evans to discuss his two current exhibitions at Miles McEnery Gallery, fugitivemisreadings at 520 West 21st Street, and YOU AGAIN curated by Franklin Evans at 511 West 22nd Street, as well as his current museum show Franklin Evans: franklinsfootpaths at the Figge Art Museum in Davenport, Iowa.

What to Do About the Artists in Your Studio

If Philip Guston wanted everyone, including himself, to leave his studio, Franklin Evans seems to be inviting everyone in.

“In nature, light creates the color. In the picture, color creates the light. Perhaps we can all appreciate some light after the dark.” Hans Hoffman 

What better way to begin a new journey, a new path and the re-opening of society than with something that illuminates our eyes and our souls?  The newest show, LIGHT, has conquered and is shining brightly on the walls of Miles McEnery’s newly renovated thrid Chelsea location.

Patrick Wilson's work The Poetry of Construction is included in the exhibition "Break + Bleed" at the San José Museum of Art, on view through 3 April 2022.

Artist Franklin Evans Amplifies Joy in His Immersive Paintings and Installations

Heather Gwen Martin in conversation with Brian Alfred.

Pia Fries: The Limits of Expressionist Abstraction

"It is important to point out that European artists were able to develop independent ways of working within the general language of expressionist abstraction, whose boundaries, at the time, were seemingly endless and open to nuances of all sorts. In Pia Fries’s case, not only was she influenced by current thinking in abstract art, in the body of work described, she links her work to an extended study of Hendrik Goltzius, the Mannerist painter whose etching of Hercules is an inspiration."

NEW YORK, NY - MILES McENERY GALLERY is pleased to announce results for Christie’s “Fields of Vision: The Private Collection of Artists Wolf Kahn and Emily Mason.” The auction included an online sale that took place from 6 May - 20 May 2021, with a dedicated live sale on 18 May 2021.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Trudy Benson.

Reminiscent of 1980s computer graphics and early image manipulation programs, Benson’s abstract paintings form a digital language that elicit sensations of nostalgia. What distinguishes Benson’s work from digital image-making techniques of the past is her attention to the experience of seeing and handling the dynamic nature of paint. As an artist, Trudy Benson recognizes the importance of referencing the past while also positioning herself in a place to move and grow beyond the history in which her work developed.

Six Must-See Exhibitions in Chelsea This Summer

designboom spoke with jacob hashimoto about how his upbringing has shaped his creative principles, the loss of materiality and traditional ways of making, and relying on the small things in life.

The untitled sculptures and reliefs in Beverly Fishman’s recent show, “I Dream of Sleep,” hide dark subject matter behind attractive appearances. Silky-looking surfaces and smooth, geometric forms fool the eye with a calm, soothing demeanor. Muted pastel colors add the kind of sleek, impersonal veneer associated with corporate headquarters, modern homes, and other objects of contemporary design denoting easy success and reassuring outcomes. 

More than a year after the realities of the COVID-19 pandemic set in and art fairs around the world canceled their plans for the foreseeable future, Chicago’s EXPO fair is holding its 2021 edition online, rescheduled from the fair’s usual in-person time slot in September. This year’s edition, known as EXPO CHGO ONLINE, gathers presentations from more than 80 U.S. and international galleries showcasing both contemporary upstarts and well-known figures working in painting, sculpture, fiber art, and much more.

Beverly Fishman is interviewed by Gregory Wessner for NAD Now: The Journal of the National Academy of Design.

Ryan McGinness in conversation with Brian Alfred.

EXPO CHGO ONLINE, organised by EXPO CHICAGO, The International Exposition of Contemporary & Modern Art, is a curated digital exposition featuring 81 galleries, running between 8 and 12 April 2021. Ocula Magazine selects six artwork highlights.

The mostly abstract painter Suzanne Caporael’s eighth show at Miles McEnery offers an excellent exposure to her direct, but not simple, nonobjective lyricism, often linked to nature. Her work consists of images and patterns that sometimes lean in the direction of feasible recognition, but, generally, the paintings enact schemes that are delightful in their own right, without being accessible in a realist sense.

Bo Bartlett in conversation with Brian Alfred.

6 Historically Undersung Female Artists to Know About Now

As if a series of new shows and Women’s History Month weren’t reasons enough

Artist Emily Mason’s 4,700-Square-Foot Studio Is Just As She Left It.

She painted there for 40 years.

The artist Emily Mason died at age 87 in December 2019, but you can still feel the joyful presence of her work in her bright studio in the Flatiron District. She painted here for 40 years (in the winter months, anyway; from May to October, she worked at her country place in Vermont). 

CONSISTENTLY COOL

Emily Mason passed away in 2019 at the age of 87. She left behind two daughters, four grandchildren, innumerable adoring friends, and one of the most sustainedly dazzling bodies of work in postwar American painting. 

A rare opportunity to compare and contrast the work of two very different painters

"Artists, lovers, life-partners, art-world rivals, benefactors, and luminaries, Emily Mason (1932–2019) and Wolf Kahn (1927–2020) were all of these things—and more. Miles McEnery Gallery has devoted each of its two spaces to the first posthumous solo gallery exhibitions for the couple, who died within months of each other after more than sixty years of marriage. The shows offer a rare opportunity to compare and contrast the work of two very different painters—one abstract and the other figurative—who shared a passion for vibrant color, the bucolic landscapes of Vermont and Italy, and who both aimed in their works for pure, soul-baring expressivity."

"In looking at the canvases of Emily Mason now on view at Miles McEnery, however, we sense not so much a relation to a certain place or thing, but a lifetime of visual experiences put down onto canvas through a keen process of filtering, something like Joan Mitchell’s translation of the gardens of Vétheuil in her soaring panels of the 1970s and ’80s. The result in Mason’s work is necessarily nonspecific yet points nonetheless toward layers of feeling: light reflected off a rippling canal, a gleaming gold surface, flowers in mid-summer."

4 Art Gallery Shows to See Right Now

Jack Pierson’s assembled works; Marsha Pels’s conceptual jewels; Gordon Hookey’s takes on racism; and Emily Mason’s exuberant abstract paintings.

Idiosyncratic Nature: Donald Kuspit on Inka Essenhigh’s Flowers and Patrice Charbonneau’s Shoals

"Essenhigh’s paintings are indebted to, not to say inspired by, traditional art, not only because they make use of classical myth, however much her figures may be transformed into surreal mirages, but because of their meticulous, even exquisite execution, her mastery of sprezzatura, the art that conceals art, and their baroque-like character, not to say their idiosyncratic beauty."

When the Painting Has Really Begun
On the mid-career work of Cecily Brown and Inka Essenhigh.

"Musings on the fate of judgment have been much on my mind since seeing exhibitions by a couple of painters, Inka Essenhigh and Cecily Brown, who in the late 1990s seemed to me without doubt to be among the most promising painters on the New York scene. They recently exhibited their latest efforts in New York, at the Miles McEnery Gallery and the Paula Cooper Gallery, respectively." 

Your Concise New York Art Guide for January 2021

Your list of must-see, fun, insightful, and very New York art events this month.

Emily Mason Connects Visitors To Height Of Abstract Expressionism In New Show At Miles McEnery Gallery

With a Room of Her Own, Emily Mason’s Ethereal Abstractions Bloomed

Mason’s expansive Chelsea studio became her tuning fork — the barometer she used to check that colors and shapes were humming at the right frequency.
 

A Monthly Culture Matrix for the Cosmopolitan Traveler

Arts Intel Report

Emily Mason: Chelsea Paintings

Until February 13 Miles McEnery Gallery - New York - Art

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Douglas Melini.

Douglas Melini is a mixed media artist whose paintings and collages investigate color and space. His hard-edged abstract paintings use color, geometry and pattern to create an eccentric visual experience for the viewer.

By Shannon Lee

This January, Artsy is launching a series of three features to spotlight the trends we’re watching in 2021. The artists here are making works that range from aquatic tapestries and abstracted landscape paintings to lush drawings and vegetal ceramics. Their works are prime examples of what we expect to be a growing trend in 2021.

The Critic's Notebook

On William Barents, paintings by Wolf Kahn & Emily Mason, Franz Schubert & more from the world of culture.

Gallery Chronicle

On “Sam Gilliam: Existed Existing” at Pace Gallery, New York, “Martin Puryear” at Matthew Marks Gallery, New York, “Jack Whitten: I Am the Object” at Hauser & Wirth, New York & “Rico Gatson: Ghosts” at Miles McEnery Gallery, New York.

Jennifer Samet sits down with Lisa Corinne Davis.

From Rico Gatson’s mystical investigation of Blackness to Audrey B. Heckler’s prolific collection of Outsider art

By Wallace Ludel and Gabriella Angeleti

Our editors and writers scour the city each week for the most thoughtful, relevant and exciting new exhibitions and artworks on view at galleries, museums and public venues across all five boroughs of New York. This week we recommend:

Miles McEnery Gallery is currently having a group exhibition Sound & Color on view at their 511 West 22nd Street location, and we just couldn't resist its stellar lineup. Curated by Brian Alfred, the host of the renowned Sound & Vision podcast, the exhibition muses with the inseparable connection between the music visual art.

Editors’ Picks: 19 Events for Your Art Calendar This Week, From a Talk With Ruth Asawa’s Children to a Virtual Trip to Manifesta

Here's what to look out for this week.

"Annie Lapin’s paintings are like portals. Step inside, and you find yourself in a disquieting landscape, unfamiliar and yet eerily familiar at the same time. They shimmer with possibilities, almost in a quantum state, to the point that if you look, turn away, and then look again, you could swear that something has moved. In her works, which are basically acrylic on canvas with some mixed media elements, the compositions are discontinuous, so that fragments of landscape are interspersed with passages of pure color and form, so that it’s impossible to categorize the paintings as figurative or abstract."

"Bo Bartlett talks about this week’s cover, inspired by an experience he had in Maine, as well as his new feature film, his family and more."

Mindscapes: Noah Becker Interviews the Cool and Famous Painter Ryan McGinness

"I finally found an opportunity to interview Ryan McGinness, the rather famous New York artist we all know and love. He has a new show called "Mindscapes" featuring 72 paintings on at New York's Miles McEnery Gallery. The exhibition runs from October 15th to November 14th, 2020." 

ON VIEW: American Painter Inka Essenhigh’s Surrealist Scenes Offer a Very Enjoyable Distraction From the News—See Them Here

"Escape from the stress of the day with these luscious, fantastical landscapes."

ArtSeen | Beverly Fishman: I Dream of Sleep

For those of my generation, the first scene of Star Wars: A New Hope is embedded in collective memories. The rebel soldiers, soft, fleshy, and clad in pliable fabric, watch a plasma torch cutting through a bulkhead. Seconds later a stream of imperial stormtroopers emerge, their surfaces shiny, plastic, and impermeable, the clean lines of their armor inviting both fear and admiration. The delineation is clear: messy and flexible is good, while there is something sinister about the hard, shiny, or uniform. Beverly Fishman’s I Dream of Sleep, however, embraces this Imperial aesthetic.

"Arts Magazine reviews Beverly Fishman’s exhibition “I Dream of Sleep” at Miles McEnery Gallery. Fishman’s abstract reliefs and sculptural works take a “heady” psychological approach to abstraction – inspired by pharmacology – rather than obsess over “materiality” of paint and surface in the way men have often done in abstraction’s history."

The National Academy of Design will host a virtual induction of fifteen artists, including gallery artist, Beverly Fishman.

The public induction will take place via Zoom on 28 October at 6pm ET. 

Chelsea Explodes in Color: Inka Essenhigh exhibits new paintings at Miles McEnery Gallery

"A quick trip through the Chelsea show makes it obvious why Essenhigh’s stock is rising. In these colorful, dreamlike images, one can spot influences ranging from comic books to anime. But this isn’t really pop art nor is it completely surreal. Often there are straightforward representations, but the longer one looks the more one notices something’s just a little off in a way that evokes the psychology of the greatest fairytales."

INTERVIEW: ARTIST BEVERLY FISHMAN

"Abstract, alluring pieces populate her current solo exhibition, I Dream of Sleep, at Miles McEnery Gallery."

"Sleek reliefs, composed of precise shapes in a bright neon palette, appear to float, rather than hang, on the walls of Fishman’s superb new exhibition, I Dream of Sleep, at the Miles McEnery Gallery."

"I sat one afternoon investigating the nuances and overall genius of the magical, elementally filled space on some work created by Ryan McGinness. Gloriously charged with color, twisting and turning with hints of shimmer from metal leaf elements sprinkled like silvery scales flickering. It is like a dream when you are someplace you name home, but you are not there."

"A few developments, however, suggest all is not doom and gloom. One of these is Miles McEnery Gallery’s expansion into a new space on West Twenty-second Street, which it is inaugurating with a group show titled “Do You Think It Needs A Cloud?,” after a quotation by Jane Freilicher, who’s represented here by a very large landscape (sans cloud) from 1968."

Back to the Future: The Building as Artifact in Daniel Rich's Newest Work

"During this time when office buildings and stadiums, places constructed and designed beholden to capitalism or sport, fall victim to 2020’s Rich’s most recent body of work may be his most sublime and urgent to date."

"Artist Rico Gatson (Instagram: @rico_gatson) joins us for New Social Environment #119, hosted by painter and Rail Editor-at-Large Tom McGlynn (Instagram: @tom_mcglynn), for a discussion on Gatson's work, subjective abstraction, transcendental jazz, the use of geometry, rhythm, color, among other subversive political and social underpinnings, and so on leading to his upcoming show of paintings Miles McEnery Gallery (opening November 19th, 2020). Poet Don Yorty (Instagram: @donyorty) closes the event with a reading from his poetry postcards."

