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.

Watching and Waiting: Enrique Martínez Celaya Selected Sculpture 2005–2023 is on view 31 March – 5 June at the Museo Marino Marini.

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.

Oakland-based abstract artist David Huffman takes us on a trip down memory lane, thoughtfully mapping out how basketball hoops, new wave science fiction, “Free Huey Newton” flags, progressive soul, and pyramids coalesce into the language of his work today.

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.

David Huffman and Jason Middlebrook are featured in Hoop Dreams: Basketball and Contemporary Art, on view at the Everson Museum of Art in Syracuse, New York. 

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

Alongside works from the 1990s, this exhibition at Kunsthaus Baselland shows Pia Fries' most recent works for the first time in Switzerland. The exhibition is curated by Ines Goldbach and on view through 9 July 2023. 

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.

SFMOMA tours the studio of David Huffman.

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. 

Jacob 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. 

David Huffman is included in "Both Teams Played Hard," on view as part of Open Ended: Painting and Sculpture, 1900 to Now, at the San Francisco Museum of Modern Art.

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

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.

Inka Essenhigh's Green Goddess II (2010) included in promised gift to the Speed Art Museum

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

David Huffman is included in A Point Stretched: Views on Time at the San Jose Museum of Art.

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.

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

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.

David Huffman's solo exhibition, Terra Incognita, at the Museum of the African Diaspora is reviewed in the September issue of Artforum.

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

Jason Middlebrook is included in the exhibition Forest Through the Trees at Laumeier Sculpture Park.

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.

David Huffman's solo exhibition Terra Incognita is featured in The Mercury News. 

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

Artist Spotlight: Danny Ferrell

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.

David Huffman's 'Akhet 1' is featured in The New York Times.

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

Glen Helfand on David Huffman's Terra Incognita in Squarecylinder

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.

The Fire of Heaven: Enrique Martínez Celaya and Robinson Jeffers is on view at the Monterey Museum of Art through 9 October.

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.

David Huffman is featured in the group exhibition Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, on view at the Bakersfield Museum of Art.

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 Julian E.J. Sorapuru

David Huffman's exhibition Terra Incognita, on view at the Museum of the African Diaspora, is featured in The San Francisco Standard.

The Baer Faxt sits down with Cuban painter Enrique Martinez Celaya at UTA Artist Space in Los Angeles to paint a portrait of his own practice.

By Ayla Angelos

David Huffman's solo exhibition "Terra Incognita" is on view through 18 September 2022 at the Museum of the African Diaspora in San Francisco, CA.

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

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

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

With four L.A. shows, Enrique Martínez Celaya displays the breadth of his artistic range

Emily Eveleth’s doughnuts: Paintings good enough to eat

Enrique Martínez Celaya puts his mark on the Los Angeles map

Enrique Martínez Celaya's solo exhibition "The Rose Garden" is on view through 12 March 2022 at UTA Artist Space.

"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." 

Enrique Martínez Celaya's solo exhibition "SEA SKY LAND: towards a map of everything" is on view through 9 April 2022 at the USC Fisher Museum of Art.

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

Kurt Kauper in conversation with Brian Alfred.

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.

David Huffman's work in included in the exhibition Mothership: Voyage Into Afrofuturism at the Oakland Museum of California.

The Things of Life: Guy Yanai @ Miles McEnery Gallery

On October 21st Guy Yanai opened The Things of Life, his fourth exhibition with Miles McEnery Gallery in New York. Marking an important shift both in his personal life and his artistic practice, this suite of outdoor scenes is continuing onto a body of work presented at his last year's solo show in LA.

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. 

Borderlands, an installation featuring Enrique Martínez Celaya, will be an ongoing exhibition on view at The Huntington Library, Art Museum, and Botanical Gardens.

"The Things of Life," An Exhibition by Guy Yanai at Miles McEnery Gallery, New York 

Born in Israel, trained in New York, inspired by France, artist Guy Yanai resists labels

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.

ARTnews in Brief: Kurt Kauper Is Now Represented by Miles McEnery

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.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Kurt Kauper. 

Kurt Kauper’s figurative paintings have been shown nationally and internationally for more than twenty-five years.

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.

How Berkeley’s Countercultural Movement Shaped Artist David Huffman

Afro Hippie examines Huffman’s time at Berkeley and how it continues to influence him today.

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.

ARTnews in Brief: Miles McEnery Gallery Now Represents Enrique Martínez Celaya

Miles McEnery Gallery in New York now represents Los Angeles–based artist Enrique Martínez Celaya, who will have his first solo exhibition at the gallery in fall 2022.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce representation of Enrique Martínez Celaya. 

Enrique Martínez Celaya is a widely celebrated artist, author, and former scientist, who has been actively working for three decades. His multifaceted body of work connects art to literature and poetry, philosophy, and science, all of which are incorporated into his paintings, sculptures, and installations.

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.

Different but the Same: Guy Yanai’s Multicultural Art

The Israeli artist’s multiple identities merge into a singular style that produces seemingly flat and simple paintings yet evoke serenity and comfort.  

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.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce its representation of Danny Ferrell.

Danny Ferrell’s portraits are visions of intimate daydreams representing the artist’s friends and peers. Colorful, gregarious, and with a deep appreciation for beauty, the artist is “humbled by the ineffable cosmic hand that imbues our world with magic.” This is manifested in the artist’s alluring muses, abundant in life and color.

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.

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). 

The Tel Aviv-based artist Guy Yanai has been painting scenes from movies during the pandemic, and has chosen five of his favourites here

If Guy Yanai was a member of the Hollywood Foreign Press Association, he would have trouble picking the Best Motion Picture nominees for the Golden Globes. None of his choices would be from 2020, or Hollywood. That said, the contemporary painter is constantly nominating films to canvas, converting vintage footage into his characteristic linear brushstrokes and palette of emerald green, azure, and deep rose pink.

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."

Miles McEnery Gallery is pleased to announce Peter Luke Colon is joining the gallery as Managing Director beginning in February 2021. Colon will be based in the gallery’s newly expanded third Chelsea location at 511 West 22nd Street.

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."

Photorealism: An interview with Rod Penner

"Rod Penner (b. 1965), originally from Canada but now based in Texas, is a photorealist painter who specialises in depicting scenes of small town America—the buildings often abandoned and showing the ravages of time—in and around his adopted home state. Author, and leading proponent of photo-realism, Louis K. Meisel, has described Penner as being ''...one of the top two or three artists in the world...'' [1] in terms of his ability to create images that demonstrate a near photographic likeness; the technique and level of skill demonstrated far surpassing that of the first generation of artists from the US who sought to portray quotidian aspects of 20th century American life with increasing levels of objectivity on a two-dimensional surface during the late 1960s and into the 70s.

