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Art Basel Miami Beach

Booth #G6

4 - 8 December 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Installation view, Booth #G6, Miles McEnery Gallery, Art Basel Miami Beach 2019

Josef Albers, Homage to the Square, 1961, Oil on masonite, 18 x 18 inches

Josef Albers, Homage to the Square, 1961, Oil on masonite, 18 x 18 inches, 45.7 x 45.7 cm, MMG#31300

Karl Benjamin, #1, 1965, Oil on canvas, 30 x 30 inches, 76.2 x 76.2 cm, MMG#31502

Karl Benjamin, #1, 1965, Oil on canvas, 30 x 30 inches, 76.2 x 76.2 cm, MMG#31502

Karl Benjamin, #46, 1965, Oil on canvas, 25 x 25 inches, 63.5 x 63.5 cm, MMG#31491

Karl Benjamin, #46, 1965, Oil on canvas, 25 x 25 inches, 63.5 x 63.5 cm, MMG#31491

Gene Davis, Yellow Jacket, 1969, Acrylic on canvas, 107 1/4 x 220 inches, 272.4 x 558.8 cm, MMG#19554

Gene Davis, Yellow Jacket, 1969, Acrylic on canvas, 107 1/4 x 220 inches, 272.4 x 558.8 cm, MMG#19554

Lorser Feitelson, Untitled, 1964, Oil and enamel on canvas, 60 x 40 inches, 152.4 x 101.6 cm, MMG#31570

Lorser Feitelson, Untitled, 1964, Oil and enamel on canvas, 60 x 40 inches, 152.4 x 101.6 cm, MMG#31570

Lorser Feitelson, Untitled (February 10), 1965, Oil on canvas, 60 x 50 inches, 152.4 x 127 cm, MMG#31571

Lorser Feitelson, Untitled (February 10), 1965, Oil on canvas, 60 x 50 inches, 152.4 x 127 cm, MMG#31571

Beverly Fishman, Untitled (Digestive Problems, Asthma, Depression, Depression), 2019, Urethane paint on wood, 51 x 115.9 x 2 inches, 129.5 x 294.4 x 5.1 cm, MMG#31563

Beverly Fishman, Untitled (Digestive Problems, Asthma, Depression, Depression), 2019, Urethane paint on wood, 51 x 115.9 x 2 inches, 129.5 x 294.4 x 5.1 cm, MMG#31563

Beverly Fishman, Untitled (Pain, 2 ADHD), 2019, Urethane paint on wood

Beverly Fishman, Untitled (Pain, 2 ADHD), 2019, Urethane paint on wood, 42 1/2 x 39 1/2 x 2 inches, 108 x 100.3 x 5.1 cm, MMG#31254

Frederick Hammersley, Flex, 1984 - 92, Oil on linen on panel, 7 x 7 inches

Frederick Hammersley, Flex, 1984 - 92, Oil on linen on panel, 7 x 7 inches, 17.8 x 17.8 cm, MMG#13536

Frederick Hammersley, Half of Half #6, 1960, Oil on linen

Frederick Hammersley, Half of Half #6, 1960, Oil on linen, 34 x 30 inches, 86.4 x 76.2 cm, MMG#31492

Warren Isensee, Djanga, 2017, Oil on canvas, 40 x 32 inches

Warren Isensee, Djanga, 2017, Oil on canvas, 40 x 32 inches, 101.6 x 81.3 cm, MMG#31520

Warren Isensee, Old Gods, 2018, Oil on canvas, 20 x 20 inches, 50.8 x 50.8 cm, MMG#31519

Warren Isensee, Old Gods, 2018, Oil on canvas, 20 x 20 inches, 50.8 x 50.8 cm, MMG#31519

Markus Linnenbrink, TOOSOONTOPANIC, 2019, Epoxy resin and pigments on wood, 60 x 72 inches, 152.4 x 182.9 cm, MMG#31801