Tomory Dodge was born in Denver, Colorado in 1972. He received a Bachelor of Fine Arts from the Rhode Island School of Design in 1998 and a Master of Fine Arts from the California Institute of the Arts,Valencia, CA in 2004.

MILES McENERY GALLERY is pleased to announce gallery expansion and fall program.  

Why are so many artists drawn to Maine?

"As the state marks its bicentennial, creative thinkers look to crashing waves, craggy mountains, and colorful seasons for inspiration."

Warren Isensee’s Breakthrough

"Isensee has gone from being a dutiful geometric abstractionist to defining his own trajectory, and gaining a verifiable freedom for himself."

Figurative and Abstract Paintings Brighten NY Galleries

"After being idled for several months during the initial outbreak of the pandemic in New York, the city’s galleries, which are usually closed or merely offering group shows in the month of August, have a fine selection of one-person presentations taking place. With the dwindling likelihood of art fairs coming back to the Big Apple anytime too soon and the city’s museums still under lockdown, its galleries offer the best place to physically see art.

In this round-up of five standout solo shows, we discover three young female figurative painters—Grace Weaver, Rute Merk, and Sojourner Truth Parsons—that every art lover should have on their radar and two seasoned abstractionists—KATSU and Warren Isensee—working in solely original styles."

Four Art Gallery Shows to See Right Now: Warren Isensee

Over the past two or three years,Warren Isensee’s abstract paintings, while always good, have taken a sharp turn for the better. For nearly a decade Mr. Isensee, who has been exhibiting since 1998, cultivated a distinctive geometry of parallel lines whose softened edges and pulsing color contrasts conjured the tubular glow of neon, compartmentalizing them into squares and rectangles with black outlines.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Rico Gatson.

Rico Gatson is a Brooklyn based mixed media artist working across abstraction and figuration. With a multifaceted practice that spans painting, video, sculpture and installation, Gatson considers himself an object-maker inspired by Conceptualism, Afro-Futurism and spirituality.

ARTnews in Brief: Miles McEnery Now Represents Rico Gatson—and More

Mixed media artist Rico Gatson has joined the New York–based Miles McEnery Gallery, where he will have a solo exhibition opening November 19.

Surrealism Reloaded. Images from the Subconscious

Sometimes all you need is a sunrise and a piece of moss: Inka Essenhigh’s works are populated by mythological creatures. While painting, she relies entirely on her inner self.

Building a New Sanctuary on Long Island for Culture Lovers

In Sag Harbor,  April Gornik and Eric Fischl are converting a former church into a community arts center.

The Enigmatic Beauty of Painting: A conversation with Isca Greenfield-Sanders

"On the occasion of her new exhibition Shade My Eyes, I spoke to Isca Greenfield-Sanders about her newest body of work which will be on view at Miles McEnery Gallery from 21 May until 11 July 2020. The delicately balanced paintings depict scenes that feel reminiscent of childhood memory. They are distant yet quietly composed, serene and tranquil. We spoke together about her process and upbringing for eazel magazine." 

On April 8, 2020, the Board of Trustees of the John Simon Guggenheim Memorial Foundation announced the awarding of Guggenheim Fellowships, including artist Suzanne Caporael. 

Brian Alfred interviews Lisa Corinne Davis for Sound & Vision.

He played with color, creating scenes both calming and arresting. He said he wanted his colors “to be surprising to people without being offensive.”

The American Academy of Arts and Letters announced today the ten artists who will receive its 2020 Awards in Art, including Amy Bennett. 

Wolf Kahn, celebrated painter of resplendent landscapes, dies at 92. 

It is with profound sadness that we announce the passing of Wolf Kahn.

We are delighted to share two additional reviews of April Gornik's current solo exhibition in Painters on Painting and Chelsea News.

April Gornik’s Sunset, 2018—one among the twelve new landscape paintings in her current exhibition at Miles McEnery Gallery—appears as though it might be plugged into an electrical socket. Along the horizon, halfway between a malevolent sky and an inky sea, a stripe of brilliant incandescence worthy of Vermeer lights up storm clouds, choppy waters, and, one would imagine, the entire gallery if it were darkened. Symbolism, Romanticism, Luminism, and feminism have all been cited in regard to Gornik’s work. Indeed, her reimagined versions of natural phenomena are as rich a field for interpretation as the writings of Herman Melville or Ralph Waldo Emerson.

Platform presents group exhibition "Walk the Line"
20 March - 18 April 2020

Paintings, sculptures, video, photographs, and works on paper by 28 contemporary artists will be exhibited in the galleries of the American Academy of Arts and Letters on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 5 through Sunday, April 5, 2020. Exhibiting artists were chosen from over 150 nominees submitted by the members of the Academy, America’s most prestigious honorary society of architects, artists, composers, and writers. The recipients of the Academy’s 2020 Art and Purchase Awards will be selected from this exhibition.

Interior Design features Beverly Fishman's work in the Miles McEnery Gallery Booth at ZONAMACO as a highlight of the fair.

Exhibitors from 26 countries participated in the 2020 edition of ZONAMACO—Latin America’s leading art platform—in Mexico City, from February 5-6. This year, spatial design studio Tom Postma Design from the Netherlands and Mexican architecture, interior, and graphic design firm Salinas Lasheras were in charge of creating the restaurants and lounge areas.  

David Ebony

Known as a consummate colorist in her brilliantly hued painterly abstractions, Emily Mason died on December 10, 2019, age 87, at her home in Vermont after a prolonged battle with cancer. December 10 is the birthday of her favorite poet, Emily Dickinson, and Mason regarded each of her paintings as a visual poem, aiming for the expressive, and—dare I say—spiritual quality that she found in Dickinson’s verse. Mason, however, would never admit such lofty ambitions for her art. Although her artistic ambition was obvious to me and to others around her, in the passion for painting that she exuded, and the monumental body of work she produced, Mason always maintained a consistently sincere degree of modesty—sometimes bordering on unwarranted self-effacement—about her goals and achievements.

Jim Isermann. Copy. Pattern. Repeat is on view at the Palm Springs Art Museum Architecture and Design Center, Edwards Harris Pavilion.

Emily Mason, Who Created Colorful Canvases, Is Dead at 87.

Part of a family of artists, she was known for creating abstract works by a process she liked to call “letting a painting talk to you.”

For more than 50 years, Emily Mason, an abstract painter in a family of painters, would spend winters in Manhattan, where she had a studio in the Flatiron district, and the warmer months in Brattleboro, Vt., where she and her husband, the painter Wolf Kahn, also had a home.

As part of the Murals of La Jolla Project, Monique van Genderen's mural, titled Paintings Are People Too, is currently up at 7661 Girard Ave, La Jolla, California.

Paintings Are People Too, by Monique van Genderen, is a reconsideration of humanity, of what it means to be human in the social climate of today. By utilizing her vertical paintings as stand-ins for people, van Genderen reflects on some of the pressing issues facing our citizenry, the de-humanizing effects of new communication technologies, and the physical displacements happening in urban centers.

Mural brings civil rights inspiration to CityPlace’s social setting

"WEST PALM BEACH — Artist Rico Gatson is bringing the legacy of civil rights leader Martin Luther King Jr. to downtown West Palm Beach’s CityPlace, with a series of multi-colored triangles in progress called Mountain Top, on the center’s Gardenia Garage, harkening to the assassinated reverend’s final speech."

NEW YORK – MILES MCENERY GALLERY is delighted to announce its representation of Pia Fries.

Pia Fries reinterprets abstraction by sensationally combining a variety of textures and pigments to create striking and multidimensional gestural compositions. The Swiss-born painter initially studied sculpture in Lucerne, Switzerland, prior to becoming a student of Gerhard Richter at the Kunstakademie Düsseldorf in Germany. The artist’s background in sculpture is evident in her practice throughout her wide-ranging body of paintings. Working with a sophisticated assortment of mediums, Fries alters the way in which the materials interact on the canvas. Her unique ability to transform pictorial space is conveyed through the textured and intricately layered elements of her paintings. By layering copious amounts of oil paint on top of transferred images and geometric patterns, Fries produces an intensely visual sense of movement for the viewer to follow.

The inaugural edition was a surprisingly big success. As year two kicks off, here's what to look for.

Last year, the fledgling new art fair Taipei Dangdai: Art & Ideas made mincemeat of the commonly held belief that it takes a fair a few years to build a solid art world following. The inaugural edition turned out big-name blue-chip galleries, famed global collectors (and Chinese movie stars), and, most importantly, robust sales. Oh, and yes, the fair even had its very own giant inflatable KAWS sculpture to draw in the crowds. 

We look forward to presenting ten new paintings by Ryan McGinness at the 2020 edition of Taipei Dangdai, running 16 through 19 January in Taiwan.

Ambitiously composed and relentlessly innovative, McGinness's "Taipei Dangdai" paintings seek to explore and evoke the culture and history of Taiwan.

On view at the University of Connecticut’s Contemporary Art Galleries through November 29 is “Constructed,” a lively exhibition of seventeen works by five distinguished midcareer painters whose handling of color—as a kind of visual armature—is inseparable from structure. The show’s curator, Museum Director Barry Rosenberg, calls on Beverly Fishman, Marilyn Lerner, Paul Pagk, Joanna Pousette-Dart and Cary Smith for evidence that, in a rising challenge to the current fashion for figurative painting, “a counterrevolution featuring new tactics of abstraction is bubbling to the surface.”  

A few years ago, after a Tina Dickey lecture on the German-born American abstract painter Hans Hofmann (1880-1966), an audience member said: “I understand the ‘push,’ but I don’t understand the ‘pull.’” He was referring to Hofmann’s oft-quoted statement about the nature and dynamics of pictorial space in painting. Hofmann—who was not only a renowned painter but also the influential teacher of some of America’s most celebrated midcentury artists—coined the term “push and pull,” which he also referred to as “movement and countermovement” and “plasticity.”

Erin Lawlor was born in Epping, UK in 1969. Lawlor lived in France from 1987 to 2013, and holds a BA in History of Art and Archaeology from the University of Paris IV – la Sorbonne (1992). She currently lives and works in London. Lawlor has exhibited extensively internationally over the last twenty years; recent exhibitions of note include a presentation at the Ny Carlsberg Glyptotek Museum, ‘Maleri:nu (Paint:now)’, in Copenhagen in 2016; a substantial solo exhibition at the Mark Rothko Art Centre in Latvia in 2017; as well as recent solo exhibitions at Rod Barton, Brussels (2016), Espacio Valverde, Madrid (2018), Fifi Projects, Mexico (2018), Fox/Jensen Gallery, Australia (2018), and Miles McEnery Gallery, New York (2019). She was one of three painters showcased in the Space K exhibition ‘British Painting 2019’ in Seoul, South Korea, this summer. Lawlor is currently preparing for a solo exhibition at Fox/Jensen/McCrory Gallery in Auckland, NZ, for next spring. She and her work will also be featured in the book ‘Free Spirits’ by Rosie Osborne, to be published next week. 

Inka Essenhigh’s painted visions are richly colored distorted fables peopled with archetypes, sprites, and anthropomorphized nature. The paintings breathe and undulate with life as ocean becomes sea monster, tree becomes goddess, or hipster bar-goers become drunken ghouls. The imagery is imbued with a sense of a collective unconscious and mischievous narrative that makes its way into each landscape, building, and figure. As she describes it, her mythologies strive for “the feeling of an inner vision” captured during the witching twilight hours.

Raffi Kalenderian is featured as one of 11 finalists in Galerie Magazine's Emerging Artists Award Issue.

By depicting people from his everyday life in almost “claustrophobic” environments, Raffi Kalenderian creates a tension between intimacy and formality, depth and on-the-surface aloofness that’s hard to turn away from.

Contemporary Art Galleries at the University of Connecticut is pleased to present a group exhibition featuring works by Beverly Fishman, Marilyn Lerner, Paul Pagk, Joanna Pousette-Dart, and Cary Smith.

A Panel Discussion will take place on 17 October at 5:00pm, followed by an Opening Reception at 6:30pm. 

NEW YORK – MILES MCENERY GALLERY is pleased announce its representation of Roy Dowell. 

Roy Dowell creates stories to both provoke and seduce the viewer with his use of color, pattern, folk motifs, and design elements. He has created a primarily abstract visual vocabulary in which he imbues these formal elements with symbolic meaning. 

Utilizing a broad array of influences, Dowell creates a familiar—but not easily named—world of signs, symbols, tools, objects, and places. He engages and challenges the viewer to decode and decipher his work and to find and locate themselves in it. Dowell’s acrylic on linen paintings are graphically bold. They are painted with invention and with a thoughtful awareness of the many histories of the applied and decorative arts. 

NEW YORK – MILES McENERY GALLERY is pleased to announce its representation of Raffi Kalenderian.

Raffi Kalenderian is a figurative painter based in Los Angeles, CA. Primarily known for portraiture, Kalenderian paints compelling portraits whose dynamic backgrounds merit as much attention as their subjects. Explosions of color and pattern in the form of carpets, wall coverings, and tapestries surround his sitters, whose facial expressions and bodily comportments offer an intimate look into their unique personalities. Working both from photographs and from life, Kalenderian discovers opportunities for distortion and abstraction.

Peering into scenes painted on tiny panels, some barely larger than a note card, the viewer observes the intimacy and isolation of Amy Bennett’s one-inch high figures. Their fictional lives, set in richly colored and seemingly idyllic suburban neighborhoods and homes flooded with morning light, are disturbed by marital discontent and parental ambivalence. Family members often inhabit the same rooms, but absorbed in laptops or yoga routines, they never interact; mothers, attentive to their children’s needs, struggle to dress or sleep while infants are latched to their breasts, echoing psychosocial theorist Lisa Baraitser’s claim that the maternal care is “an ethics of interruption.” 