I’ve long been an admirer of Penner’s work and thought I’d pose a series of questions to him about his development as a painter, the technical challenges encountered when creating his pictures, and his views on and the current state of photorealism. He kindly accepted this offer and I am thankful to him for his time and for being my first interviewee in this series of conversations with leading realist artists."

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."

Join the Moss Arts Center on Thursday, 17 September at 6p.m. as artist Jason Middlebrook takes us through the creative process behind Another World. Moderated by Margo Crutchfield, Curator at Large. Approximately 45 minutes. Pre-registration required, moderated Q&A.

"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."

17 Contemporary Artists Reimagining the Still Life

"The things we own—the clothes we wear, the objects on our tables, the furniture in our homes—tell stories about who we are, what we value, and where we come from. Artists who make still lifes create suggestive worlds, placing clues about their lives and their often invented, absent characters into their compositions.

The 17 contemporary artists below explore the material world through abstract painting, performance, craft, and digital media. As they capture objects ranging from bodega sandwiches to artist monographs, they document what it’s like to live, consume, and simply make art today."

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.

We are pleased to congratulate our friends at Vielmetter Los Angeles on their 20th Year Anniversary. 

"Vielmetter Los Angeles is pleased to present a group exhibition on their 20th Year Anniversary. 

Featuring works by Laura Aguilar, Nick Aguayo, Edgar Arceneaux, Math Bass, Whitney Bedford, Andrea Bowers, Sarah Cain, Patty Chang, Kim Dingle, Sean Duffy, Genevieve Gaignard, Liz Glynn, Karl Haendel, Stanya Kahn, Hayv Kahraman, Raffi Kalenderian, Mary Kelly, Dave McKenzie, Rodney McMillian, Shana Lutker, Wangechi Mutu, Ruben Ochoa, Pope.L, Deborah Roberts, Steve Roden, Arlene Shechet, John Sonsini, Amy Sillman, Stephanie Schneider, Monique Van Genderen, Tam Van Tran, Esther Pearl Watson, Patrick Wilson."

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.

Phillip Allen's Astonishing Achievement

"I have come to think of Phillip Allen as one of the most wonderfully challenging painters around."

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." 

Guy Yanai checked into a Club Med in the French Alps, and quickly discovered it was not what he expected. The hotel was an outdated ski lodge without any snow. “It was this horrible vacation,” the fortysomething artist said of his family trip there, a few years back. Still, he wanted to paint the drab resort—maybe so he could get a do-over of his vacation, this time in colorful and glorious surroundings.

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. 

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 and David Huffman. 

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

"...some of the best works of his career."

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.

Christie's features John Sonsini as one of the top 10 American post-war and contemporary artists to have in your collection.

A selection of artists whose burgeoning art-world profiles are matched by their rising markets — featuring works offered in our Post-War to Present auction in New York.

Years ago, when artist John Sonsini began approaching Spanish-speaking day laborers in Los Angeles to ask if he could paint their portraits, he had some communication problems. "My Spanish was so poor," Sonsini admits.

First, he was introducing himself as an artista, a word that many Spanish speakers associate with a singer or dancer. But when he switched to pintor that didn't necessarily clear up the confusion — the men thought this professorial-looking, Italian-American with a salt-and-pepper beard was offering them a job painting houses. 

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.

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.

I think John Sonsini may be the greatest portrait painter in the country.

That’s because his pictures of working-class men capture essential aspects of their individuality while revealing essential things about the world in which we live.

Sonsini’s portraits raise profound questions about identity — race, class, sexuality — while laying bare the cultural, economic and political underpinnings of the ways we see ourselves, especially as those visions take shape in relationship to others: people with different backgrounds, different upbringings, different dreams.

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.

Nino Mier Gallery presents group exhibition "TO PAINT IS TO LOVE AGAIN."

Curated by Olivier Zahm

January 18–28, 2020

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.

Vielmetter Los Angeles is pleased to present the gallery’s first exhibition with Los Angeles based portrait painter John Sonsini. Comprised of full-length figures, bust portraits, and still lifes, the exhibition, Cowboy Stories & New Paintings, centers on the theme of cowboys living in Mid City Los Angeles. Emblematic of Sonsini's 50 yearlong practice, his all-male portraits oscillate between the intimacy of depicting a specific person's likeness and more generally addressing broad issues of gender mythology. In “Francisco”, we see the sitter exchanging his street clothes for the western clothing he's unpacked from a suitcase, thus witnessing the transition from the everyday to the performative.

Markus Linnenbrink’s paintings are described as both performative and extreme. Linnenbrink pours and pools resin with cumulative layers of opaque and translucent pigments, building the dramatic physicality of his objects. Using a medium with short-lived malleability, his early epoxy paintings relied on the interplay between liquidity and gravitational pull; while later surface derivations were devised with mechanical assistance, forming concentric depressions, then incised channels. Linnenbrink’s creative vocabulary was described by David Pagel, art critic for the Los Angeles Times, in an essay, Gestural Abstraction in the Information Age: “Linnenbrink paints himself out of the picture. His paintings fly in the face of the idea that art is all about self-expression… Hands-off detachment, unsentimental experimentation, and quasi-scientific exploration play potent roles in his complex compositions, whose surfaces take painting to extremes, both sculpturally and coloristically.”

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.”

Shulamit Nazarian is pleased to present Strange Little Beast, a solo exhibition of new works by Los Angeles-based painter Annie Lapin. This will be the artist’s first solo exhibition with the gallery.

Annie Lapin’s paintings call attention to the human desire for meaning making–our effort to create order out of chaos. In Strange Little Beast, Lapin’s paintings use her interest in art history, perception, and the materiality of painting itself to examine the role of digital technology and narrative building in our contemporary moment.

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. 

Though his work takes him all over the world, Tel Aviv-based painter Guy Yanai’s graphic style is heavily influenced by the white-walled Bauhaus buildings and distinctive light of his hometown. Yanai tells Culture Trip why he finds the city so inspiring, and why he believes the food scene is the best in the world.
 

Every fall the art season begins—and to mark its beginning, galleries and museums put their best feet forward, starting off the season with exhibitions that showcase their very best. Here we look at works by 7 artists who are season openers this year. See their shows on view, and collect these investment pieces by these talk-of-the-town, blue-chip artists!

Philip Slein Gallery is pleased to present the group exhibition "Stars," featuring works by Alison Hall, Warren Isensee, Douglas Melini, Carl Ostendarp, and Barbara Takenaga.

An opening reception will take place on 13 September from 5-8:00pm. 

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.” 

Philip Martin Gallery is pleased to announce an exhibition of new paintings by Tomory Dodge. There will be a reception for the artist Saturday, September 7 from 6-8pm.