Markus Linnenbrink, TOOSOONTOPANIC, 2019, Epoxy resin and pigments on wood, 60 x 72 inches, 152.4 x 182.9 cm, MMG#31801

Markus Linnenbrink, WEWEREALWAYSUNKNOWNWATERS, 2019, Epoxy resin and pigments on wood, 60 x 72 inches, 152.4 x 182.9 cm, MMG#31799

Markus Linnenbrink, WEWEREALWAYSUNKNOWNWATERS, 2019, Epoxy resin and pigments on wood, 60 x 72 inches, 152.4 x 182.9 cm, MMG#31799

John McLaughlin, Untitled Composition, 1953, Oil on canvas, 48 x 36 inches, 121.9 x 91.4 cm, MMG#31493

John McLaughlin, Untitled Composition, 1953, Oil on canvas, 48 x 36 inches, 121.9 x 91.4 cm, MMG#31493

Kenneth Noland, Interlinear, 1973, Acrylic on canvas, 85.5 inches diagonally, 60 1/4 x 60 1/4 inches, 153 x 153 cm, MMG#14764

Kenneth Noland, Interlinear, 1973, Acrylic on canvas, 85.5 inches diagonally, 60 1/4 x 60 1/4 inches, 153 x 153 cm, MMG#14764

Patrick Wilson, Hot Stack, 2019, Acrylic on canvas, 86 x 70 inches

Patrick Wilson, Hot Stack, 2019, Acrylic on canvas, 86 x 70 inches, 218.4 x 177.8 cm, MMG#31712

Patrick Wilson, Large Weather Event, 2018, Acrylic on canvas, 86 x 70 inches

Patrick Wilson, Large Weather Event, 2018, Acrylic on canvas, 86 x 70 inches, 218.4 x 177.8 cm, MMG#30774

MILES MCENERY GALLERY is delighted to present “The Responsive Eye Revisited: Then, Now, and In-Between” at the 2019 edition of Art Basel Miami Beach. Previewing on 4 December, and opening to the public on 5 December, the fair will run through 8 December at the Miami Beach Convention Center in Miami Beach, Florida. The exhibition is accompanied by a fully illustrated publication, featuring an essay by David Pagel. Pagel is an art critic who writes regularly for the Los Angeles Times as well as a Professor of Art Theory at Claremont Graduate University and an adjunct curator at the Parrish Art Museum.

Paying tribute to the Museum of Modern Art’s 1965 exhibition entitled “The Responsive Eye,” Miles McEnery Gallery’s presentation of “The Responsive Eye Revisited,” sets forth a reinvigorated take on the iconic exhibition. Emphasizing the wonders of the perceptual and cognitive experiences created by abstraction, “The Responsive Eye Revisited” spotlights the ongoing, boundless impact of abstract art.

In the climate of the mid-1960s, the original exhibition generated widespread discussion about the value of viewer interaction in contemporary art. “The Responsive Eye,” looked to the future — the artists aimed to break free from the boundaries of the past, charged with the prospect of art’s ability to do the unprecedented. Including a range of materials, they rejected the exclusive notion that art is an extension of its creator’s inner sentiments, and gave precedence to the viewer’s unique and intimate interactions with a work of art.

“The Responsive Eye Revisited,” alternatively, looks to the past while remaining firmly grounded in the present. The exhibition includes a selection of works by contemporary artists — Beverly Fishman, Warren Isensee, Markus Linnenbrink, and Patrick Wilson — alongside artists who themselves participated in the original exhibition or were active in the decades in-between — Josef Albers, Karl Benjamin, Gene Davis, Lorser Feitelson, Frederick Hammersley, John McLaughlin, Kenneth Noland, and Al Held.

Illustrating an inclusive understanding of the power of abstract painting, “The Responsive Eye Revisited,” highlights how contemporary artists masterfully apply the medium of paint with a sensual quality capable of engaging both the mind and body. As David Pagel writes, “Although their materials are conventional, what they do with them is anything but. They make paint sing—silently and like nothing else out there.”