Inspired by life in the Hudson Valley town of Cold Spring, painter Amy Bennett’s series “Nuclear Family” distills scenes of everyday life into uncanny snapshots of domesticity.

Currently on view at Miles McEnery Gallery through Aug. 16, the works presented in the exhibition explore themes of family on small, finely detailed canvases that wrap around the gallery walls like tiny windows. The paintings, replete with interior rooms and suburban landscapes, capture with serene clarity the quiet, quotidian elements that otherwise drift by throughout the course of the day.

Erin Lawlor’s paintings, on view at Miles McEnery Gallery through August 16, have a sense of the familiar. Wide brush strokes play off one another, conjuring winding ribbons, rendered systematically like blood flowing to and from the heart — an ebb and flow of the most critical kind. At first glance, the deep rich color drew me in, then the scale, then the whimsy that radiates from the wide, curvy mark-making. But then, as I moved through the gallery with more focus, Lawlor’s paintings evoked a sense of observing the art of an earlier time: the natural integration of motion, body, and presence.

An inaugural solo exhibition of the work of London-based artist Erin Lawlor presents a selection of vivid paintings spanning 2017 – 2019 and evinces advancements in the artist’s trademark brushwork, color usage, and compositional formats.  The works in this series build upon painting explorations consisting of a loopy, curvilinear patchwork that produces heightened subtleties between foreground, middle-ground, and background.  Constructed from a multitude of axial planes that fully exploit levels of push-pull between the nip, tuck, and fold of her envisioned spaces, Lawlor’s dynamic imagery elicits an impeded desire to peel back layers of curvature that seem to go on interminably.

David Allan Peters creates work that explodes with countless layers of color and intricate texture, combining painting with sculptural hand-carved qualities. Diamonds, grids and circles create kaleidoscopic compositions that vibrantly explore geometry, intuition and chance. He has become known for his innovative process of building up material which is then peeled and cut away exposing what is below the initial surface, unveiling various colors at different depths. Peters sometimes works for 15 years on a single painting, painstakingly applying layer upon layer of acrylic paint and then cutting, scraping, sanding and carving into the layers to show the passage of time similar to the rings of a tree trunk. From the by-products of his paintings, Peters recycles the carved-out remnants into bricks forming minimalist installations. He pushes the limits of acrylic paint and the traditional painting processes, while dissolving the boundary between the second and third dimension.

Shortly after my review of Amy Bennett’s exhibition at Miles McEnery Gallery appeared on the Hyperallergic Weekend, I got an email from Mollye Miller, who, I later learned, is a photographer and poet living in Baltimore. In fact, she and I were published in the same little magazine, Prelude, edited by Stu Watson, but not in the same issue. But all of what I know of her came after I read her email.

For more than a decade, Amy Bennett has been building a loyal following for her highly detailed views of a fictional world that resembles our own. She is an observational painter who works from models that she painstakingly constructs. For one group of paintings, Bennett transformed an 8-foot-square of Styrofoam into a lush green landscape that contained more than 450 buildings set within rolling hills and valleys, complete with streams and lakes. Each of the buildings was designed, built, and painted by the artist, who then depicted this self-contained world from different angles, often from a bird’s eye view. Tending to working on a small scale, she made paintings that remained true to the miniaturized perfection of her artificial, slightly askew world. All sorts of tensions arose.

While in town for the opening of her solo exhibition at Miles McEnery Gallery, Erin Lawlor stopped in for a chat with Brian Alfred on his podcast "Sound & Vision." During this episode, Erin talks about beating Brexit, process and painting, writing vs. painting, seeing David Bowie live, and much more.

I am interested in intersections between technology and architecture, and the impact of communications media on society, culture, and historical events. I explore these intersections through contexts such as WikiLeaks, Edward Snowden, instances of hacking, digital warfare, software glitches at Nasdaq, the role of social media in recent revolutions and wars in the Middle East, and the fragility of the systems on which we depend.

This month, eleven paintings by David Allan Peters are on view in New York at Miles McEnery Gallery. The category of “painting” however, seems too restrictive for this unique process. Though each is technically made of paint, the mesmerizing visual effect is achieved by carving thousands of gouges into the thick surface that reveals an explosion of color layers.

As US federal criminal charges are filed against Rochester Drug Cooperative – the first such case involving a drug distributor and its executives – and the Sackler family come under intense scrutiny for their role in the country’s opioid crisis, ‘Future Perfect’, Beverly Fishman’s solo show at Kavi Gupta, rings with the clarity of those indictments. Spanning the artist’s work from the late 1990s to the early 2010s, the show harnesses the power of marketing – the very same power which the Sacklers have been accused of abusing – to critique the insidious appeal of modern pills.

NEW YORK – MILES MCENERY GALLERY is pleased to announce its representation of Daniel Rich.

Painting man made edifices and urban landscapes, Daniel Rich uses geometric patterns and vibrant color to invest the picture with a bigger capital of invisibly political intentions. With a background in graffiti art, skateboarding and influenced by his growing up in Germany, Rich shares his unique perspective of the built environment and invites viewers to question their own. Rich paints from photographs, tracing and scoring each line with a blade before painting in the shapes. The effect is an overwhelming precision of line and perspective that appears at once tactile and flat.

NEW YORK – MILES McENERY GALLERY is pleased to announce its representation of Warren Isensee.

Warren Isensee’s Geometric Abstractionist paintings celebrate a precision of line and juxtaposition of color. Isensee paints every line freehand, inserting his personal touch into hard-edge paintings. At first glance, the paintings lack any sign of his hand, but with a closer look, imperfect edges reveal themselves and breathe life into his compositions.

Carefully defined expanses of color and precisely calculated lines—the characteristic elements of geometric abstractions are often defined as rational, measured, and simple. Indeed, one can describe these artworks with a common vocabulary of shapes, colors, and sizes. Their meaning, however, is rarely so singular or straightforward. As painter Jo Baer noted, the challenge in making such work is to create “poetic objects” that are “discrete yet coherent, legible yet dense.” She called these efforts “double-dealing, double-edged.”

Artists April Gornik and Eric Fischl team up with architect Lee Skolnick to create an incubator for artists in Sag Harbor.

Artist Eric Fischl is standing under the eaves of Sag Harbor’s deconsecrated First Methodist Church, currently a construction site he visits almost daily. More than a year ago, Fischl and his wife, artist April Gornik, purchased the building to return it to its original intent as a community gathering place.

It was a crisp early autumn day that I drove to Judy Pfaff’s home and studios near Tivoli. She lives and works in a series of barns and outbuildings that still have the rough-and-tumble sense of a working fam, with areas that have the cool geometric feel of a setting for contemporary art. Upon hearing me near the door, two big dogs barked and wagged their tails at the same time, jumping all over me once the door opened. At seventy-two, Judy has the air of a woman at least fifteen years younger, and I’m immediately put at easy while she yells orders to her dogs but laughs as they continue to lurch toward me.

Victor Cassidy interviews Jacob Hashimoto for Sculpture Magazine.

Min adapts the vibrant abstract imagery of her paintings on canvas to the steps of the Hammer’s lobby staircase, in the first Hammer Project to be oriented on the floor rather than the walls.

Featuring works by gallery artists Inka Essenhigh, April Gornik, Amy Bennett, and Isca Greenfield-Sanders, new book Landscape Painting Now: From Pop Abstraction to New Romanticism presents a global survey of landscape painting in the 21st century. Including work by more than 80 outstanding artists, the book highlights the thriving genre of landscape painting in the contemporary world, while also reflecting upon its origins.

“Nuclear Family,” an exhibit of new work by Amy Bennett on view at the Brattleboro Museum & Art Center (BMAC) through June 16, features small paintings that tackle large topics, including marriage, child rearing, and female identity.

In 1963, Hans Hofmann, age eighty-three, arranged to give forty-five paintings and a very substantial sum of money to the University of California at Berkeley. The funds were intended to help build a new museum on campus where the donated works could be exhibited. It was the fulfillment of the legendary teacher and painter’s long-held desire to have an institution care for a substantial group of his best works, and the culmination of an even longer connection with Berkeley’s art department and many of its faculty. That connection began in 1930, when Worth Ryder, an instructor at Berkeley who had studied at Hofmann’s progressive Schule für Bildende Kunst (School of Fine Art) in Munich, invited his former teacher to lead a summer art course at the California university—a very attractive alternative to the rigors of Germany at the time, despite the growing fame of the Munich school. 

In 1903, Hans Hofmann (1880 - 1966) moved from Munich to Paris where he saw the influential Paul Cézanne retrospective at the Salon d'Automne in 1907, worked with Henri Matisse, and became friends with George Braque, Robert and Sonia Delaunay and Pablo Picasso, eventually fusing Fauvism and Cubism to new effect, and later adding Wassily Kandinsky to the influential mix. Though he was present at the birth of abstract painting in the early twentieth century, he was not one of its midwives, but rather a synthesizer of their ideas, opening what is generally regarded as the first school of modern art in 1915. He settled in the United States in 1932 and finally found his own artistic voice.

Judy Pfaff’s recent show featured five major wall reliefs (all 2018) that resemble discrete exhibitions unto themselves. The series is titled “Quartet,” with works numbered one though four and a fifth designated Quartet + 1. Demonstrating the artist’s distinctive merger of painting and sculpture, these assemblages—which average some ten by fourteen feet and bear elements that extend up to five feet into the gallery space—feature rhythmical arrangements of found objects and items made by Pfaff against backgrounds of digitally abstracted photographic imagery mounted on fiberboard panels. Conflict between technology and the environment, artifice and nature, seems to be a theme of the works, which combine melted plastic buckets and pictures of flowers, wire fencing and biomorphic forms, geometric patterns and expressive painterly gestures.

Each week, artists, art historians and authors join host Tyler Green to discuss their work on The Modern Arts Notes Podcast

Episode No. 382 of The Modern Art Notes Podcast features artist Allen Ruppersberg in the first segment and curator Lucinda Barnes in the second segment discussing “Hans Hofmann: The Nature of Abstraction," currently on view at BAMPFA through 21 July 2019.

The Katonah Museum of Art is pleased to present:

LandEscape: New Visions of the Landscape from the Early 20th and 21st Centuries

On view 17 March through 16 June, the group exhibition features works by American Modernists Marsden Hartley, John Marin, Alfred Maurer, Helen Torr and Marguerite Zorach alongside contemporary artists April Gornik, Judy Pfaff, Jo Baer, Lois Dodd, Shara Hughes, and Alex Katz.

NEW YORK, March 18, 2019—The American Academy of Arts and Letters announced today the nine artists who will receive its 2019 awards in art. The awards will be presented in New York City in May at the Academy’s annual Ceremonial. The art prizes and purchases, totaling over $250,000, honor both established and emerging artists. The award winners were chosen from a group of 32 artists who had been invited to participate in the Invitational Exhibition of Visual Arts, which opened on March 5, 2019. The exhibition continues through April 7, 2019, and features over 100 paintings, sculptures, installations, videos, and works on paper. The members of this year’s award committee were: Judy Pfaff (chairman), Lois Dodd, Rackstraw Downes, Yvonne Jacquette, Bill Jensen, Catherine Murphy, Philip Pearlstein, and Dorothea Rockburne. 

The Bertha and Karl Leubsdorf Gallery at Hunter College is pleased to present:

Hans Hofmann: "The California Exhibitions, 1931"

28 February – 5 May 2019

The UC Berkeley Art Museum and Pacific Film Archive is pleased to present:

Hans Hofmann: The Nature of Abstraction

27 February – 21 July 2019

Nassau County Museum of Art is pleased to present group exhibition That 80s Show, curated by Eric Fischl.

Opening Saturday, 16 March, 2019.

Featuring works by Fischl, April Gornik, Julian Schnabel, David Salle, Ross Bleckner, Bryan Hunt, Jean-Michel Basquiat, Keith Haring, Kenny Scharf, Cindy Sherman, Robert Longo, Jenny Holzer, Robert Mapplethorpe, Annette Lemieux, Charlie Clough, Tseng Kwong Chi, Jonathan Lasker and others.

Directed by Bo Bartlett and Jesse Brass, over the course of more than 15 years, Andrew Wyeth created 250 secret paintings. He hid them from everyone—including his wife, who was also his business manager—in the loft of a millhouse near his home in rural Pennsylvania. When they were discovered, in 1986, they generated a media frenzy that extended well beyond the art world. The Helga paintings, as they came to be called, all depicted a single subject: Helga Testorf.

ARTnews sat down with Judy Pfaff during the installation of her current solo exhibition at Miles McEnery Gallery to discuss breaking boundaries in her career, life as a female artist in the 1970s, and eluding categorization in her work.

On view at 520 West 21st Street through 9 March, Miles McEnery Gallery is also presenting a solo booth of Judy Pfaff's work at ADAA's The Art Show from February 28 to March 3, at Park Avenue Armory.

Atlanta – South Arts, the nonprofit arts service organization advancing Southern vitality through the arts, has named nine visual artists to receive State Fellowship awards of $5,000 each. These nine artists are now in consideration for the Southern Prize, which includes an additional $25,000 cash award and a two-week residency at the Hambidge Center for the Creative Arts and Sciences. All nine State Fellows will be featured in an exhibit at the 701 Center for Contemporary Art in Columbia, South Carolina, from March 21 – May 5, 2019. The winner of the Southern Prize and a $10,000 Finalist award will be announced at a ceremony celebrating the State Fellows on April 15 at 701 CCA.