"The light touch is often the strongest gesture of all" - Helen Frankenthaler, 1962

Vielmetter Los Angeles is pleased to present The Light Touch, an exhibition featuring a selection of artists working across numerous modes of abstract painting. The exhibition uses Frankenthaler’s quote as an organizing principle–the artists, though varied in their approaches, share an interest in the play of light and spirit of pleasure through color and gesture.

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.

There have always been multiple entry points for viewers to come to terms with John Sonsini’s bravura portraits of single or multiple male subjects, most of whom are Mexican day laborers, and “the age of Trump” has unexpectedly provided us with yet another. We as a people have never in living memory been forced to listen to the occupant of the White House vilify Hispanic migrants and asylum seekers with the excessive slander and bitterness as its current occupant, and for millions of Americans, such rhetorical excess has prompted its own collective soul-searching. 

The Clemente Soto Velez LES gallery is proud to present the exhibition Parameters, curated by Daniel Rosenbaum, June 28 through Aug 2, 2019.

An opening reception, free and open to the public takes place June 28, 2019, 7-10pm.

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.

Curated by Massimiliano Gioni and Natalie Bell in partnership with the New Museum, New York and based on the exhibition The Restless Earth, which was shown at the Triennale in Milan in 2017, this exhibition will present historical and contemporary works by 75 artists—from the United States as well as Algeria, Bangladesh, Belgium, Brazil, Egypt, Ghana, Iraq, Lebanon, Mexico, Morocco, Syria, Turkey, UK, Vietnam, and more—whose work poses urgent questions around the experiences and perceptions of migration and the current global refugee crisis.

Max Estrella is pleased to present Markus Linnenbrink’s (Dortmund, 1961) most recent work under the title WHOLEWIDEWORLDWONDERFUL. This is his third exhibition at the gallery, and serves to reinforce his interest in the use of color as a code to build a narrative. Pieces from Linnenbrink’s three series, that is, Drips, Drills, and Cuts, are part of this proposal for Madrid’s audience.

KOTARO NUKAGA is pleased to present FIXED CONTAINED, a group exhibition of seven international contemporary artists: Brian Alfred, Firelei Báez, Inka Essenhigh, Nir Hod, Tony Matelli, Tomokazu Matsuyama, and Carlos Rolón.  This exhibition is guest curated by Matsuyama, and will be on view from April 20, 2019 through June 29, 2019

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."

The Moss Art Center is pleased to present the group exhibition "Arboreal," featuring artists:

Jason Middlebrook, Elizabeth Bradford, Diane Cook and Len Jenshel, Ori Gersht, Sam Krisch, Rosemary Laing, Tom Nakashima, Roxy Paine, Quayola, Linda Foard Roberts, Eric Serritella, Claire Sherman, Michele Sons, and Yuken Teruya

24 January - 23 March 2019

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.”
 

FLATLAND is thrilled to announce its new group exhibition: YUMMY YUMMY. It deals with various forms of the appeal of art in its contemporary context, taking the deliciousness of its term as a starting point for an examination of current ideas of seduction and gluttony. Curator Josephine van Schendel, recently graduated cum laude from KABK, has selected works by 8 international artists, comprised of Flatland Gallery’s represented artists and guest artists.

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. 

Federico Luger Galery is pleased to present:

"SELFPORTRAITAS" by Franklin Evans

22 November 2018 – 17 January 2019

A public reception for the artist will be held Thursday 22 November, 6:30 – 9:00 PM

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.

A few years back, Evan Maurer visited James Hayward at his farm in Moorpark, California, for a barbeque.

Maurer, a curious sort who was the Minneapolis Institute of Art’s director and president from 1988-2005 and a long-time friend of the artist, entered Hayward’s studio to check out some of his art – including a series Hayward had painted depicting the Stations of the Cross. The 14 pieces have never been shown in public.

Maurer told Hayward he had the perfect place to show them – Saint John’s University.

Berggruen Gallery is pleased to present:

Isca Greenfield-Sanders: INHERITED LANDSCAPE

18 OCTOBER - 21 NOVEMBER 2018

An opening reception will be held on Thursday 18 October, 5 – 7pm

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.

Praz-Delavallade Los Angeles is pleased to announce:  “I Dream My Painting and Then I Paint My Dream” the inaugural group exhibition for Praz-Delavallade and 1301PE’s annex project space, UNIT 5. 

“I dream my painting and then I paint my dream”, an ethos uttered by the late Van Gogh, famously articulates a process of grappling with the medium of painting to function as a conduit for larger concepts beyond the domain of reality. A dreamscape abstracts the ordinary to a world of possibilities, one where everyday banalities lose their index; unhinged from their clichés to the extraordinary world of the unfamiliar.

Group Exhibition: Matthew Brandt, Heather Cook, Alexander Kroll, Dan Levenson, Nathan Mabry, Amanda Ross-Ho, Joe Reihsen, Jim Shaw, Marnie Weber, Brian Wills, Guy Yanai

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

Long Beach Museum of Art Board of Trustees & Executive Director, Ronald C. Nelson are pleased to present:

John Sonsini | Daywork: Portraits

12 October 2018 – 6 January 2019

An opening reception will be held on Friday 12 October, 7:00 - 9:00pm 

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

The Johannes Vogt Gallery is pleased to present:

THE BARN SHOW 2018

July 7 – July 29, 2018
Opening Reception: Saturday July 7, 2018, 6 – 8pm
 

Abstract Room at Université de Strasbourg is pleased to present: 

Abstraction & Architecture

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

Praz-Delavallade Los Angeles is pleased to present:

AS YOU LIKE IT – C’EST COMME VOUS VOULEZ

28 June – 18 August, 2018
​Opening: Thursday, 28 June, 6 – 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.

New York—Wood slabs, branches and roots are the canvases for Hudson Valley artist Jason Middlebrook, whose works overlay nature’s geometries with his own. Those include Eleven Ways to Get Your Groove On, an acrylic painting on a cross section of maple, an upcoming commission for a courthouse in Mobile, Alabama, and a series of graphic planks coming to New York’s Miles McEnery Gallery.

Galerie Derouillon is proud to present our new summer group show 

Opening May 17th, from 5 to 9 pm

 

Fredric Snitzer Gallery is pleased to present Cut Figure, by Iva Gueorguieva. The artist’s second solo exhibition at the gallery features works ranging from paintings on stretched canvas to relief sculptures made with steel, wood, cardboard and muslin. Gueorguieva views them as spatial constructions related to the work of Lucio Fontana and Thornton Dial, in a lineage including Russian Constructivism, American Assemblage and Dada.

Next to Nothing presents a group exhibition that revisits early Modern figurative painting and Symbolist poetry through the recent work of 12 contemporary artists. The artists in the exhibition inflect Modernist forms with contemporary perspectives on intimate subjects including: the poetics of domestic architecture, the pertinence of ancient myth, and the solipsism of art history.

