Untitled (Bipolar, Parkinson's, Pain, Gerd), 2020, Urethane paint on wood, 56 1/4 x 105 3/4 inches, 142.9 x 268.6 cm, MMG#32924
Untitled (Opioid Addiction, Anxiety, ADHD), 2022, Urethane paint on wood, 42 x 39 1/2 inches, 106.7 x 100.3 cm, MMG#34403
Untitled (Missing Doses, Depression, Anxiety, Bipolar), 2022, Urethane paint on wood, 45 x 40 1/8 inches, 114.3 x 101.9 cm, MMG#34346
Untitled (Pain, Opioid Addiction, ADHD), 2022, Urethane paint on wood, 44 x 33 1/2 inches, 111.8 x 85.1 cm, MMG#34203
Untitled (ADHD, Opioid Addiction, Epilepsy), 2021, Urethane paint on wood, 42 x 42 1/2 inches, 106.7 x 108 cm, MMG#33925
Untitled (Pain, Opioid Addiction, ADHD), 2021 Urethane paint on wood 45 x 41 inches 114.3 x 104.1 cm, MMG#33926
Untitled (Pain, Opioid Addiction, Anxiety), 2020, Urethane paint on wood, 43 x 44 inches, 109.2 x 111.8 cm, MMG#32916
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
Untitled (Chronic Pain, Pain, Pain), 2019, Urethane paint on wood, 96 x 70 x 2 1/4 inches, 243.8 x 177.8 x 5.7 cm, MMG#31962
Untitled (Migraine, Anxiety, ADHD), 2019, Urethane paint on wood, 77 x 84 x 2 inches, 195.6 x 213.4 x 5.1 cm, MMG#31980
Untitled (ADHD, Missing Dose), 2019, Urethane paint on wood, 42 x 42 1/2 x 2 inches, 105.4 x 108 x 5.1 cm, MMG#31938
Untitled (Pain, Opioid Addiction, Bipolar Disorder, Muscle Spasms), 2019, Urethane paint on wood, 90 x 69 1/4 x 2 inches, 228.6 x 175.9 x 5.1 cm, MMG#31939
Untitled (Asthma, Parkinson's Disease), 2019, Urethane paint on wood, 79 1/2 x 44 x 2 inches, 201.9 x 111.8 x 5.1 cm, MMG#31934
Untitled (Pain, Diabetes, Depression, Depression, Depression), 2019, Urethane paint on wood, 52 1/2 x 100 1/4 x 2 inches, 133.4 x 254.6 x 5.1 cm, MMG#31932
Untitled (Opioid Addiction, Depression, Bipolar Disorder, GERD), 2019, Urethane paint on wood, 77 1/2 x 96 x 2 inches, 196.9 x 243.8 x 5.1 cm, MMG#31883
Untitled (Anxiety, ADHD, Bipolar Disorder, Anti-Psychotic, 1/4 Tab Opioid Addiction), 2019, Urethane paint on wood, 44 x 96 x 2 inches, 111.8 x 243.8 x 5.1 cm, MMG#31882
Untitled (Opioid Addiction, Empty Dose), 2020, Urethane paint on wood, 44 1/2 x 42 1/4 x 2 inches, 113 x 107.3 x 5.1 cm, MMG#31981
Untitled (Pain, Opioid Addiction, ADHD), 2019, Urethane paint on wood, 43 x 43 x 1 1/2 inches, 109.2 x 109.2 x 3.8 cm, MMG#31946
Untitled (Diabetes, pain, insomnia, abortion), 2019, Urethane paint on wood, 44 x 82 1/4 inches, 111.8 x 208.9 cm, MMG#31566
Untitled (Anxiety, Anxiety, High Blood Pressure), 2019, Urethane paint on wood, 43 x 43 x 1 1/2 inches, 109.2 x 109.2 x 3.8 c, MMG#31978
Untitled (Bipolar, bipolar, osteoporosis, anxiety), 2019, Urethane paint on wood, 44 1/4 x 71 1/2 inches, 112.4 x 181.6 cm, MMG#31806
Untitled (Bipolar Disorder, Bipolar Disorder), 2019, Urethane paint on wood, 43 x 39 x 1 1/2 inches, 109.2 x 99.1 x 3.8 cm, MMG#31068
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
Untitled (Depression, Insomnia, Pain, Diabetes), 2019, Urethane paint on wood, 44 x 79 1/2 inches, 111.8 x 201.9 cm, MMG#31565
Untitled (Epilepsy, Depression, Depression), 2019, Urethane paint on wood, 40 x 38 1/2 inches, 101.6 x 97.8 cm, MMG#31049
Untitled (Pain, ADHD, depression), 2019, Urethane paint on wood, 43 x 41 x 1 1/2 inches, 109.2 x 104.1 x 3.8 cm, MMG#31226