NEW YORK, February 4, 2019—Paintings, sculptures, video, photographs, and works on paper by 32 contemporary artists will be exhibited in the galleries of the American Academy of Arts and Letters on historic Audubon Terrace (Broadway between 155 and 156 Streets) from Thursday, March 7 through Sunday, April 7, 2019. Exhibiting artists were chosen from over 130 nominees submitted by the members of the Academy, America’s most prestigious honorary society of architects, artists, composers, and writers. The recipients of the Academy’s 2019 Art and Purchase Awards will be selected from this exhibition.

Speaking to the ARTnews team, German-born Linnenbrink describes the methods he employs to create his brilliantly colored drill and drip paintings, and discusses what he has learned over his thirty year career. 

Markus Linnenbrink's solo exhibition is currently on view at Miles McEnery Gallery, 525 W 22nd Street, through 9 March 2019.

56 HENRY is pleased to present "Notebook," an exhibition curated by Joanne Greenbaum. Comprised of over 70 works, ranging from lists and diagrams, to small drawings and torn out sketchbook pages, Notebook showcases an index of items culled from artists’ processes. The installation of works will be on display from February 9th through March 31st, 2019. Notebook is 56 HENRY’s first group exhibition, and second collaboration with Joanne Greenbaum.

Headlands Center for the Arts is pleased to present Monique van Genderen with the Chiaro Award for painting.

"We support artists of every discipline through our Focus Fellowship awards, nominated annually by our National Advisory Council — esteemed peers and experts in the field. Focus Fellowships provide the opportunity for individuals, corporations, and other organizations to directly support artists and their influence on building healthy, creative communities. Funders of these awards have the chance to name the fellowship and to work closely with AIR Serenbe to determine what kind of artists the fellowship will serve."  —AIR Serenbe

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce its representation of April Gornik.

April Gornik’s masterfully rendered paintings depict radiant and atmospheric scenes of the land, sea, and sky. Working in oil paint, Gornik captures the subtle nature of light with its capacity to simultaneously illuminate and obscure. By combining the literal with the imagined, her paintings possess an intimate, ethereal quality that invites personal contemplation by the viewer. As Gornik expresses, “I am an artist that values, above all, the ability of art to move me emotionally and psychically. I make art that makes me question, that derives its power from being vulnerable to interpretation, that is intuitive, that is beautiful.”

Icons of Bronx History Are Honored in Rico Gatson’s New York Subway Murals

"Figures like Justice Sonia Sotomayor, James Baldwin, and Maya Angelou’s take center stage in the artist’s new MTA mosaics for the 167th Street station."

Exhibition: Hans Hofmann at Miles McEnery Gallery
This show spans multiple decades of Hans Hofmann’s painting, and testifies to how European modernism, in particular its artists’ use of color and composition, inspired him. Of his process, Hofmann said, “I do not want to avoid immersing myself in trouble–to be in a mess–to struggle out of it. I want to invent, to discover, to imagine, to speculate, to improvise–to seize the hazardous in order to be inspired.”
 

December 11, 2018—Anonymous Was a Woman today announced the ten recipients of its 2018 awards, which recognize women artists over 40 years of age who have made significant contributions in their fields to date, while continuing to create new work. Each recipient receives an unrestricted grant of $25,000.

Beverly Fishman’s high gloss surfaces have an inscrutable beauty. The shape and color of each work looks both estranging and familiar, and whilst the combinations of sometimes acidic or synthetic color entrance, they do not comfort. The reason, I suspect, is because not only are the multiple variations of geometric abstraction present but also the nagging solicitations of brand imaging. Fishman is of the generation of abstract painters who came to abstraction after it was cleansed of the conceit of purity. Abstraction had entered the realm of the senses by way of referential visions that embraced the world at large, free of dogma, or certainty, or for that matter a sure sense of subjectivity. 

The Bruce Museum is pleased to present:

Downsized: Small-Scale Sculpture by Contemporary Artists

3 November 2018 - 27 January 2019

An artists panel discussion will be held on Thursday 8 November from 6 – 8pm

The New York Studio School presents Known: Unknown, an exhibition that brings together power players of painting today and emerging creators of tomorrow. We invited a select group of prominent artists to participate in this exhibition, with an added twist—each invited artist chose one emerging or lesser known artist to also be included in the show.

Opening Reception: Thu, November 01, 2018, 6:00PM - 8:00PM

by Lukas Périer

In September of 2014 The Anderson Collection at Stanford University opened in a 30,000-square-foot-building designed by Ennead Architects, showcasing 121 works from 86 artists (among them, Willem de Kooning, Jackson Pollock, and Wayne Theibaud). 

"Sculptors ReCollected" turns the Massry Gallery at the College of Saint Rose into what is almost a primer on contemporary sculpture and sculptural installation. Francis Cape, James Clark, and Judy Pfaff are each given a third of the gallery to make very different dimensional statements as part of a splashy 10th anniversary celebration of the Massry.

Many people scoff at abstract art, saying that it requires no skill to make. But new studies show that even the untrained eye detects the differences that set apart the work of real artists.

Miles McEnery Gallery is featuring works by Beverly Fishman at the New York venue.

The inviting, and deeply intriguing wall reliefs on view through November 10, 2018 at Miles McEnery Gallery are a continuation of a series Fishman began in 2012.

The works on display are made using urethane paint on cut wood panels.

Their large size and bright color palette are confrontational and bursting with tensions that beguile the viewer’s senses. By painting the edges of the pieces with gleaming fluorescent tones, the colors interact with the white of the wall behind it and give the illusion of a neon glow.

New York Academy of Art is pleased to present: 

Betsy Eby & Bo Bartlett in conversation with Alyssa Monks

October 10th 2018, 6:30pm

The Schneider Museum of Art at Southern Oregon University is pleased to present: 

Terrain: The Space Between from the Collections of Jordan D. Schnitzer and His Family Foundation, Ffeaturing work by Vija Celmins, Judy Pfaff and Ed Ruscha

28 September, 2018 – 5 January, 2019

Renowned abstract painter Emily Mason to speak at BMAC on Friday, 19 October

Free talk by the 86-year-old artist is presented in connection with a major exhibition of her work at Brattleboro Museum & Art Center

Brattleboro Museum & Art Center is pleased to present:

Emily Mason: To Another Place

5 October 2018 – 10 February 2019

Opening reception: Friday, 5 October at 5:30 pm

Artist Talk: Friday, 19 October at 7 pm

MCASD Downtown is pleased to present:

Being Here with You/ Estando aquí contigo

20 September 2018 – 03 February 2019

Kalamazoo Institute of Arts is pleased to present:

A Fine Line

15 September – 6 January 2019

Opening Reception: 27 September, 5:30 – 8:00pm

The UCI Institute and Museum for California Art is pleased to present:

First Glimpse: Introducing the Buck Collection 

Curated by Kevin Appel, Cécile Whiting, and Stephen Barker.

September 29, 2018 – January 5, 2019

Opening Reception: 29 September, 2018  |  2:00 – 5:00 p.m.

Inka Essenhigh creates beautiful, whimsical worlds populated with fluid, ambiguous figures. Their playfulness invites us into their delightful, other-worldly realm of melting dreams. 

Garrison Art Center is pleased to present: 

COLOR COMPOSITIONS

15 September – 14 October 2018

Opening Reception: 15 September, 4 – 7 pm

Senior & Shopmaker is pleased to present Spheres of Influence: Al Held, Michael Craig-Martin, Judy Pfaff, and Stanley Whitney, a group exhibition of drawings by preeminent abstract painter and former Yale professor, Al Held (1928-2005), along with three illustrious former students from the Yale School of Art graduate program, Michael Craig-Martin (MFA 1966); Judy Pfaff (MFA 1973); and Stanley Whitney (MFA 1972). 
Craig-Martin, Pfaff, and Whitney have each acknowledged the impact Held had on the development of their critical thinking and practice during their student years and beyond. This exhibition brings together works on paper, dating from 1963 to 2018, from which common themes emerge.

I remember the first time I saw Jo Baer’s painting ‘H. Arcuata’. It wasn’t at a museum or gallery; it was the same kind of encounter I had with most art that hit me as an undergraduate at Penn State University. It was in a magazine. Even in print the painting knocked me out. It was so unlike any other work I had seen up until that time. It was painted three years before I was born in 1971. The stretcher was just deep enough to separate it from the depth of a normal canvas. This seemed a purposeful choice to make the painting more sculptural in its read. 

Culver Center of the Arts is pleased to present:

Yunhee Min & Peter Tolkin: Red Carpet in C

18 August - 29 December 2018
Opening Reception: Saturday 29 September, 2018, 6 – 8pm

L.A. Louver is pleased to present:

EVOLVER

20 June – 17 August 2018

A color explosion is on view at Miles McEnery’s booth, where the Chelsea-based gallery has brought a wide spectrum of pigment-heavy offerings. The German Markus Linnenbrink’s horizontally situated work is dappled with tiny pools of colored rings, mesmerizing and impressive in its formal qualities. A highlight of the gallery’s display is Tomory Dodge’s Figment, a prime example of the artist’s ability to distill photographs into purely abstract gestures that evoke the pigmentation of colorists like Joan Mitchell and Gerhard Richter, with a frenetic dynamism that is completely his own.

True Colors

Nothing in art is more powerful than color. From Monet and Matisse to Mark Rothko and Frank Stella, and onward to the huge Color Field canvases and pulsing neon sculptures of today, color as a means of expression is the keynote for this wildly exuberant show. Potent even to the point of being considered dangerous, it is the most exciting element of art, the strongest tool in the toolbox. “Color, above all, is a means of liberation,” Matisse declared.

Gaa Gallery Wellfleet is pleased to present:

Judy Pfaff :  × × × ÷ ÷ ÷ = = = + + +,

July through 11 August, 2018

Earlier this year, the New York gallery formally known as Ameringer | McEnery | Yohe changed its name to Miles McEnery Gallery. Today, the gallery, whose headquarters are located on West 22nd Street in Chelsea, announced the opening of a second location in the neighborhood, at 520 West 21st.

Harper's Books is pleased to present: 

Beverly Fishman 

Opening reception 17 August 2018 from 5-8PM 

Lux Art Institute is pleased to present: 

Tomory Dodge 

On exhibit through 4 August, 2018

The Nevada Museum of Art is pleased to present:

Manet to Maya Lin

9 June – 2 September, 2018

Abstract Room at Université de Strasbourg is pleased to present: 

Abstraction & Architecture

10 – 20 October, 2018
​Opening: Friday, 12 October, 5 – 8 pm

Bo Bartlett’s newest paintings at Miles McEnery Gallery balance the public and private spheres. 

In 1807 William Wordsworth published a sonnet that could have been written yesterday. The World Is Too Much With Us today as it was then, perhaps even more so with 24-hour news providing information into conflicts around the globe and on our failure to be caring stewards of the world we live in.

When I come across a work of art as weird and seductive and startlingly beautiful as an Inka Essenhigh painting, I haven’t the faintest desire to engage in my critical faculties. I just want to be overcome by the supple, erotic strangeness of her surrealist narratives; the chitinous sheen of her works’ surfaces; her Prada-meets-Star Trek palette; and the gelatinous, ectomorphic figures. You want to dissolve into an Essenhigh painting, in the same way that she dissolves virtually all solidity within her forms and spaces. Every body, every thing looks as though it’s made of melted caramel, or flowing silk, or liquid latex suspended midair, or some sinuous, alien protein.

Bo Bartlett brings the narrative painting tradition up to date, merging the historical with the personal.

Essenhigh reveals a freedom that resonates with all manner of fusion: of figure and design, of abstraction and narrative, of sentiment and humor, and more generally, of ambitious painting with a readable narrative.

Join us for the first of four creative conversations led by Brian Alfred, host of the Sound & Vision Podcast. He will be joined by Japanese-born artist Hisham Akira Bharoocha. They’ll have an in-depth discussion about how music, art, and design work together to communicate feeling.

1. To truly understand the work of David Allan Peters, you have to know the process behind it. After layering countless sheathes of paint, the artist carves the surface, removing small chunks and lines that when viewed from far away, reveal an intricate geometric pattern. 

Inka Essenhigh's paintings, which combine twisted narratives, liquid line work, and oneiric imagery, are at once otherworldly and rooted in specific times and places. This season, that dissonance will be on display in a trio of new projects. This month, the artist’s surreal landscapes and fever-dream interiors will occupy the Virginia Museum of Contemporary Art. In April, New York’s Drawing Center will present Manhattanhenge, a site-specific mural for the Soho building’s stairwell. And later that month, she’ll open her first solo show with Miles McEnery Gallery in Chelsea.

As part of its ongoing series of commissions for the Stairwell, The Drawing Center has asked New York artist Inka Essenhigh to create a site-specific wall drawing. Essenhigh’s installation will be the third in the series, following Gary Simmons’s  Ghost Reels (2016–18) and Abdelkader Benchamma’s Dark Matter (2015–16).

The Virginia Museum of Contemporary Art (MOCA) celebrates the opening of Inka Essenhigh: A Fine Line. Essenhigh gained national attention in the late 1990’s and is known for her experiments with enamel paint, traditional oils, and printmaking. Inspired by time spent in New York City and Maine, Essenhigh developed her signature use of line by practicing automatic drawing. Fantastical images of the everyday, both urban and rural, distinguish her work.

THERE ARE NO BOUNDARIES IN THE WORLD OF COLOR. Travelers who wander there find it filled with infinite possibility, a universe limited only by their willingness to experiment, explore and reach into the unknown. Painter Emily Mason has followed her intuition into these lands for more than six decades, traveling through the looking glass to produce an original body of work that mesmerizes and excites its viewers as few American abstractionists have done before.

Artist Inka Essenhigh spent the early years of her career thinking that her fluid, feminine paintings were a no-no.