Susanne Vielmetter Los Angeles Projects is pleased to announce an exhibition of new work by gallery artist Yunhee Min, titled Wilde Paintings. Named for the first body of work made in her new studio located on Wilde Street in downtown Los Angeles, Min was reminded of the literary reference to Oscar Wilde who wrote in a letter that, “Art is useless because its aim is simply to create a mood.” Like the impact of “room sound” on audio recordings, room light and the feeling of a room can make dramatic impressions on an artist’s experience in the studio. The quality and abundance of diffused light from the sun in Min’s new studio has affected how she considers her work. There is an increased concern with the paintings’ presence and character, and with setting a mood. 

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. 

Among the statesmen and presidents at the National Portrait Gallery in Washington, D.C., there's now a sandwich maker, a seamstress, and a grape picker.

"American portraiture has been about the elite, where the wealthy subject was able to hire an artist," said Dorothy Moss, co-curator of the exhibition "The Sweat of Their Face: Portraying American Workers."

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.

This exhibition reexamines the important contemporary art movement that found its roots in the late 1960s in California and New York and continues today known as Photorealism. Aligned with Pop Art, Photorealism features ordinary elements of contemporary life such as vehicles, buildings, streets, and consumer products in an objective, often clinical, manner. Artists Richard Estes, Audrey Flack, and Ralph Goings use photography as a tool to help them reproduce the image as realistically as possible on canvas. 

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).

This exhibition reexamines the important contemporary art movement that found its roots in the late 1960s in California and New York and continues today known as Photorealism. Aligned with Pop Art, Photorealism features ordinary elements of contemporary life such as vehicles, buildings, streets, and consumer products in an objective, often clinical, manner. Artists Richard Estes, Audrey Flack, and Ralph Goings use photography as a tool to help them reproduce the image as realistically as possible on canvas. 

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.

Sophia Contemporary is pleased to announce Portal, the first two-person show of American artists Iva Gueorguieva and Dona Nelson. Gueorguieva and Nelson come from two successive generations of artists whose work is at the forefront of contemporary abstraction in the United States. Through painting and sculpture, both artists grapple with the history of painting, redefining abstraction and challenging the material and conceptual boundaries of their media. The exhibition initiates an intergenerational visual dialogue through fifteen works including Iva Gueorguieva’s vibrant acrylic and collage works and Dona Nelson’s signature double-sided freestanding paintings. Portal will open to the public with a talk by both artists from 6-7PM on Thursday, March 15, 2018 followed by a private view from 7-9PM. The exhibition will remain on view through May 3, 2018.

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.

Aiming to introduce the New York audience to a more experimental and younger facet of its program, Luciana Brito – NY Project is pleased to announce the opening of its third exhibition, Reflector, taking place on March 6, 2018, amidst the busy Armory Week. This group show establishes a dialog between three young São Paulo artists represented by the gallery – Pedro Caetano (b. 1979), Rafael Carneiro (b. 1985), and Tiago Tebet (b. 1986) – and a selection of artists from the same generation who are based in New York City: Gustavo Prado (b. 1981, Brazil), Nicole Wittenberg (b. 1979, USA), Guy Yanai (b. 1977, Israel), and G.T. Pellizzi (b. 1978, Mexico).

The exhibition features paintings – a language in which light plays an essential role – as well as sculptural investigations and installations that use optical and luminous elements, like mirrors and light bulbs. This shared characteristic inspires the title of the show and establishes a common thread between practices as distinct as those of Rafael Carneiro and Gustavo Prado, for example. Furthermore, by creating a dialog between artists who live and work in either São Paulo and New York, the gallery aims to propose a mirroring of sorts between the cities that are home to its two headquarters, promoting encounters between the artistic production from two locations that are far apart from one another, both geographically and culturally.

After a successful solo exhibition with Praz-Delavallade in Los Angeles at the end of 2017, and participation at a couple of art fairs earlier this year, Guy Yanai will be opening his first solo show of 2018 at Conrads Galerie. Continuing his long-time collaboration with the Düsseldorf-based gallery, and pursuing his overall prolific output, he will be showing a new body of work titled Boy On An Island.

Sparked around the artist's dream about a boy stuck on an island, this group of paintings see a revision to some of Yanai's most recognizable motifs, such as plants and boats, as well as the introduction of new imagery. Sadly, the title image of the show was never realized, but it was that idea that intuitively pushed the artist to chose the remaining images for the exhibition. Seemingly incoherent in their relations with each other, they are all images to which the artist can relate strongly on a personal level. Whether depicting the poolside of La Colombe d’Or hotel, a plant picture from an old Vitra catalog, an autumn image from Peanuts comics, or one of many images of boats, they are all portraying the nostalgia towards particular moments in his life. Painted using unique linear brush work, a style that flattens the image but still uses subtle tones to depict depth and light-play, these works intrigued us to the point we had to ask the Tel Aviv-based artist to tell us a bit more about it.

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.

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.)

Correspondence between “M” and “Q” from the National Intelligence Archives on Declassification Day.

M:  It appears that, in recent years, Davis Cone has considerably advanced the genre of Photorealist painting.

Q: Indeed, Cone has achieved a greater sense of depth in the works he’s been producing over the past ten years. He doesn’t emphasize the inherent flatness of photographs, as other Photorealists have done.

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.

Susanne Vielmetter Los Angeles Projects is pleased to announce the gallery’s eighth solo exhibition of new work by Patrick Wilson.

Patrick Wilson’s intensely colorful canvases are populated by hard-edged, quadrilateral planes in varying opacities, layered and cantilevered in carefully finessed compositions. His new works reflect an increasingly energetic complexity that Lilly Wei has described in a recent essay as “breathtaking and nuanced, the juxtapositions [between colors] often quirky and unpredictable.” 

(Los Angeles, CA) - DENK gallery is pleased to announce Shift, a painting exhibition featuring new works by Los Angeles-based artists Karen Carson, Kim Dingle, Iva Gueorguieva, and Elisa Johns. Each of these four painters is unique in her simultaneous exploration of both abstract and representational genres. This show will present new and recent pieces by each of the four painters, focusing on the often ambiguous transitions in their works and practices from the referential to the abstract.

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.

John Sonsini's painting Christian & Francisco is now on view at the Autry Museum of the American West in Los Angeles, CA. 

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.

The Sweat of Their Face” combines art and social history with representations of American laborers across genres and centuries of art. Artists such as Winslow Homer, Dorothea Lange, Elizabeth Catlett and Lewis Hine depict laborers throughout the changing landscape of America; from child and slave laborers to miners, railway and steel workers, to the modern gradual disappearance of the worker. Approximately 75 objects in all media (including video) highlight a point of connection between the artists and their predominately anonymous subjects.

