Sanford Biggers, The Charlatan, 2020, Antique quilt, assorted textiles, 73 x 67 1/2 x 3 inches, 185.4 x 171.5 x 7.6 cm. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Sanford Biggers. Photo credit: Lance Brewer
Willie Cole, Domestic Shield XVII, 2021, Iron scorches on canvas with resin, chalk and wax mounted on wood, 54 x 16 3/4 inches, 137.2 x 42.5 cm. Photo: Joerg Lohse. Image courtesy of Alexander and Bonin, New York.
Rico Gatson, Untitled (Sunrise/Sunset LG-II), 2021, Acrylic paint on wood, 36 x 48 inches, 91.4 x 121.9 cm. Photo: Jason Mandella. Image courtesy of the artist and Miles McEnery Gallery, New York, NY.
Harmony Hammond, Crimson Chenille, 2019, Oil and mixed media on canvas, 70 x 56 inches, 177.8 x 142.2 cm. Courtesy the artist and Alexander Gray Associates, New York © Harmony Hammond / Licensed by VAGA via ARS, New York.
Maren Hassinger, Untitled Vessel (Red), 2021, Stretch polyester fabric on steel armature, 69 x 61 inches, 175.3 x 154.9 cm. Courtesy of Susan Inglett Gallery, NYC.
Steve Locke, Homage to the Auction Block #100-hudson, 2021, Acrylic on panel, 16 x 16 x 5/8 inches, 40.6 x 40.6 x 1.6 cm. Courtesy of LaMontagne Gallery.
Steve Locke, Homage to the Auction Block #45, 2020, Acrylic gouache on panel, 16 x 16 inches, 40.6 x 40.6 cm. Courtesy of LaMontagne Gallery.
Steve Locke, Homage to the Auction Block #72, 2020, Acrylic gouache on panel, 24 x 24 x 1 1/2 inches, 61 x 61 x 3.8 cm. Courtesy of LaMontagne Gallery.
Steve Locke, Homage to the Auction Block #97-truro, 2021, Acrylic gouache and acrylic on panel, 16 x 16 x 5/8 inches, 40.6 x 40.6 x 1.6 cm. Courtesy of LaMontagne Gallery.
Anna Maria Maiolino, Untitled, from Cobrinhas (Little Snakes) series, 2018, Marble powder and white cement, 17 x 28 x 4 inches, 44 x 70 x 10 cm. © Anna Maria Maiolino. Courtesy the artist and Hauser & Wirth.
Anna Maria Maiolino, Untitled, from the Desenhos Objetos (Drawing Objects) series, 1976/2012, Thread on paper in wooden box, 22 x 22 x 3 7/8 inches, 55.9 x 55.9 x 9.8 cm. © Anna Maria Maiolino. Courtesy the artist and Hauser & Wirth.
Donald Moffett, Lot 033020 (the gusher), 2020, Oil, cotton, aluminum, rabbit skin glue, poly vinyl acetate on linen, 30 3/8 x 24 1/8 inches, 77.2 x 61.3 cm. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Donald Moffett. Photo credit: Joseph Parra.
Ronny Quevedo, cuerpo y alma, 2021, Gold leaf, wax, gold leaf and pattern paper on paper, 100 x 22 inches, 48.3 x 238.8 cm. Courtesy of the artist.
Ronny Quevedo, inti-killa, 2021, Metal leaf on carbon paper, 26 1/4 x 18 inches, 66.7 x 45.7 cm. Courtesy of the artist.
Zilia Sánchez, Concepto I, 2000 / 2019, Bronze, paint, 24 x 5 x 6.6 inches, 61 x 12.7 x 16.8 cm. Courtesy Zilia Sánchez and Galerie Lelong & Co., New York.
Diane Simpson, Kabuto, 1991, Aluminum, stain and acrylic on MDF, steel tacks, silk cord, 43 x 21 x 11 inches, 109.2 x 53.3 x 27.9 cm. Courtesy of the artist, JTT, New York, Corbett vs. Dempsey, Chicago, and Herald St, London.
Dyani White Hawk, All That Glitters, 2014, Acrylic, gold leaf, and antique ledger paper on canvas, 42 x 42 inches, 106.7 x 106.7 cm. Collection of L.A. Walker, Courtesy of the artist and Bockley Gallery, Minneapolis, MN.
Zarina, Untitled, 2017, Collage with strips of Indian handmade paper stained with Sumi ink on Arches Cover buff paper, 30 x 8 3/4 inches, 76.2 x 22.2 cm. © Zarina; Courtesy of the artist and Luhring Augustine, New York. Photo: Farzad Owrang.
Zarina, Untitled, 2017, Collage with crushed Indian handmade paper stained with Sumi ink and 22-karat gold leaf mounted on Arches Cover buff paper, 13 x 13 inches, 33 x 33 cm. © Zarina; Courtesy of the artist and Luhring Augustine, New York. Photo: Farzad Owrang.
NEW YORK, NY - MILES McENERY GALLERY is pleased to announce Annotations & Improvisations, a group exhibition curated by New York-based curator Kristen Becker. This exhibition opens on 9 December 2021 at 525 West 22nd Street and will remain on view through 29 January 2022.
Annotations & Improvisations features a cross section of mid-career and established artists who each employ the language of abstraction to present more expansive histories that encompass multiple cultures, aesthetic traditions, craft practices, science, religion, ritual, and nature. The works offer exuberance in color, joy in the graphic, exhilaration in the cosmic, and visceral satisfaction in the tactile, while highlighting the complexities around issues of authorship and origin.
Many of the artists featured, such as Biggers, Cole, Quevedo, Simpson, White Hawk, and Zarina, use charged source materials like quilts, textiles, handmade paper, sewing patterns, ledger paper, and clothing, repurposing ephemera related to personal and cultural histories by threading, weaving, and burning them into their work. Other artists, like Hammond, Hassinger, and Moffett, pile, stretch, and zip more traditional art materials—canvas, fabric, oil, and rabbit skin glue—treating them like skins and inviting physical and psychological associations. This grounding in the body and its vulnerabilities lead to Locke and Sánchez, who consider the choreographed politics inherent in architecture and negative space, while Gatson and Maiolino take us to another dimension altogether by gently leading us out into the cosmos.
Though the exhibition is loaded with iconographic references and connections, the goal is not to define or fix each object to a specific origin story but rather to embrace contradictions and destabilize the search for linear interpretation, steering away from the reductive Western lens that so often leads to erasure. Each artist has built their own distinct and complex narrative, resulting in a cumulative tension that rewards close looking. By following the artists’ generous lead in imparting and sharing these continually unfolding stories, we can come to a greater appreciation of their personal narrative and leave with a more nuanced approach to our own.