As she painted graceful fairies, ghosts and woodland creatures that played in colorful, mystical universes, her art friends called them lightweight and kitschy.

But the work felt right, so the New York-based artist kept creating.

Through her painting, Inka Essenhigh provides an authentic voice. Since her emergence into the art world during the late 1990’s, she has created a path for herself that consistently questions and redefines her relationship with her media. She has moved from using enamel paint to traditional oils and back; creating hybrids of the two. Her substrates have included paper, canvas, and panels. Throughout each phase of experimentation, she created dialogues with her work, navigating how the media and brush interact, sometimes with genuine surprise at the result.

Join us at this week’s Lunch on Fridays talk to hear from visiting artist Kevin Appel, whose paintings explore the relationship between physical space, architecture and the painted image. Using photographs as a ground to build his painting, he applies layers of paint that act as screens, compressing the perceived space.

The Painting Center presents Cultivate Your Own Garden, an exhibition of twelve contemporary artists: Cecile Chong, Elisabeth Condon, Daniel Dallmann, Carlo D’Anselmi, Lois Dodd, Ashley Garrett, Xico Greenwald, Eric Holzman, Wolf Kahn, Judith Linhares, Carol March and Ruth Miller on view through March 24th.

The title for the show comes from the Voltaire novel Candide (1759) and refers to the idea of taking care of one’s own needs before taking care of others’. The idea of connecting to nature despite the cacophony of the world around us seems apt at this moment in history. Curators Patricia Spergel and Shazzi Thomas selected artists for this exhibition who reference garden and landscape in their work in a variety of ways – traditional observational painting, works with subtle satirical and political commentary and paintings that lean towards abstraction. What all these paintings have in common is a love for nature and paint, and a clear, focused approach to transmitting that passion.

It’s another unseasonably warm winter day in New York City. Tuesday February 13th, early evening and dark out. It’ll be in the 50’s tomorrow and in the 60’s the day after. I’m trying to remember if I’ve ever experienced such a warm February in NYC. There’s an unsettling mist and fog in the air as I weave through end of the day rush hour hordes of people – many bumping into each other as they walk with illuminated faces absorbed in their handheld screens. The pedestrian crowd dissipates as I walk through Chelsea and finally step into Miles McEnery Gallery to meet up with artist Brian Alfred for a look and talk about his current one-person show of 15 paintings and one animated video projection.

Brian Alfred interviews Kevin Appel for Sound & Vision. 

By Brian Boucher

What the Gallery Says: “Taking its title from Alvin Toffler’s 1970 novel and Herbie Hancock’s 1983 album, Brian Alfred’s Future Shock embraces both of their messages and expands upon them. Toffler warns of an impending information overload as well as humanity’s inability to adapt to the ever-increasing speed of industry and consumerism. Alternatively, Hancock’s album welcomes the so-called information overload, praising the expansion of musical possibilities brought on by technology.”

We live in a world where Instagram rules culture; where our President, instead of sending out official memos, types obscenities and presses 'tweet.' When everything you could ever need is accessible with just one click, our society's need for constant consumption has turned into the information overload. So, what do we do - embrace it or treat the fuck out? These are the questions artist Brian Alfred asks in his latest exhibition, Future Shock, at Miles McEnery Gallery in Chelsea

FOR AN ARTIST who emerged from the Sturm-und-Drang­ driven Abstract Expressionist movement of 1950s New York, Emily Mason's work is remarkably serene. This quality is not only apparent in the way vibrant swaths of oil paint harmonize with each other on the canvas; it also comes through in the way her career has quietly percolated along through the decades since, without drama or self-promotion, with no clearly delineated sty­ listic phases or periods. Mason, now 86, is still making new work the way she always has-by intuition, without any need for theo­ ries, without measuring herself against others. 

Growing up in Columbus, Georgia, Bo Bartlett did what was expected of him every Sunday. He listened intently to the preacher, prayed hard and committed those weekly lessons in morality and righteousness to the deep recesses of his dutiful mind. He was a good son, and his Sunday routine at the Baptist church was pure joy.

Ameringer McEnery Yohe Gallery, located in the Chelsea neighborhood of New York, is expanding its Twenty-Second Street headquarters and will reopen in February. Alex Greenberger of Artnews writes that the arts space is also being rebranded as Miles McEnery Gallery. “As an art dealer, you always want more ambitious space, to do more ambitious shows,” Miles McEnery, the gallery’s director, said in a statement. “We’re always looking to grow, both physically and conceptually.”

New York’s Ameringer | McEnery | Yohe gallery will now be called Miles McEnery Gallery, and will reopen its West 22nd Street headquarters this February. The first show in its newly renovated space, which has also been expanded by 1,500 square feet, will be “Belief in Giants,” a group show opening on February 17 that features work by all of the artists on the gallery’s roster. (The gallery’s West 19th Street satellite will remain open for now, and will have on view a Brian Alfred show at the same time.)

The Bo Bartlett Center, an 18,500-square-foot interactive gallery space, was inaugurated at Columbus State University in Columbus, Georgia on Thursday, January 18. Located on the school’s River Park campus, the former textile warehouse turned arts center was designed by American architect Tom Kundig, owner of the Seattle-based firm Olson Kundig Architects.

Columbus artist Bo Bartlett put his hands in the praying position just below his chin and looked upward.

Thursday afternoon at the dedication of the new Bo Bartlett Center on the Columbus State University RiverPark campus, Bartlett was remembering those who were not with him to celebrate the moment.

The moment transpired in front of a 11 foot by 17 foot Bartlett work, entitled “Civil War,” painted in 1994.

From the gallery to the city, Brian’s work explores mediums as those of collage, painting and animation. From large scale works to small scale, the relationship between these is continuously considered whilst trying to address larger contemporary issues. Oscillating between artists and curator, Brian also hosts a ‘Sound and Vision’ podcast, conversations with fellow artists and musicians on the creative process, ‘discussing life as a creative person.’

The Bo Bartlett Center will be a 18,425 square foot interactive gallery space, housed on the River Park campus of Columbus State University. The red brick, former textile warehouse turned gallery space, designed by AIA award winning architect, Tom Kundig, sits on the banks of the Chattahoochee River in Bartlett’s hometown, Columbus Georgia. As a cornerstone of the College of the Arts’ Corn Center for Visual Arts, The Bo Bartlett Center will be a pivotal element in the continued emergence of a national and international presence originally established by the College’s Schwob School of Music and its Legacy Hall. Complementing exhibitions in the CSU Department of Art’s acclaimed Norman Shannon and Emmy Lou P. Illges Gallery, The Bo Bartlett Center will serve as an experiential learning center and cultural hub for the visual arts while affording visitors a broad range of arts experiences offered within the College’s arts district.

Jacob Hashimoto is interviewed by Cassie Davies for Studio International.

“Wolf Kahn” at Ameringer McEnery Yohe (through December 23): This week is the last chance to catch “Wolf Kahn,” an exhibition of paintings that push the limits of an abstract language that the American artist has been developing for over seventy years. The exhibition, at Chelsea’s Ameringer McEnery Yohe, comprises fifty-six oil landscapes that were all made within the past two years—a considerable testament to the vitality of Kahn’s vision and practice. These new paintings exude Kahn’s trademark high-pitched color, employed within fields of flittering, calligraphic textures that that seem to remove the pictures, more so than ever before in his mature work, from the natural world. This comprehensive survey of Kahn’s most recent direction, which closes on Saturday, is not to be missed.

Can you tell us about the cuts, those thick layered paintings into which you literarily dig trenches?

Yes, the cuts make up the latest body of work that I introduced in the last two years. They are similar to my drill pieces; it is the same procedure, the same process. The resin gets layered on a wooden support, and when the piece seems to be thick enough to do something with it, I think about the last color which is going to be the top layer. The layering gets built up to a thickness of about 3 cm, so a painting can become quite heavy, it gets almost sculptural.

Call your Milton Avery–loving friends and grab a plane, train, or automobile to Miami. (If you don’t have any, just grab some friends and do the same: it’s time to make converts.) The late, great painter and once-in-a-generation colorist, who died in 1965 at the age of 79, is one of the stars of this year’s edition of Art Basel Miami Beach. No fewer than five galleries are presenting his works at the fair, where at least 10 works by the severely underrated American painter are hanging at the moment.

Galleries, Booth G5

With works by Milton Avery, Helen Frankenthaler, Hans Hofmann, Alex Katz, Robert Motherwell, Willem de Kooning

Issue 02 of AUGUST Journal, the New York issue. Featuring stories on Massimo and Lella Vignelli's apartment, Alanna Heiss's loft, Joe Baum's restaurants; with texts, photographs, and artworks by Pilar Viladas, Wendy Goodman, Matt Tyrnauer, Alix Browne, Ricky Clifton, Jason Schmidt, François Dischinger, Ngoc Minh Ngo, Martyn Thompson, Andrew Zuckerman, Matthew Johnston, Marc Yankus, Jean-Philippe Delhomme, Mel Odom, and many other grand New York legends.

Ameringer | McEnery | Yohe will present “Wolf Kahn,” an exhibition of recent paintings celebrating the artist’s 90th birthday.

Wolf Kahn, who studied under renowned Abstract Expressionist artist Hans Hofmann, will show work made during the past two years that continue his exploration of color. The landscapes, which are simultaneously descriptive and abstract, depict the changing of the seasons with quick, flickering brushstrokes and delineated bands of vivid hues. Kahn, whose work blends realism and the formal discipline of Color Field painting, embodies in his paintings the fusion of color, spontaneity and representation.

Over the course of his career, Tomory Dodge has become known for dynamic paintings that explore the representation and mechanics of picture-making. Thanks to mass media and modern technology, images today are on every conceivable surface and confront us at every moment. Painting, one of the oldest means of expression, remains a vital key to understanding the nature of images in modern life, whether they are experienced in the physical world, on our devices, or on-line.

Emily Mason: A Painting Experience is a short documentary portrait about the prolific visual artist Emily Mason. With a career spanning over six decades, this film presents Mason as a shy yet innovative figure in American art, a pioneer in the field of lyrical abstraction, and a master of the so-called "poetry of color".

In celebration of Roanoke College's 175th anniversary this exhibition will showcase artists from the Roanoke College's Permanent Collection which will include Cory Archangel, Dennis Ashbaugh, Alice Aycock, Walter Biggs, William Binnie, Edward Marshall Boehm, Alice Ray Cathrall, Paul Chan, William Merrit Chase, Salvador Dali, N. Dash, E.V. Day, Betty Dixon, Michele Oka Doner, Bradford Ellis, Elliot Erwitt, Margaret Evangeline, Franklin Evans, Mark Fox, Clare Grill, Dorothy Gillespie, Debbie Grossman Jane Hammond, Pablo Helguera, Ryan Humphrey, Guillermo Kuitca, Diego Lasansky, Liz Magic Lazer, Shane McAdams, Yassi Mazandi, Tom Otterness, Alexandra Penney, Nathaniel Mary Quinn, Alan Reid Duke Riley, Rachel Rose, Kay Rosen, Emily Roysdon, Hunt Slonem, George Solonevich, Keith Sonnier Fred Tomaselli, Kerry Tribe, Robert Vickery, Andy Warhol, Rob Wynne, Firooz Zahedi and Andrew Zuckerman.   

Pia Fries: Proteus und Polymorphia, featuring the work of the artist in conversation with Hendrick Goltzius etchings, is on view at the Museum Kurhaus Kleve.

Donald Taglialatella is pleased to announce that on Friday, 27 October, from 1 to 3pm, he will host a happening at his World House Editions stand, #102, at the IFPDA Print Fair in New York City. Dubbed The ARTpin Project and curated by painter and video animation artist, Brian Alfred, artists EJ Hauser (American, b.1967), Nathan Carter (American, b.1970) and Brian Alfred (American, b.1974) have each offered artwork for two limited edition pins and will be on hand at the World House Editions stand to give away these pins created for The Print Fair.  This project is the first in a series of ARTpin projects that World House Editions will be collaborating on with artists.

The National Museum of History and Art dedicates for the first time in Luxembourg an exhibition to one of the main representatives of American Abstract Expressionism.

Hans Hofmann is one of the most important 20th century American modernist artists and art teachers. Born in 1880 in Weißenburg, Bavaria, Hofmann died in the United States in 1966. In his oeuvre, he combines the traditions of European modernist painting with influences from American postwar art.

Creation in Form and Color: Hans Hofmann is organized by University of California, Berkeley Art Museum and Pacific Film Archive, in collaboration with the Kunsthalle Bielefeld and the National Museum for History and Art Luxemburg.

by David Pagel

The size of Monique van Genderen’s paintings on linen and aluminum panel dwarf visitors to her exhibition at Susanne Vielmetter Los Angeles Projects in Culver City.

Four giant paintings run from one inch above the gallery floor to within one inch of the top of the 14-foot walls. Each of the untitled works is 6½ feet wide.

Ten paintings are hung side by side so that you can see the sweeping gestures van Genderen has made with rags, rollers and mops. The suite measures more than 40 feet long and 8 feet tall. A large part of a wall had to be removed so that this freight train of a painting could hang on a single wall. The jagged edges of the removed section attest to the power of this abstract landscape, whose 10 panels, lined up like boxcars, seem go on forever.

Esteban Vicente. Color and Form is the most important exhibition of this artist ever organized in Catalonia. With almost 40 works, this exhibition proposes a complete view of the artist's aesthetic development, starting with his figurative works, when he exhibited in Barcelona in the early 30's, until his latest abstract paintings of the 90's after going through the abstract expressionist stage that became so relevant in the United States during the 40s and 50s. In fact, Esteban Vicente was the only Spanish artist that belonged to the first generation of the renowned New York School.

by Charles A. Riley II

The dazzling, at times even overwhelming “From Lens to Eye to Hand: Photorealism 1969 to Today” exhibition currently on view at the Parrish Art Museum in Water Mill, NY has all the earmarks, for this reviewer, of a reality TV competition. To me, the cumulative effect of the huge, boisterous paintings in this exhibition is to suggest a fierce contest for the title of America’s Top Realist.