La galleria Maurizio Caldirola arte contemporanea è lieta di presentare la prima mostra personale italiana di Markus Linnenbrink, artista tedesco residente a Brooklyn, New York.

Il lavoro di Markus si contraddistingue per la sperimentazione di un nuovo processoo creativo legato all’astrazione. Astrazione derivata da un paziente processo sico, metodico, legato alla strati cazione di particolari colori resinosi. Nella serie “Drip” l’artista è costretto ad una paziente attesa che consente al colore, libero, di de uire verso il basso tramite preziosi telai lignei e il risultato che ne deriva è una sottile campitura e strati cazione di tante linee culminanti, al termine, in gocce (drip).

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.

For the past thirty-two years Emily Mason has collaborated with five master printers to create works of a singular chromatic intensity, distinguishing and defining her prints as unique. Each printer offers individual direction which Mason modifies or personalizes to further stretch the boundaries of her gestures and color vocabulary. The exhibit represents several different printmaking techniques. What is common to all is that they start with one image on the first plate and end with a cohesive intense exchange between what we see and what lies beneath. Color, shape, and improvisational gesture are printed upon one another until the image is resolved in its final pass through the press. She embraces unique states, giving each work its own space. Imperfections are welcomed. If a tinge of red-orange reveals itself in the registration we read it not as a flaw, but as a brightly colored wink from Mason herself.

Mitchell•Giddings Fine Arts is pleased to offer a survey of Emily Mason’s prints from 1985 – 2016. This gallery-wide exhibit explores Mason’s adventurous approach to contemporary printmaking. Her monoprints, monotypes and solarplate prints epitomize her spontaneous and daring use of color and form. 

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".

Wilding Cran Gallery is pleased to present Really?, a group exhibition curated by Beth Rudin DeWoody featuring works in various media by both well-known and emerging artists who work in the field of contemporary realism to visually or conceptually challenge the viewer.

I have always been fascinated with photo-realistic drawings and paintings, and trompe l'oeil sculptures—from artists such as Bronzino and Jean-Étienne Liotard, to the Flemish painters and today's contemporary artists. The ability to create art that reflects reality in this way is a skill I admire so much, especially when the artist goes beyond the merely technical to incorporate more conceptual themes and their unique style of art-making. -Beth Rudin DeWoody

Praz-Delavallade Los Angeles is pleased to present its first solo exhibition by Guy Yanai, opening on November 4 and on view through December 22, 2017. Yanai’s practice is fueled by fables, stories and hymns—each painting a reflection of the pragmatic side of our life. In his isolated moments one may find a smiling child, a big splash, lonely banana, bristling cactus, modernist lamp, a singing bird or a tiny boat gliding on placid waters below a clear sky. These individual vignettes bleed into one another and could continue forever, suspended in time. Many of Yanai’s subjects are intentionally recognizable and commonplace, rendered into a pixelated appearance.

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.   

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.

A touring exhibition curated by Michael Petry and Roberto Ekholm.

The exhibition is based on Michael Petry's book Nature Morte: Contemporary Artists Reinvigorate the Still Life published by Thames & Hudson.

Travelling artists: Peter Abrahams, Sue Arrowsmith, Annie Attridge, Aziz + Cucher, Conrad Bakker, Barnaby Barford, Berthold Bell, Per Christian Brown, Mat Collishaw, Marcus Cope, Michael Craig-Martin, John Dugdale, Roberto Ekholm, Saara Ekström, Nancy Fouts, Nick Fox, Anya Gallaccio, Ana Genovés, Ori Gersht, Rigoberto A. Gonzalez, Cynthia Greig, Martin Gustavsson, Jefferson Hayman, Paul Hazelton, Todd Hebert, Renata Hegyi, Bill Jacobson, Alexander James, Peter Jones, Edward Kay, Rob Kesseler, Alana Lake, Janne Malmros, Carol Marin-Pache,Livia Marin, Caroline McCarthy, Damien Meade, John Mitchell, Polly Morgan, Dermot O'Brien, Gabriel Orozco, Bruno Pacheco, Guillaume Paris, Michael Petry, Marc Quinn, Eric Rhein, Miho Sato, Rebecca Scott, Andro Semeiko, Jane Simpson, Jim Skull, Matt Smith, Rob Smith, Jennifer Steinkamp, Richard Stone, Yuken Teruya, Maciej Urbanek, Mathew Weir, James White, Kraig Wilson, Cindy Wright

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.

Size Matters: Big and Small Works from the FIA Collection features objects of both gigantic and diminutive size. Throughout history, artists have often utilized the element of size (or scale) when determining the context of their work. The objects in this exhibition date from the late 18th century to the 21st century.

by Catherine Hong

When Guy Yanai was 7 years old, he and his family moved from Haifa, Israel, to Framingham, Massachusetts, in the suburbs of Boston. The shock of dislocation he experienced is one he’s never forgotten, with the family’s split-level house at the center of his memories. But what did that house really look like? Thirty-three years later, the artist turned to Google Street View.

The painting Yanai produced, Fox Hill Road (2017), was a central image of his solo show at New York’s Ameringer | McEnery | Yohe gallery this past summer. Simultaneously melancholy, mundane, and joyful, it has the woozy, strangely flattened perspective familiar to anyone who’s shopped for real estate using Google technology. It also has the dreamlike quality that comes with the recollection of a long-distant childhood home.

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.

by Cassie Davies

Guy Yanai’s solo exhibition at Ameringer McEnery Yohe in New York takes its title from an unwritten book by the Russian-born American novelist Vladimir Nabokov. When Nabokov moved to Europe in 1961, to live at the Montreux Palace hotel in Switzerland, he planned to write a sequel to his celebrated autobiography Speak, Memory. It was to be called Speak, America. The book, however, was never written, and Nabokov died in 1977 leaving behind the “shell” of an unwritten, autobiographical sequel.

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.

Featuring: Adrian Esparza, Joachim Grommek, Markus Linnenbrink, Jonathan Parsons, Jan van der Ploeg, Markus Weggenmann, Beat Zoderer

Thomas Taubert and Fred Mann are delighted to present a group show exploring the contemporary nature of abstraction. The two galleries have observed each other’s programs over the years and now seek to place works by their artists alongside each other.

The impetus for the exhibition is a comparison between two artists with a very different practice. Jonathan Parsons and Markus Linnenbrink. Parsons at his last show at New Art Projects explored color by expanding the palette of color theory and creating a series of works that questioned it. Linnenbrink often uses a photographic base to his works and then imposes color on top or creates a flawless surface, which he then drills into to reveal layers of contrasting color poured beneath.

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.