Untitled (Digestive Problems, Sleepiness, Anxiety, Alcoholism), 2018, Urethane paint on wood, 52 x 107 x 2 inches, 132.1 x 271.8 x 5.1 cm, MMG#30291
Untitled, 2018, Vinyl and paper collage on smooth acid free Bristol paper, 24 x 19 inches, 61 x 48.3 cm, MMG#30346
Untitled, 2018, Vinyl and paper collage on smooth acid free Bristol paper, 17 x 14 inches, 43.2 x 35.6 cm, MMG#30368
Untitled, 2018, Vinyl and paper collage on smooth acid free Bristol paper, 17 x 14 inches, 43.2 x 35.6 cm, MMG#30344
Untitled, 2018, Vinyl and paper collage on smooth acid free Bristol paper, 19 x 24 inches, 48.3 x 61 cm, MMG#30348
Beverly Fishman in her studio, 2021, Detroit, MI
BEVERLY FISHMAN (b. 1955, Philadelphia, PA) received her Master of Fine Arts in 1980 from Yale University and her Bachelor of Fine Arts in 1977 from the Philadelphia College of Art.
Recent solo exhibitions include “CURE,” The Contemporary Dayton, Dayton, OH; “FEELS LIKE LOVE,” Kavi Gupta Gallery, Chicago, IL; “Recovery,” The Eli and Edythe Broad Art Museum, East Lansing, MI; “The Promise of Happiness,” Walter Storms Galerie, Munich, Germany; “NEW WORK,” SOCO Gallery, Charlotte, NC; “Love Letter to L.A.,” Gavlak Gallery, Los Angeles, CA; “I Dream of Sleep,” Miles McEnery Gallery, New York, NY; “Monotypes, 2005-2006,” Louis Buhl & Co., Detroit, MI; “Studies on Relief,” Kavi Gupta Gallery, Chicago, IL; “Fantastic Voyage, 1985-1987,” Library Street Collective, Detroit, MI; “Future Perfect,” Kavi Gupta Gallery, Chicago, IL; Ronchini Gallery, London, United Kingdom; “Synthetic Wonderland,” Gavlak Gallery, Palm Beach, FL; Miles McEnery Gallery, New York, NY; “Chemical Sublime,” Kavi Gupta Gallery, Chicago, IL; “T.N.N.,” Kravets Wehby Gallery, New York, NY; “DOSE” (curated by Nick Cave), CUE Art Foundation, New York, NY; and “Another Day in Paradise,” Abroms-Engel Institute for the Visual Arts, University of Alabama, Birmingham, AL.
Recent group exhibitions include “Kavi Gupta at Regan Rohde’s Arts & Conversations,” Dixie Highway Gallery, West Palm Beach, FL; “Z E N A X: Beverly Fishman and Gary Lang,” Library Street Collective, Detroit, MI; “No Soft Edges: Women in Minimalism,” Gavlak Gallery, Palm Beach, FL; “e pluribus: Out of Many,” National Academy of Design, New York, NY; “Glyphadelphia,” HESSE FLATOW, New York, NY; “Light” (curated by Rico Gatson), Miles McEnery Gallery, New York, NY; “Shapeshifters: Transformations in Contemporary Art,” Cranbrook Art Museum, Bloomfield Hills, MI; “The Responsive Eye Revisited: Then, Now, and In-Between,” Miles McEnery Gallery, New York, NY; “Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti,” Columbus Museum of Art, Columbus, OH; “Inaugural Exhibition,” Gavlak Los Angeles, Los Angeles, CA; “Constructed,” Contemporary Art Galleries, University of Connecticut, Storrs, CT; “cart, horse, cart” (curated by Michael Goodson and Anna Stothart), Lehmann Maupin, New York, NY; “Double Edged: Geometric Abstraction Then and Now” (curated by Dr. Emily Stamey), Weatherspoon Art Museum, Greensboro, NC; “Shape, Rattle, and Roll,” Eric Firestone Gallery, East Hampton, NY; and “Grafik” (curated by Ryan McGinness), Harper’s Books, East Hampton, NY.