OCMA has always championed artistic experimentation and innovation through a commitment to showing and collecting the work of dynamic and groundbreaking emerging artists. This installation will reveal how impactful OCMA has been in supporting the careers of some of the most influential artists from this region, often at pivotal moments in their careers.

Everyone enjoys a good story, and when you visit the Ameringer McEnery Yohe Gallery in Chelsea, you can enjoy a wealth of interesting stories in the work currently on display.  When I peeked in the window before entering, I knew I was in for a treat. The first thing I saw were these large canvasses filled with primary and neon colors arranged in interesting geometric shapes.  Once I entered, I knew immediately this wouldn’t be an exhibit I could simply breeze through and get a general sense of.  I spent as much time as possible with the paintings, practically eating up the rich story life in each.

by Carrie Beth Wallace

Columbus artist Bo Bartlett recently won the 2017 Gibbes Society 1858 Southern Contemporary Art Prize. The prize was sought after by over 200 artists throughout the Southeast.

Bartlett is widely recognized for his realist paintings. Notable ongoing local contributions include his art initiative for the homeless called Home is Where the Art Is, and the Bo Bartlett Center at Columbus State University opening January 2018.

The artist recently corresponded with Sunday Arts reporter Carrie Beth Wallace to discuss his reaction to winning the award, his current projects, how he’s feeling about the impending Bartlett Center opening, and what he plans to do with the prize money in the future.

This interview has been edited for length and clarity.

Born in Columbus, Georgia, Bartlett is acclaimed for his large-scale paintings that explore American life and cultural heritage. His realist style has been honed through extensive training, including a degree from the Pennsylvania Academy of the Fine Arts. Bartlett’s work is included in numerous public collections including the Denver Museum of Art, the Pennsylvania Academy of the Fine Arts, and the Seattle Art Museum.

Artists include: Nicolas Carone, Paul Georges, Philip Guston, Hans Hofmann, Mercedes Matter, George McNeil, Ruth Miller, Alice Neel, Chuck O'Connor, Philip Pearlstein, Vita Petersen, Milton Resnick

by Will Heinrich

Another Place

Through 3 September

There’s a smoky texture of hypnagogic disorientation on Henry Street inside the artist-run space Shrine. Loose but elaborate figurative work by a dozen painters and sculptors, all of it small scale and much of it held together by a shared palette of purples and browns, makes for a desperately welcome getaway into the cool fertility of unworldly private fantasy.

In “Study for Monsters of Manhattan,” Inka Essenhigh paints three mysterious women with watery lines and finely observed anatomical details. Alice Mackler’s earthenware figure combines squeezes, pokes and thumbprints with a rooster-colored glaze, creating a startling mannequin of bright-eyed psychological defiance. Kevin McNamee-Tweed’s winning monoprints look like plates from a hobo history of civilization, and in Charlie Roberts’s trippy lavender acrylic of a charismatic dancing house plant, apparently rough edges belie a deeply satisfying sense of balance.

by Andrew Russeth

It is the middle of the summer, but the gallery news does not stop!

Today Chelsea’s Ameringer | McEnery | Yohe announced that it will now represent painter Tomory Dodge, who previously showed in New York with CRG Gallery, which said in May that it would close after 25 years in business.

Dodge, who is based in Los Angeles, makes shimmering abstractions that are loosely interlocked and layered. They are playful, sometimes even effervescent, and can be vaguely spiritual. His paintings are in the collection of the Los Angeles County Museum of Art, the Whitney Museum, and the San Francisco Museum of Modern Art, among quite a few others.

A Dolomiti Contemporanee and AGI Verona Collection exhibit Curated by Gianluca D'Incà Levis and Giovanna Repetto

Opening Saturday, 5 August, 6 PM

Artists: Gundam Air, Franklin Evans, Stuart Arends, Cristian Chironi, Ode De Kort, Alexandre Singh, Etienne Chambaud, Gianni Caravaggio, Eugenia Vanni, Marcelline Delbecq, Corinna Gosmaro, Pratchaya Phintong, Renato Leotta, Marko Tadic, James Beckett, Jiri Kovanda, Davide Mancini Zanchi, Maria Laet, Ivan Moudov, Michail Sailstorfer/Heinert Jürgen, Christian Manuel Zanon.

La lama di Procopio is a collective contemporary art exhibit, realized thanks to the collaboration between Dolomiti Contemporanee and the AGI Verona Collection by Anna and Giorgio Fasol, and that hosts the works of twenty-two young international artists.

The FLAG Art Foundation presents The Times from June 1 – August 11, 2017, on its 9th floor gallery. The exhibition uses The New York Times as its point of departure and features over 80 artists, artist duos, and collectives who use the “paper of record” to address and reframe issues that impact our everyday lives.

Reading The New York Times is embedded in many people’s daily routines. This chronicle of geopolitical and local issues, tragedies, human interest stories, and trends in culture, serves as both a source of inspiration and medium for artists to assert their perspectives on the state of the world. In the wake of the 2016 presidential election, where news media was deemed the “the enemy of the people,” and The New York Times directly attacked and labeled as “fake news,” FLAG began developing an exhibition examining how seminal artists, such as Robert Gober, Ellsworth Kelly, Lorraine O’Grady, Fred Tomaselli, and others, who have used and been inspired by this newspaper in their practice. To give voice to a larger community, FLAG put out an open call for artist submissions that received 400+ proposals from around the world, and accounts for over half of the artists featured in the exhibition.

Opening reception: Saturday 29 July, 5-8pm

The paintings in this exhibition, SITE/SIGHT, are rooted in direct observation and are influenced by each artist’s perceptual practice and long-cultivated process of close study. Falling along a continuum between abstraction and representation they evoke a strong sense of place in the everyday world. Although we may not recognize the specific motif inferred (landscape, night sky, city, etc.) the authority of perception is tangible.

Sites, subjects, and methods of observation are critical to each artist’s visual language: planted fields, elevations seen from an airplane window, gradations of color in a sky reflected on a watery plane, shapes glanced at through apertures between buildings, or the puzzle of shapes in a tapestry-like world are some of the inspirations for the paintings shown here. Often the focus is upon a fragment of a larger subject or on an aspect removed from its larger context, adding an interesting ambiguity to the work.

Suzanne Caporael, Martha Diamond, Sharon Horvath, Jacqueline Gourevitch, Ellen Kozak, and Joyce Robins are painters in whose work abstraction conveys the resonance of close observation and place.

Black Lives Shine in Rico Gatson’s New Show

"Rico Gatson’s studio, in Bushwick, is awash in color and geometry. Tall rectangular panels painted in intricate patterns lean against a wall like abstract totems. Other planks lie across tables, works in progress involving ovals and circles. Large paintings on the wall alternate geometric sections in red, black, orange, yellow, and green with others in black and white. Nearby, silhouettes taken from vintage images of Black Panthers and civil rights protesters stand beneath strong colored vertical stripes or radiating lines."

by Bo Bartlett

Today, Andrew Wyeth would’ve celebrated his 100th birthday.

In 1991, I was 35 years old and coming off of a successful show at PPOW Gallery when on the next to last day of the exhibition art critic Roberta Smith wrote a negative review of the work in The New York Times.

I had a strict rule of not reading any of my reviews good or bad. But Wendy from the gallery encouraged me to go out and buy the paper and read the review, because, she said, I would need to “be aware of what people would be saying about the work.” Reluctantly, I did as my gallerist instructed. Although it stung, I didn’t really care about the review at the time. But, the following months shed a different light on the negative ramifications of bad press. Several scheduled articles dried up. Sales slowed to a trickle. I found myself in need of appreciation and resources.

by Chuck Williams

Columbus artist Bo Bartlett, known nationally for his realist works, is painting again.

But this time the canvas is different, even if the familiar backdrop of his hometown of Columbus is the same.

Bartlett, along with his wife and fellow artist Betsy Eby, is directing and producing a feature-length film — “Things that Don’t Stay Fixed.” It is being shot this month throughout Columbus.

It’s the biggest painting we have ever made,” Eby said.

The two are self-funding the ultra low-budget film that has paid lead actors and paid professional production crews.

by Kevin O'Connor

BRATTLEBORO — Artist Wolf Kahn recalls picking up this town’s newspaper 40 years ago to see himself introduced to Vermonters through a particularly top-dollar interview.

The first question was, ‘How many paintings do you do a year?’ I said maybe 100. The second was, ‘How much do you charge?’ I said a couple of hundred bucks. The next time I had to have my barn reshingled, all of a sudden the price went up.”

Kahn nevertheless thinks highly of his neighbors, be they the farmers who live next door or their cattle that graze his land.

I’ve gotten to feel like I’m no longer just a flatlander — I belong here.”

Locals say that’s an understatement.

This June, visitors to Ameringer | McEnery | Yohe gallery in Chelsea, Manhattan, are confronted with a sea of blues, both literal and figurative, and a strong sense of nostalgia for summers spent by the sea. “Keep Them Still” is an exhibition of striking new works by New York-based artist Isca Greenfield-Sanders, on display through July 1. A collection of watercolor-and-oil paintings depicting blurred, sun-dappled beach scenes and close-ups of abstracted rippled waves fill the rooms. In the first space, two wave paintings—one pink and one blue—hang opposite a pair of zoomed-out coastline paintings from which they were extracted and distilled.

Questions by Emily Burns

Thanks so much for taking the time to chat about your work and recent projects. Congrats on the recent showing of your animation Chromacity at Art Basel in Miami. The projection was 7,000-square-feet on the exterior wall of the Frank Gehry-designed New World Center in Miami Beach, Florida. Is that the largest projection of your work at this point? What is it like to have your work in such a highly visible, publicized space, in such a big way?

Thanks. Yeah, I suppose that’s the biggest I have ever had my animations projected. I love having the work in public places. There’s such a different feel and reaction to it than in the gallery. I’m so happy when my work is able to reach beyond the gallery-goer and to the person on the street who may not be intending to see art during their day. I’ve been fortunate enough to show the animations in places like Times Square, Eventi Plaza, Sundance and even on buildings in Australia. To me, it’s very exciting for my work to be seen in such diverse places. 

RICO GATSON: Icons 2007 - 2017

"When elevating a human subject to sainthood or, at least making them an object of veneration, an artist needs to consider practically how it is that light or beams of pure energy will emanate from their being. Rico Gatson’s exhibition Icons 2007–2017 is just such an exercise in catapulting the human into the supernatural realm. We are watching an artist doing what artists do best: rendering the unimaginable into the visual and the unspeakable into human terms."

How Radical Can A Portrait Be?

"Icons, a solo exhibition of recent works on paper by the artist Rico Gatson, curated by Hallie Ringle, takes this ecstasy in personhood and makes it as visible as people themselves. Gatson appropriates old photographic images of famous black Americans—Zora Neale Hurston, Gil Scott-Heron, Nina Simone, Marvin Gaye—and surrounds them with bright, colorful lines that shoot outward from the personages to the borders of the page."

by Robert Hobbs

The most comprehensive retrospective exhibition of works on paper by the Abstract Expressionist Hans Hofmann is now on view at Museum of Contemporary Art Jacksonville, a cultural institute of the University of North Florida. Curated by Wall Street Journal contributor Karen Wilkin and Marcelle Polednik of the Milwaukee Art Museum, this survey of 80 multimedia works, spanning the half-century from about 1914 to 1965, is an entrancing celebration of the thoroughly energized, richly hued works.

German-born Hans Hofmann (1880-1966) was the first person to formulate a set of principles for understanding modern art, making him one of the century’s most important teachers. He based them on his intimate acquaintance with Fauvism, Cubism and its lyrical offshoot, Orphism, while in Paris from 1905 to 1913, and years later, while back in Germany, with Surrealism.

by Annie Block

Not one, not two, but three. That’s the number of new buildings in downtown Miami by Arquitectonica International Corporation and the Related Group that also feature large-scale works by world-renowned artists.

SLS Lux, the latest evolution of the brand—and the most VIP—opens in the fall, with hotel rooms and residences by Yabu Pushelberg, an LED facade by Ana Martinez, and an exterior mural by Fabian Burgos. Burgos’s work appears again on Brickell Heights, a two-tower condominium bowing in May with interiors by Rockwell Group. The hotel rooms and residences in the last of the trio, SLS Brickell, are open for business. Philippe Starck handled the interiors, and Markus Linnenbrink was commissioned for the exterior, emblazoning 40,000 square feet of the concrete facade with his signature drip painting.

by Will Heinrich

Suzanne Caporael’s latest paintings — she numbers them sequentially, with the current show’s being in the low 700s — are divided into flat, irregular blocks of deep color with slightly blurry edges. The blocks themselves might pass for recessive Rothkos, pulling in a viewer’s gaze instead of glowing out to meet it. But the compositions as a whole look more like rice paddies at night. They’re distinctly horizontal in effect despite hanging on the wall, and the narrow boundaries between colors have all the silent force of property lines.

ORLANDO, FLA.- The Mennello Museum of American Art is presenting the solo exhibition Bo Bartlett: American Artist. The exhibition, which runs through May 7, presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant American Realist painters of his generation.

Bo Bartlett is widely renowned for his multi-layered complex image making rooted in narrative, story telling, art history, literature, poetry, and every day life. Bartlett works in a long-established tradition in American painting that stretches from Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to depict the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary. Of Bartlett’s work, Andrew Wyeth wrote, “Bo Bartlett is very American. He is fresh, he’s gifted, and he’s what we need in this country. Bo is one of the very few I feel this strongly about.”