Opening reception: Saturday 12 August, 6-8pm

http://www.baileygallery.com/exhibitions/upcoming

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 Jill Singer

Much has been made of the fact that the young Israeli artist Guy Yanai uses painting — an ancient, laborious technique — as his medium, even as he embraces the digital and new media norms of today (even going so far as to reference pixelation in his technique, with short, deliberate bands of color). But I can’t imagine his work would be as indelible as it is in any other medium: It’s stuck with me since I first encountered it in 2014, and his style — which mixes the aesthetics of a transcontinental childhood spent in Haifa, Israel and suburban Boston, with a dash of Hockney — is instantly recognizable. A new exhibition of works on view at Ameringer McEnery Yohe in New York until August 18 deepens his body of work, meditating on experience, memory, and language in a series of 13 new paintings.

Guy Yanai in dialogue with Steven Cox

Steven Cox: Can you tell me a little about yourself, your background, and how/when you first started working full-time as an artist?

Guy Yanai: I was born in Haifa. Then moved to the states in 1984, outside of Boston. I was always into art. It took many years before all I did was this.

SC: Can you tell me about your current studio and working routine? Do you have any morning rituals or habits that contribute towards a productive day within the studio?

GY: I moved to a ground floor studio about a year and a half ago. I fully redid the space, put in good lighting, a kitchen, strong AC units, everything I could. Before that I was in the same building but on the third floor with no elevator (big shipping traumas), no bathroom, no sink, and no kitchen, so it’s very nice to have the studio I have now. I walk to the studio, usually get coffee on the way, maybe granola. I make good coffee now in the studio as well.  The thing that really contributes to good productive days is just to really have a studio practice. The more I'm there the better every day gets.

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.

Artists included: Thomas Joshua Cooper, Rackstraw Downes, Lee Friedlander, Sarah McEneaney, Rod Penner, Frank Reaugh, Peter Saul, John Tweddle, and William Wegman

Artists included: Avni Arbas - Babi Badalov - Raphaël Barontini - Neil Beloufa - Aylin Bozbiciu - Nejat Devrim - Max Ernst - Ayse Erkmen - Bedri Rahmi Eyüboglu - Daniel Firman - Atilla & Filiz Özgüven Galatali - Leylâ Gediz - Douglas Gordon- Selma Gürbüz - Linder- Eva Nielsen - Jill Magid - Marcel Mariën - Thomas Mailaender - Hubert Marot - Ahmet Ögüt - Alex Palenski - Elsa Sahal - Apolonia Sokol - Georges Tony Stoll - Ali Emir Tapan - Marion Verboom - Guy Yanai

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.

by Gary Brewer

Iva Gueorguieva tells stories, or better stories are told through her. Her ‘memory body’ filters the myriad narratives that she observes and that saturate her consciousness. Iva has an acute memory, collecting observations from the books she reads and the world at large; random bits of information, a persons face, their expression, their posture, the room in which she saw them, fragments of life’s living theater, collected like colorful pieces of fabric. Then in an improvisational approach she unfurls these memories and ideas onto her vast canvases weaving them together to inform the meta narratives which emerge in the spontaneous approach she takes in creating her large scale ‘abstractions’. “I do not paint images, the paintings are improvisational, I bring everything from my life experience and knowledge to the work. I set up limitations to create within, it is a way to frame the work, to guide it into an area of interest, a subject emerges within these constraints.”

From Lens to Eye to Hand reexamines this important movement in contemporary art that found its roots in the late 1960s in California and New York and continues today. Photorealism reintroduced what many considered to be straightforward representation into an art world more attuned to the burgeoning conceptual framework of artistic practice coming out of Pop and into Minimalism, Land Art, and Performance Art. Often misunderstood and sometimes negatively criticized as being overtly tradition-al, these artists were, and are, trailblazers.

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. 

Exhibiting Artists Derrick Adams, Sanford Biggers, Caroline Wells Chandler, Adam Frezza/Terri Chiao, Brad Kahlhamer, Jon Kessler, LoVid, Jason Middlebrook, Rebecca Morgan, Carlos Rolón/Dzine, and the CMA Permanent Collection

Children’s Museum of the Arts is pleased to announce Maker, Maker, a group exhibition curated by Paul Laster and Renée Riccardo that explores the recent explosion of D.I.Y. Maker culture and the expanding relationship between fine art and craft.

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."

Sophia Contemporary is proud to present Shifting Landscapes, a group show of contemporary American artists exploring abstraction through painting, photography and sculpture. Featuring six artists - Afruz Amighi, Iva Gueorguieva, Herman Mejia, Amir Nikravan, Holton Rower and Hannah Whitaker - the exhibition reflects on the evolving nature of American art. Casting a light on the diversity of contemporary approaches to abstraction, the works explore the artists’ impact on the landscape of art and American culture, across generations and disciplines.

Through a variety of points of view and artistic practices, Shifting Landscapes provides a window into contemporary abstraction in America today. Issues of contemporaneity, materiality and historic legacy in a post-modern world unite the artists exhibited despite their differing artistic strategies, points of references and media of predilection. On a broader cultural level, the exhibition examines the multicultural nature of America at a time of division and isolation within the country. Many of the artists in the show live and work in the US, but were born in other countries including Iran, Bulgaria and Venezuela. By reinterpreting American abstraction through the prism of their own varied cultural backgrounds and artistic heritage, the artists urgently reaffirm the diversity and openness in American culture, at a pivotal point in the nation’s history.

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.”

by Paul Laster

With two major art fairs taking place at the same time (April 6–9) on two different continents what’s an art lover to do? You either rack up some more airline miles, cash in your frequent flyer award points or do what we like to do—view Whitehot’s curated selection from each of the fairs online and then imagine that you can take home whatever your heart—and eye—desires.

The Dallas Art Fair returns to the Fashion Industry Gallery for its ninth edition with a formidable list of exhibitors—including Gagosian Gallery, Simon Lee Gallery and Skarstedt Gallery, Shane Campbell Gallery, and Lehman Maupin, which are all new to the fair this year. With more than 90 galleries from 16 countries, this year’s show looks like it could be its best.

Amongst our favorite artworks being exhibited here are Marc Dennis’ realistic still-life painting of luscious flowers at Dallas’ Cris Worley Fine Arts, Francis Upritchard’s gesturing bronze figure at London‘s Kate MacGarry, Jason Middlebrook’s geometric abstraction on an elm plank at New York‘s Ameringer McEnery Yohe, Luis Gispert’s abstraction made by embedding gold chains in a field of black stones at Palma de Mallorca’s Lundgren Gallery, and Klara Kristalova’s ceramic sculpture of animals in a tub at Lehmann Maupin, with galleries in New York and Hong Kong.