Her work is included the collections of the Borusan Contemporary, Istanbul, Turkey; Chrysler Museum of Art, Norfolk, VA; Columbus Museum of Art, Columbus, OH; Cranbrook Art Museum, Bloomfield Hills, MI; The Detroit Institute of Arts, Detroit, MI; Eli and Edythe Broad Museum, East Lansing, MI; Maxine and Stuart Frankel Foundation for Art, Bloomfield Hills, MI; Housatonic Museum of Art, Bridgeport, CT; Illinois Institute of Technology, Chicago, IL; MacArthur Foundation Collection, Chicago, IL; Mattatuck Museum, Waterbury, CT; Miami Art Museum, Miami, FL; Nerman Museum of Contemporary Art, Overland Park, KS; Pizzuti Collection, Columbus, OH; Progressive Art Collection, Cleveland, OH; Queens College Art Collection, Queens, NY; Stamford Museum and Nature Center, Stamford, CT; Toledo Art Museum, Toledo, OH; United Nations Embassy, Istanbul, Turkey; University of Michigan Museum of Art, Ann Arbor, MI; and the Weatherspoon Art Museum, Greensboro, NC.
She is the recipient of a number of achievements including the Anonymous Was A Woman Award, New York, NY; Hassam, Speicher, Betts, & Symons Purchase Award, American Academy of Arts and Letters, New York, NY; John Simon Guggenheim Memorial Foundation Fellowship, New York, NY; Louis Comfort Tiffany Foundation Award, New York, NY; Artists Space Exhibition Grant, New York, NY, and the NEA Fellowship Grant. In 2020, Fishman was inducted to the National Academy of Design.
Fishman lives and works in Detroit, MI.
Miles McEnery Gallery is delighted to present an exhibition of works by a selection of artists at the 2022 Edition of EXPO Chicago. Featured artists include Trudy Benson, Tomory Dodge, Beverly Fishman, Pia Fries, Raffi Kalenderian, Tom LaDuke, Markus Linnenbrink, Ryan McGinness, Douglas Melini, Liz Nielsen, Michael Reafsnyder, James Siena, and Patrick Wilson.
The gallery's inaugural presentation at ZONA MACO will feature works by gallery artists Tomory Dodge, Beverly Fishman, Monique van Genderen, Raffi Kalenderian, Markus Linnenbrink, Ryan McGinness, Jason Middlebrook, Michael Reafsnyder, Patrick Wilson, and Guy Yanai.
Established in 2002 by Zélika Garcia, ZONA MACO is the leading art fair in Latin America with four events that take place twice a year during February and August at Centro Citibanamex, Mexico City.
Returning for its second edition in January 2020, Taipei Dangdai is Taipei's global art fair featuring a world-class lineup of galleries, selected via a rigorous application process overseen by a committee of international gallerists.
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.
Opening the fall art season each September, EXPO CHICAGO hosts leading international art galleries presented alongside one of the highest quality platforms for global contemporary art and culture.
We are delighted to be participating in the 2019 edition of Expo Chicago, presenting a selection of works by artists Tomory Dodge, Inka Essenhigh, Beverly Fishman, Warren Isensee, Raffi Kalenderian, Patrick Lee, Markus Linnenbrink, Ryan McGinness, Michael Reafsnyder, Daniel Rich, John Sonsini, and Patrick Wilson.
Booth #267, 19 – 22 September.
Beverly Fishman's solo exhibition "CURE" is on view at The Dayton Contemporary through 22 July 2022.
Beverly Fishman's solo exhibition "Recovery" is on view through 7 August 2022 at the MSU Broad Museum.
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.
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.
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.
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."
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.
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.
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.”
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.
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.
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.”
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.
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.
Harper's Books is pleased to present:
Beverly Fishman
Opening reception 17 August 2018 from 5-8PM
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.