David Allan Peters : Sheathes

Film by Eric Minh Swenson

by Hind Berji

At first glance, Bo Bartlett‘s work doesn’t look like anything new. His large canvases are filled with the crisp realism of Edward Hopper, the small-town iconography of Norman Rockwell, and the vibrancy and luminism of George Caleb Bingham. Yet, Bartlett brings it all together to portray a fresh and complicated take on American life as he knows it. Organized by the Mennello Museum of American Art with an extension of four paintings at The Orlando Museum of Art, Bo Bartlett: American Artist features the seductive quality of oil paintings, which stems partly from his large canvases and polished aesthetic. His paintings are subdued with a warm light that looks like the most natural thing in the world—a fleeting, bittersweet, transitional light that falls on his characters. 

Jackie Gendel (b. 1973, Houston, TX) received her BFA from Washington University, St. Louis, in 1996 and her MFA from Yale University in 1998. Recent exhibitions include Thomas Erben, New York; Jeff Bailey, Hudson; and Loyal Gallery, Malmö. Reviews of her work have appeared in Modern Painters, Artforum, Art in America, New Yorker, and Hyperallergic, to name a few. Gendel lives and works in Brooklyn, New York.

Franklin Evans creates painting installations with the artist’s studio as subject. He lives in New York. He has exhibited institutionally at MoMA PS1, The Drawing Center, El Museo del Barrio, deCordova Sculpture Park and Museum, RISD Museum. Awards include MacDowell Fellow; Yaddo Fellow; The Marie Walsh Sharpe Space Program; LMCC Workspace; NYFA Fellow Painting; Pollock- Krasner Foundation. He is represented by Ameringer McEnery Yohe in Chelsea. Jennifer Samet is a New York City-based curator and writer.  She teaches art history at The New York Studio School and The New School, and is the author of the popular column "Beer with a Painter," in Hyperallergic.  She is also the co-director of Steven Harvey Fine Art Projects, in the Lower East Side. WEDNESDAY, MARCH 1, 2017

New York Studio School of Drawing, Painting & Sculpture

8 West 8th Street, New York, NY 10011

Lectures begin at 6:30 pm. Lectures are free and open to the public. Seating may be limited.

Beverly Fishman creates powerful abstract paintings that address technology and the pharmaceutical industry. Fishman lives and works in Detroit, where she teaches painting at the Cranbrook Academy of Art. She spent a sabbatical in New York last year, and late in the summer I had the opportunity to visit her in her studio. Fishman spoke at length about drugs, systems of dependency, and the insidious nature of healthcare in America. While I had prepared to discuss her geometric abstractions, her candor came as a surprise. The country’s current discourse on healthcare give her paintings particular significance. We remain one of the few industrialized nations without universal healthcare. With the election of Donald Trump, Republicans stand poised to repeal the Affordable Care Act. Furthermore, many American citizens take a cocktail of prescription and illicit drugs to simply feel normal.

Fishman is a painter with the concerns of a sculptor, making paintings that require high levels of production. Her studio practice includes manufacturing uniquely shaped supports and consulting with automotive paint specialists to get the background she needs to achieve industrial finishes.  Fishman’s solo exhibition “DOSE,” curated by Nick Cave, opens Thursday at the CUE Art Foundation in New York, where it is on view through April 5.

by Eric Sutphin

As I waited in the lobby of the Experimental Theater to see Juliana May's Adult Documentary (2016), amid a scrappy installation by Franklin Evans composed of paper detritus and neon tape, I felt unmoored, uninitiated. Had I not read enough Butler or Sedgwick or Baldwin to fully understanding the goings-on? Has realness become institutionalized as yet another countercultural phenomenon that has been converted into an academicized aesthetic proposition? Sound bites from the crowd began to tell me a thing or two. A young woman behind me said to a well-known choreographer: "I just wrote about you in my grad school application . . . I mean, I don't even know if I want to go to grad school, but it's, like, so hard out here."  Shortly after, a refined young man said to the same choreographer: "My adviser told me to just sit down and make sentences. So I did that and, you know, walked away with a PhD." This account of academic achievement, despite its shoegaze simplicity, seemed like rather sound advice to a choreographer (or critic). Though May's piece seemed milquetoast and insular (full as it was of inside jokes about dance that made the dance-world folks in the audience chuckle to themselves), it became clear that a venture like American Realness is absolutely vital. The conversation and kvetching (and posturing and flattering) that was going on before the doors opened galvanized the spirit of realness, which at its best foregrounds both attitude and inclusion. In a political moment where feelings of anger, alienation, and profound uncertainty are reinforced daily, American Realness continues to be not only an outlet, but a lifeline.

Today’s show: Randy Dudley’s solo exhibition is on view at Ameringer | McEnery | Yohe in New York through Saturday, February 11. The show presents recent drawings by the Illinois–based artist.

by David Ebony

While a younger generation of artists, led by Katharina Grosse, Carol Bove, and others, are finding renewed significance and surprising rewards in extemporaneous abstract painting and sculpture, certain veterans like Emily Mason never lost faith in its limitless possibilities. Mason is heir to a long lineage of artistic forebears, perhaps most notably her mother, Alice Trumbull Mason, who was a founding member of the American Abstract Artists group in the mid-1930s. Emily’s childhood memories include visits from Mondrian, and watching Miró paint in a studio adjacent to her mother’s. Painting was in her blood, but she diverged from her mother’s penchant for hard-edge abstraction, and instead gravitated in the 1950s toward a more informal, intuitive process centered on color relationships and fluid gestures, which she has been developing and refining ever since. Her expansive and elusive compositions in some way establish a vital link between Abstract Expressionism and Color Field painting.

by Peter Malone 

Emily Mason, a painter whose work represents both a unique marriage of understatement and gestural expression and a union of vibrant color and minimalist reserve, receives an examined look at her recent work at Ameringer | McEnery | Yohe Gallery.

Measured by Mason’s simultaneous participation in the “Inventing Downtown” show at NYU’s Grey Art Gallery—a show about artist-run galleries in the early 1950s—the artist’s career has been built on decades of developing a painterly language loose enough to allow multiple voicing, yet purposeful enough to assert a lone sensibility.

By Matthew J. Palm

Waves crash. The skeleton of a huge ship rises through scaffolding. Fishermen haul in their catch. Shoreline plants take on a delicate purple hue.

These are images of Maine, and the Pine Tree State is at center stage in the latest exhibition at Orlando Museum of Art.

The Wyeths and American Artists in Maine” will be on view through April 23. It’s a chance to see works by three generations of the famed Wyeth family of artists — N.C., Andrew and Jamie — as well as others. The exhibit is also a chance to reflect, or learn about, the significance of that northern neck of the woods to the visual arts.

by Charlie Patton

Though he is considered one of the pioneers of abstract expressionism, during his long career the German-born painter-turned-U.S. citizen Hans Hofmann embraced many styles.

Born in 1880, he was first drawn to Impressionism. He then spent time in Paris in the early 1900s where he befriended Pablo Picasso, Georges Braque and Henri Matisse and embraced such movements as Cubism and Fauvism.

You can’t characterize him with one individual style,” said the Museum of Contemporary Art Jacksonville’s curator Jaime DeSimone. “He reinvented himself time and time again.”

BRATTLEBORO — Vermont artist Wolf Kahn has reaped many awards in a life as colorful as his work, but the 89-year-old just traveled to Washington, D.C., to receive his first medal. “It’s big and heavy, with a blue ribbon you can put around your neck,” he says. “I thought I was getting the Medal of Freedom the president gave to the vice president.”

Although Kahn didn’t win the same accolade President Barack Obama surprised Joe Biden with on Thursday, the master of vibrant oil paint and pastels received a hefty honor the same day: the U.S. State Department’s International Medal of Arts.

Ameringer | McEnery | Yohe in New York is hosting an exhibition of the works of artist Emily Mason, on view through 11 February 2017.

The exhibition presents a series of recent paintings by American painter Emily Mason (b. 1932). Known for works that celebrate the expressive possibilities of color, each painting by Emily Mason are impregnated with individual mood and captures specific emotional and chromatic temperature, invigorated with her nuanced touch. Sheets of vibrant hues with varying density fill across her canvases, as flat expanses merge with delicate clusters of pigment, creating deceptively complex compositions. Over six decades, the artist has explored through her distinctive style of lyrical, luminous abstraction, which reflects through her paintings executed in oil, carrying a sense of intriguing intimacy combined with uncompromising yet gentle intensity.

The Fountainhead Residency provides artists an environment to create, converse, inspire and be inspired outside of daily routines and traditional confines of their home life.  From the moment artists arrive they’re immersed in the visual beauty of Miami and the color and depth of the local community.  In addition to creating work while at The Residency; artists attend openings and talks, visit museums and galleries, and receive vital feedback from art professionals through one-on-one studio visits and public open houses.

When a call went out online recently for an art world protest strike — “no work, no school, no business” — on Inauguration Day, more than 200 artists, most based in New York, many well known, quickly signed on. In numbers, they represent a mere fraction of the present art world, and there was reason to expect the list would grow. By contrast, in New York in the 1950s, 200 artists pretty much were that world, and one divided into several barely tangent circles.

That era’s cultural geometry has been badly in need of study, and now it’s getting some in a labor-of-love exhibition called “Inventing Downtown: Artist-Run Galleries in New York City, 1952-1965,” at the Grey Art Gallery at New York University. With nearly 230 objects, it’s big and has its share of stars. But it’s not a masterpiece display. It’s something almost better: a view of typical — rather than outstanding — art, of familiar artists looking unfamiliar, and of strangers you’re glad to meet. It looks the way history looks before the various MoMAs get their sanitizing hands on it: funky, diverse, down to earth, with things to teach us now.

Royale Projects is proud to present a solo exhibition of new works by Los Angeles artist David Allan Peters from 22 January to 31 March 2017. There will be an open house from 12 to 5 pm on Sunday, 22 January 2017. 

The Medal of Arts award was initiated by Art in Embassies in 2013 to formally acknowledge artists who have played an exemplary role in advancing the U.S. Department of State's mission of promoting cultural diplomacy.

The exhibition presents large-scale oil paintings that are figurative, psychologically imbued, beautifully rendered, and wonderfully sublime by one of the most significant Realist painters of his generation.  Bo Bartlett is an American realist with a modernist vision whose multi-layered narrative work falls within the tradition of American realism as defined by artists such as Thomas Eakins and Winslow Homer to Edward Hopper and Andrew Wyeth. Like these artists, Bartlett looks at America's land and people to describe the beauty he finds in everyday life. His paintings celebrate the underlying epic nature of the commonplace and the personal significance of the extraordinary.  Of Bartlett’s work, Wyeth wrote, “Bo Bartlett is very American.  He is fresh, he’s gifted, and he’s what we need in this country.  Bo is one of the very few I feel this strongly about.”

Examining the New York art scene during the fertile years between the apex of Abstract Expressionism and the rise of Pop Art and Minimalism, Inventing Downtown: Artist-Run Galleries in New York City, 1952–1965 is the first show ever to survey this vital period from the vantage point of its artist-run galleries—crucibles of experimentation and innovation that radically changed the art world. With more than 200 paintings, sculptures, installations, drawings, photographs, ephemera, and films, the show reveals a scene that was much more diverse than has previously been acknowledged, with women and artists of color playing major roles. It features works by abstract and figurative painters and sculptors, as well as pioneers of installation and performance art. Artists range from well-known figures such as Jim Dine, Red Grooms, Allan Kaprow, Alex Katz, Yayoi Kusama, Claes Oldenburg, Yoko Ono, and Mark di Suvero, to those who deserve to be better known, including Emilio Cruz, Lois Dodd, Rosalyn Drexler, Sally Hazelet Drummond, Jean Follett, Lester Johnson, Boris Lurie, Jan Müller, and Aldo Tambellini.

Inventing Downtown is curated by Melissa Rachleff, clinical associate professor in NYU’s Steinhardt School.

Abrons Arts Center, Main Gallery 466 Grand Street / FREE

Franklin Evans creates painting installations with the artist’s studio as his subject. Evans collaborated with Trajal Harrell on the scenic design for Twenty Looks or Paris is Burning at the Judson church (S). American Realness 2017 presents the release of the digital publication of Trajal Harrell’s Twenty Looks or Paris is Burning at The Judson Church (XL). The release is accompanied by an installation, entitled XLtime, created by visual artist Franklin Evans made in collaboration with (XL).

by Roger Catlin

Gene Davis spent his career in newsrooms from the Washington Daily News to United Press International to the Fredericksburg Freelance Star, and even served a stint as a New York Times copy boy.

And while he took up abstract painting in the 1940s as a hobby, and was featured in a few local shows, he was never successful enough to devote his full time to art until, after 35 years in journalism, he finally turned to it 1968.

By Low Lai Chow

Now this is art that truly takes you places. Touted as "the world’s fastest art experience," the high-speed Genbi Shinkansen opened last month on the Jōetsu Shinkansen railway line.

By Alexander Keefe

One’s initial impression of Yunhee Min’s new work, an intervention of poured paint and fluorescent light onto two long, normally transparent vitrines installed in the lobby of the Equitable Life Building—an iconic if somewhat long-in-the-tooth skyscraper in Koreatown—depended a great deal on how (or when) one first came across it. If the lights happened to be switched off (as they were at regularly timed intervals), Luminaire Delirium (Equitable Life or soft machine), 2015, displayed a milky, matte opacity, obstructing or deflecting one’s view of the vitrines’ interiors with turbulent, tainted whites, shadowed by hints of darker, more vivid colors swimming just behind. But if the cases’ hidden fluorescent tubes were set aglow, those same soured, opaque whites blazed into translucency, revealing brilliant layers of liquid color, and transforming this patch of corporate interior into a minor phantasmagoria of stained glass: Viscous, chemical yellows bled into inky blue-blacks and absinthe green; shades of red suggested a continuum between maraschino syrup and stage blood.  