Christopher Grimes Gallery is pleased to announce a solo exhibition of new works by Kevin Appel. Appel’s new series of paintings begin as primary arrangements: cut-out paper forms referencing the portholes of Jean Prouvé’s Maison Tropicale are combined with Appel’s own photographs of fragments of his previous works, landscapes, and images of Paolo Soleri’s Arcosanti. These forms are constructed into soft, sculptural collages on the studio wall that are photographed at close range and then printed onto canvas. Multiple layers of geometric and gestural marks are silkscreened and hand painted over these flattened images creating a rhythm within the painting while obfuscating the original subject matter. Appel’s paintings are prismatic collages, an investigation of new and old imagery engaged in a recursive conversation where images and forms are pulled from one canvas and used in another, their intersection hinting at a controlled collapse of utopian ideals.

Par Lisa Vignoli

LES BON TITRES ONT PLUSIEURS VIES. L'amour des commencements, texte du psychanalyste français Jean-Bertrand Pontalis (1924-2013) datant de 1986, par exemple, renaît ces jours-ci—en anglais—dans une galerie parisienne avec l'exposition « Love of beginnings ». L'artiste israélien Guy Yanai a découvert cet ouvrage il y a une dizaine d'années. Depuuis, il a lu tout Pontalis, ou presque. Le plasticien affiche d'ailleurs, au fil de ses œuvres, une passion française, qui transparaît dans l'exposition. « Ça flirte avec l'obsession, sourit-il, mais pas seulement. Il y a sans doute quleuqe chose de l'ordre de la frustration, de la jalousie. Je ne serai jamais un Européen. Pourtant, tout ce qui m'intéresse du point de vue esthétique, intellectuel ou artistique vient de là. »

David Allan Peters : Sheathes

Film by Eric Minh Swenson

by Andie Cusick

The Love of Beginnings book was actually given to me by a shrink that I was talking to years ago, like maybe over ten years ago,” says Israeli artist Guy Yanai, whose latest exhibition of the same title was influenced by JB Pontalis’ autobiography.

It was strange to get a book from her, and even stranger that the book had tons of highlights and notes all around it. As if I could see and hear her reading it. I remember reading it so slowly,” he adds. “What struck me the most (and resonated) was the non-linear fashion of the autobiography—these sort of black holes that appeared between periods of his life. I think that there a few of these black holes between the three paintings of this show. Maybe this show is the beginnings that remain between each of the works, maybe not.”

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. 

On Saturday 25 February, the Kunsthal Rotterdam is opening the exhibition ‘Hyperrealism - 50 Years of Painting’, a unique overview of photorealistic painting. Three generations of American and European artists illustrate the history of this fascinating, figurative art movement. With this retrospective, which includes 70 works by more than 30 artists, the Kunsthal is bringing an unparalleled collection of hyperrealistic masterpieces to the Netherlands.

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.

On view in the GAR Gallery

Opening Reception: Saturday 4 March, 6 to 9pm

Featured artists: Mequitta Ahuja, Angela Dufresne, Hannah Rose Dumes, Dana Frankfort, Iva Gueorguieva, Kelly Klaasmeyer, Melinda Laszczynski, Tiffany Livingston, Dona Nelson, Gael Stack, Kelli Vance, Hilary Wilder

Galerie Derouillon is pleased to present the second solo exhibition of the painter Guy Yanai in Paris.

Opening reception: Thursday 16 March, from 6 to 9pm.

Beginnings have a personal resonance for Yanai. He has spent his life starting over, moving between continents and across countries--new friends, new home--finally coming full circle and settling where his journey first began, in Israel, the land of the displaced. But even there he remains a foreigner, ensconced in his studio on a shady street in south Tel Aviv, rootless and moveable as the potted plants he often likes to paint. Far from disorienting, this outsider’s gaze is the perfect position for a painter who loves to look.

Love of Beginnings is Yanai’s second solo exhibition at Galerie Derouillon. At the centre of the show are three oil paintings, arranged in no particular order or sequence. Club Med Serre Chevalier (2017) depicts a resort in France, based on photographs taken by tourists and posted to Tripadvisor. Kitchen (2016/17) is a view of the artist’s apartment in Tel Aviv. The Piano Lesson (2017) is Yanai’s transcription of Matisse’s painting of the same title from exactly 100 years ago.

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.”

by Lilly Lampe

There is perhaps no genre in painting today more unassuming than the floral still life. Even at the height of Western genre painting, which reached its apogee in Northern Europe in the 16th and 17th centuries, the still life was considered to be the lowest within the hierarchy of painting, far behind history painting, landscape, and portraiture. Though the modernists played with vases and flowers, distorting them into Cubist near-abstractions, or incorporating collage in ways that were revolutionary at the time, still life innovation may have peaked in that era. But perhaps, in the current arena of painting, the very act of still life painting can be transgressive, a flagrant rejection of other popular tropes. As such, the gusto of More at Mrs. Gallery in Maspeth, Queens — a two-person show featuring paintings by Sarah Bedford and Tracy Miller — is at once daring and sweet, both a refreshing revitalization of the still life as subject matter, and a cheery antidote to the doldrums of so many other painting trends.

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. 

Julio Larraz, extraordinary draftsman, painter and sculptor, is the quintessential embodiment of the post-World War II Latin American artist.  Unmasking the angst of humanity, he sets out a new reality and politically conscious self-identity for existence in the modern world. His contribution to Western art, like that of the “boom” generation of Latin American writers, is a new kind of portraiture, which co-opts the conventions of the genre and transforms them into multilevel sociological and historical allegories.

Opening Night Reception: Friday 20 January, 5pm to 7pm

Lecture: "Julio Larraz: Painting in Time and Space" Carol Damian, Ph.D. Friday 10 February, 5pm to 6:30pm

Museum of Art - DeLand 600 N. Woodland Boulevard DeLand, FL 32720

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 Janet Batet

Julio Larraz (Havana, 1944) is known for a distinctive, almost metaphysical approach to painting and composition. On the occasion of Made in USA, his recent exhibition at Miami’s Ascaso Gallery, Janet Batet pondered the enigmatic, inviting character of Larraz’s vision and his art.

Todd Hebert is a graduate of the University of North Dakota (BFA) and The Rhode Island School of Design (MFA).  His work has been featured in public museums and private galleries nationwide, including The Contemporary Art Center of New Orleans, Pepperdine University, The Riverside Art Museum and the Carpenter Center at Harvard University.  A recent survey exhibition of Hebert’s work was mounted at the North Dakota Museum of Art and his work is included in numerous public collections including the Los Angeles County Museum, The Museum of Contemporary Art, San Diego, The Museum of Fine Arts, Houston, and The Frederick R. Weisman Collection.