NEW YORK, NEW YORK – AMERINGER | McENERY | YOHE is pleased to announce its representation of artist, Yunhee Min. An exhibition of new works will open in Spring 2016.

For Atelier Ace Issue, our series of limited edition art prints, we asked Brian Alfred, a multimedia artist originally from Steel City, USA, to envision an exclusive print for us and for you. With hard-edges, flat geometric forms and imagery borrowed from Circuit of the Americas in Travis County, Texas, Alfred uses speed, car racing and rituals of spectacle as avenues to explore contemporary ways of seeing.

Postcards from the End of the World: Brian Alfred’s Colorful, Cautionary Tales

Painter and digital artist Brian Alfred presents the world as a series of flattened fragments. Working from photographs, the Brooklyn-based artist digitally creates compressed, simplified images that capture the energy and anxieties of the modern world. Highway overpasses, empty offices, cityscapes, and even public figures’ faces are reduced into planes of flat color, which the artist carefully paints in taped-off portions, creating crisp images that sit somewhere between the handmade art of paintings, cartoon-like animation, and mass-produced perfection. His latest series, on view in a new show at Ameringer | McEnery | Yohe, takes automobile racing as its point of departure.

BRIAN ALFRED AT AMERINGER | MCENERY | YOHE

The New York based gallery Ameringer | McEnery | Yohe has announced a forthcoming solo exhibition by the Brooklyn based artist Brian Alfred which will present recent works under the title It Takes A Million Years To Become Diamonds So Let’s All Just Burn Like Coal Until The Sky Is Black. The solo exhibition will feature new images by Brian Alfred based around the exploration of automobile racing, his cropped abstract works capturing everything from the excitement of the cars and racing through to the global investment elements of companies that contribute the money to the races by including representations of oil slogans in his images. The exhibition at Ameringer | McEnery | Yohe, who last year presented a show of work by Wolf Kahn (see more in this video), sees Brian Alfred capturing small slices of time that aim to capture the emotions of watching the races.

Building on the rich tradition of geometric abstraction, three one-person exhibitions take the visual language of line, form, and color in compelling directions. In the first part of the 20th century, artists such as Wassily Kandinksky (1866-1944), Kasimir Malevich (1878-1935), and Piet Mondrian (1872-1944) explored a vocabulary of simple geometric forms—rectangles, triangles, squares, and line—in abstract compositions that addressed universal truths and utopian ideas. This tradition, carried forth, expanded, and transformed over the course of the 20th century, continues into the present with innovative approaches to the genre by:

Planning and Spontaneity in Art A Lecture by Wolf Kahn at the Brattleboro Museum & Art Center 7 October 2012 Wolf Kahn is a leading figure in American art. His rich, expressive body of work represents a synthesis of his modern abstract training with Hans Hofmann, the palette of Matisse, Rothko’s sweeping bands of color, and the atmospheric qualities of American Impressionism. Kahn has received many honors and awards, and his work is held in the collections of major museums worldwide.

www.brattleboromuseum.org

Wolf Kahn spends much of his summer sketching in pastel in and around Brattleboro, Vermont, later refining the sketches in his hilltop studio. BMAC is honored to present a portion of his summer 2011 artistic production.

Pastel is Kahn’s generative medium. I use the term generative not to imply that his pastels are sketches for paintings — though they may be. Rather, the mark a pastel stick makes, the way its powder sits on the page, its texture, its effects are the genesis of his painting style. Kahn has often referred to his painting technique as scrubbing: he makes dry, quick lines, atop thinly layered veils of color, essentially transferring his touch with pastel to paint. His virtuosic handling of the medium he calls “dust on butterfly wings” informs and expands all his artistic endeavors.

The Directors of Ameringer | McEnery | Yohe mourn the passing of a true American visionary. Helen Frankenthaler's life and art produced a remarkable body of work that inspired an artistic movement and continues to inspire new generations of artists and viewers in her unique pursuit of truth and beauty. We will miss your grace and friendship but just need to look at your paintings to find the source of your spirit and the joy you have brought to us. Will Ameringer Miles McEnery James Yohe

Experiments in Abstraction: Art in Southern California, 1945 to 1980, addresses a generation of California-based artists who explored the possibilities of abstraction. In the years following World War II, a distinctive style of art, identified as Hard-Edge painting, was developed by pioneering artists such as Karl Benjamin, Lorser Feitelson, Oskar Fischinger, Helen Lundeberg, and John McLaughlin.

In 1959 Los Angeles Times art critic Jules Langsner coined the term “Hard-Edge Painting” to describe the work of these California painters. Partly a reaction against Abstract Expressionism, best known in the thickly layered paintings of American artists Willem de Kooning and Jackson Pollock, Hard-Edge emphasized angular lines, reduced forms, precise surfaces, and rich colors. The resulting aesthetic is forever associated with mid-century California Modernism. Beyond the pioneering Hard-Edge painters, other California-based artists, including Charles Arnoldi, Sam Francis, and Ed Ruscha, continued to experiment and transform abstraction on the West Coast.

This exhibition, which includes works from the Museum’s permanent collection and some local loans, explores the diversity of Post-War abstraction in Southern California.

This exhibition will focus on Provincetown's legacy as an art colony, and will cover over 100 artists from Charles W. Hawthorne's founding of the Cape Cod School of Art in 1899 to the present day. This will be the largest and most comprehensive survey of the art colony completed in over 40 years.

NEW PALTZ – The Samuel Dorsky Museum of Art will celebrate its 10th anniversary on Saturday, October 15. The Dorsky first opened to the public in April 2001 and was officially dedicated on October 20, 2001.The events of next weekend will honor past Hudson Valley Master artists Lesley Dill, Robert Morris, Don Nice, Judy Pfaff and Carolee Schneemann.click here : http://www.midhudsonnews.com

Artistic Evolution is inspired by works that were shown at NHM when it was the Los Angeles County Museum of History, Science, and Art, the first dedicated museum building in Los Angeles. The Exposition Park museum historically played a crucial role in nurturing the dynamism and richness of the Los Angeles art scene. In the mid 1960s, art exhibitions were moved from the Museum to the new Los Angeles County Museum of Art on Wilshire Boulevard, and NHM focused its mission on natural history.

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Be among the first to view the new exhibit Wolf Kahn: Brattleboro Pastels, featuring new work created this summer in southern Vermont by one of America’s most influential and admired landscape artists. Kahn will be on hand to sign books, limited-edition prints, catalogues, posters, and more. Cash bar and light refreshments provided.

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Throughout the history of Modernism, the reputations of many painters have become known through their association with groups of like-minded individuals. Some of these associations are casual while others become definitive movements involving exhibitions and critical dialogues, at times using a manifesto or style of presentation as a means to communicate their aesthetic or to reinforce their social, political, and conceptual aspirations. Art movements have a temporal role in the history of art. They exist for a relatively short duration before members spin off in other directions.

School of Visual Arts (SVA) presents "The Influentials," an exhibition featuring distinguished female alumni of the College and the diverse group of artists who have influenced their practice. "The Influentials" is both an investigation into the creative lineage between contemporary artists and a dialogue between mentors and mentees that crosses generations, gender and media. The exhibition is co-curated by independent curator Amy Smith-Stewart adn SVA Director of Development and Alumni Affairs Carrie Lincourt.

The hard-edge abstractions of the painter Frederick Hammersley (1919-2009), who began his career in Los Angeles and later moved to New Mexico, have never enjoyed much of a New York presence. They were last seen in bulk here in a two-person exhibition at Artists Space in 1987, a year after the artist’s only New York gallery show and more than 20 years after his rare inclusion in a New York museum show: the Op-Art-centric “Responsive Eye” exhibition at the Museum of Modern Art in 1965.

The fall art season is in full swing, and there is an overwhelming amount of painting on display at galleries throughout the United States. I expanded my usual Must See list from ten to twelve exhibitions, but I could have easily selected more. As always, I primarily focused on emerging artists, although more established figures such as Susan Rothenberg and Lari Pittman are on the list with impressive new bodies of work.

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Featuring works by Suzanne Caporael

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Photorealism does not especially intrigue me, but in Patrick Lee's work, the technique is just the starting point for further revelations. Lee's graphite portraits of men are meticulous down to the very pores that sprout whiskers. The figures are set in a style reminiscent of the early 1900s, with heads floating in a limbo of whiteness, and I am reminded of the decades old black and white photos of my grandmother's family. Yet these portraits are startling contemporary insights into the society of men. Bald heads, scars, tattoos and ethnically diverse, these men virtually wear the stories of their lives on their necks, faces, and heads. In a culture where youth is trumpeted no matter the class or color of the individual, it's an interesting relief to see men, instead of kids, depicted here. These are men who clearly have lived lives of intensity and peril and are part of a society that signals their wounds with physical visuals.

Kahn works a canvas with the relentlessness of the rising tide. Several times during a visit to his studio, I would become enamored by a finished and already framed painting, only to have Kahn point at a certain spot in it that, to his mind, required more yellow there, or a more intense blue here. His painting is always incomplete—another precious contribution of sensibility art to this packaged culture of ours. Can you imagine Damien Hirst or Jeff Koons obsessing about a square inch of one of the large concoctions they have others illustrate from their photoshop compositions?

Patrick Lee’s gorgeous portraits of tough young men are great works of art because they entice you to imagine what it might be like to live in someone else’s skin.

Three recent exhibitions in the New York area offered an opportunity to assess the career of the late Spanish-born Abstract Expressionist Esteban Vicente (1903-2001).

Western Project is proud to present the second solo exhibition by Los Angeles artist Patrick Lee. After a successful show in New York last year, the artist will present seven recent large scale drawings and a new video project.

Wolf Kahn’s recent paintings, continuing his long engagement with rural New England as fodder and muse, still manage to startle and delight.

The Portland Art Museum's sprawling new exhibition, "Riches of a City: Portland Collects," announces its intention the moment you walk in the door: It's about the warmth and pleasures of domestic life -- if not always in the art itself, at least in where it comes from. - Bob Hicks

Nancy Graves: A Memorial Exhibition brings together seven works from the Art Center’s permanent collection by the artist Nancy Graves.

Concrete Improvisations: Collages and Sculpture by Esteban Vicente will feature approximately 80 of the artist’s works, both collages and polychrome sculptures, which Vicente referred to as divertimientos or juegos, (“toys” in English). Vicente’s “toys” display his thorough understanding of Cubism, Constructivism and assemblage. Together, this group of works will reveal interesting facets of the career of this accomplished, if unassuming, artist.

Through a distinguished career that stretches back to the 1970s, she has exhibited internationally and received many prestigious awards—including a MacArthur Fellowship and National Endowment for the Arts grants. Pfaff has also been strongly dedicated to education in the arts.

Artists tell the story of a charismatic teacher and his ideas in Color Creates Light: Studies with Hans Hofmann by Tina Dickey, recently released by Trillistar Books. The author will travel to New York in early May for two book signings: on May 3 at 8pm, a signing at Spoonbill & Sugartown Books in Williamsburg, Brooklyn, and on May 5 from 5-7pm, a Cinco de Mayo signing at Ameringer McEnery Yohe in Chelsea.

The Weatherspoon Art Museum at the University of North Carolina at Greensboro is pleased to present the exhibition Judy Pfaff: Falk Visiting Artist. The internationally renowned artist is one of the pioneers of installation art, which is work that is site-specific and three-dimensional. Since the 1970s, she has been on the forefront of combining aspects of sculpture, painting, and architecture to form dynamic works that transcend aesthetic boundaries.

In Michael Reafsnyder’s joyously frenzied paintings, each rectangular picture, with its layers of drips, swirls, daubs, and arcs, in every hue imaginable, was also a map of its own creation. Together with his cacophonous multicolored, biomorphic ceramic sculptures, these works seemed primarily designed to energize their audiences.

For his showy topography, Reafsnyder used a variety of application methods: spreading the paint with a flat edge, allowing it to drip from above, applying it directly from the tube, touching it with his hand (or perhaps his arm), or, while the paint was still sticky, lifting it off the surface. The lush, thick surfaces put one in mind of cake frosting as much as they did Abstract Expressionism. Arguably Gerhard Richter’s spirit was being channeled—and challenged—as was Jackson Pollock’s.

New York-based Caporael is an inveterate road tripper (having covered some 30,000 miles in her lifetime), and she used her most recent cross-country excursion as the basis for the 12 paintings on display here (all 2009 or ’10). Despite their highly abstract forms, the canvases, some of them fairly substantial in scale (the largest are 60 inches tall) and many with thickly painted surfaces, manage to convey Caporael’s journeys in a way that feels as fresh and honest as a lap-held diary.

Esteban Vicente: Portrait of the Artist,” at the Parrish Art Museum in Southampton, starts with one artist, but quickly — and thankfully — opens up into one of these broader, more inclusive chapters. Vicente (1903-2001), a Spanish-born artist who lived most of his life in New York, was best known for his collages, and a big red abstract-floral one greets visitors at the entrance. A watercolor by his contemporary Philip Pavia, “Freefall No. 2” from 1959, hangs nearby, however, turning the installation immediately into a dialogue.

“Abstract Expressionist Robert Motherwell had a lifelong obsession with Irish novelist James Joyce. In 1948, Motherwell painted The Homely Protestant after opening a copy of Joyce’s “Finnegans Wake” and randomly placing his finger on a page to select the title for the painting.