Opening: Friday 11 November, 6 to 8pm

Artist's talk: Saturday 12 November, 12pm

Brightly colored stripes multiply in rhythmic repetitions across the surface of a painting by Gene Davis. Remarkably original when they first appeared in the 1960s, these paintings became the signature expression for one of the leading Color Field painters. With no more than a rectangular canvas and multicolor stripes, Davis created a richly varied body of work that looks as fresh today as it did when it first was shown. The large size of most of his canvases from the 1960s requires a viewer to consider the relationships and rhythms over time, more like a musical composition than the dynamic, colorful, pop art images that emerged at the same time.

We are pleased to announce that two paintings by Rod Penner are featured in the exhibition FOTOREALISMUS: 50 Jahre hyperrealistische Malerei (PHOTOREALISM: 50 Years of Hyperrealistic Painting), at Osthaus Museum Hagen in Hagen, Germany.

The exhibition Creation in Form and Color: Hans Hofmann is a collaborative project by the Berkeley Art Museum, the Pacific Film Archive at the University of California (BAMPFA), and the Kunsthalle Bielefeld. It is based on a precise selection of approximately 60 paintings, watercolors, and drawings that span the artist’s entire career from the 1920s to the early 1960s. The show includes works on loan from the Berkeley Art Museum, as well as from prominent American and European museums and private collections. One of the exhibit’s particular goals is to examine Hans Hofmann before the backdrop of his European tradition in his role as an important artist and teacher of 20th century American modernism. Additionally, the show weighs his exploration of his experiences and influences in his chosen homeland of America, while simultaneously emphasizing his theories and work, which made him an especially significant artistic mediator between the continents. Despite his fundamental importance to the development of modern art in America—where prominent exhibitions were devoted to him during his lifetime—Hofmann remains less well known in Germany and Europe as a member of the Modernist avant-garde.

Sunday 6 November, 4 PM

195 Chrystie Street, New York, NY 10002

Please join 11R for a conversation between artists Douglas Melini and Brian Alfred with curator Daniel S. Palmer, on the occasion of Melini's current exhibition at the gallery, You Have To Peer Into The Sky To See The Stars.

by Cate McQuaid

We know painter Wolf Kahn for radiant colors and landscapes that are more about formal and tonal relationships than they are about place. But in the 1960s, Kahn dwelt in the shadows. His paintings from that period make up the last exhibition at modernist gallery ACME Fine Art, closing its doors after 15 years. Owners Jim Bennette and David Cowan will continue their art-consulting business.

Markus Linnenbrink to install a 7 x 90 foot epoxy resin painting in the Concourse Lobby of 75 Rockefeller Plaza in New York, New York in early 2017.

Iva Gueorguieva in conversation with Dona Nelson at Ameringer | McEnery | Yohe

We are pleased to announce that a work by John Sonsini—Byron & Ramiro, 2008, Acrylic on canvas—is presently installed in Human Interest: Portraits from the Whitney's Collection, on view at the Whitney Museum of American Art through 12 February 2017.

As a Hollywood special effects artist, Patrick Lee has worked on such films as "Armageddon" and "Day Before Tomorrow."

But perhaps his greatest illusion is when Lee picks up a graphite pencil and draws a face.

You can see Lee's mind-blowing photo-realistic portraits in the "Deadly Friends" exhibit now up at the Huntington Museum of Art as the internationally known and shown L.A.-based Lee is the Walter Gropius Master Artist in October.

The fortysomething Montana-born, and Minneapolis College of Art & Design educated artist speaks about his work during a free public presentation at 7 p.m. Thursday, Oct. 13.

Lee will stay up on the hill this weekend to present a three-day workshop at HMA titled "Drawing Realism" from 9 a.m. to 4 p.m. Friday through Sunday, Oct. 14-16. Visit www.hmoa.org or call 304-529-2701 for workshop fee information or to register.

An exhibit of work by Lee continues on view at the Huntington Museum of Art through Dec. 30.

Stark Naked: Uncovering Bodies, Objects, and the Futility of Desire Curated by Robert Moeller Pop-up exhibit showing 37 artists in 6 curated spaces

With curated spaces by: J.R. Uretsky Franklin Evans Lillian P.H. Kology Sam Toabe Gabriel Sosa

EDDYSROOM is pleased to announce the opening of its eleventh show: Room With A View. Room With A View is a group show of landscape/nature-themed works. We are excited to include the works of Erik Parker, Hein Koh, Shara Hughes, Cody Hudson, Kevin McNamee-Tweed, Hilary Baldwin, and Brian Alfred in the exhibition.

Isca is our seventh subject in a new SLICE Special Guest Series which introduces our readers to extraordinary, creative people ⎯ wherever we may find them.

Isca Greenfield-Sanders is an artist based in New York City. Her large scale mixed media oil paintings are found in the public collections of the Solomon R. Guggenheim Museum; Brooklyn Museum; Museum of Fine Arts (Houston); Victoria and Albert Museum (London); and Fine Arts Museum of San Francisco. Isca’s solo exhibitions include Haunch of Venison, New York and London; John Berggruen Gallery, San Francisco; Galerie Klüser, Munich; and Baldwin Gallery, Aspen. Her upcoming solo show will be at Ameringer Mcenery Yohe, New York in 2017. Isca has been featured in a wide range of publications, including Artsy, Art in Print, Modern Painters, Huffington Post, Artnet Magazine, ARTnews, Vanity Fair, The New Yorker, ARTFORUM, and Time Out New York. She graduated from Brown University with a double major in fine arts and mathematics. In 2001 Isca was a visiting artist at the American Academy in Rome. When she’s not working, you can find her with her husband, the painter Sebastian Blanck, and their two sons. Isca lives and works in New York City’s East Village.

Hans Hofmann’s famous phrase “push and pull” is most often associated with his signature works of the 1950s and 1960s, in which bold color planes emerge from and recede into energetic surfaces of intersecting and overlapping shapes. The ideas and impulses behind this enduring term, however, took shape decades earlier, in his teachings, writings, and in his own paintings. In the late 1930s, in a series of widely attended lectures in Greenwich Village, Hofmann demonstrated how to “push a plane in the surface or to pull it from the surface” to create pictorial space. “We must create pictorial space,” he declared to audiences of avid young artists and critics, including Arshile Gorky, Clement Greenberg, and Harold Rosenberg. Hofmann would later refine his definition of push and pull as “expanding and contracting forces...the picture plane reacts automatically in the opposite direction to the stimulus received; thus action continues as long as it receives stimulus in the creative process. Push answers with pull and pull with push.”

readingroomincolor” – a site-specific installation by Franklin Evans

American artist Franklin Evans will present a site-specific installation at CROSSROADS. His work is influenced by the architecture of the space, inspiring the form and space that he, in turn, will present to the viewer to engage with. Evans, who trained as a painter, is interested in materiality and incorporating paintings into an environment. His immersive works are built from amassed art supplies and materials found in his studio space—including artists’ tape adhered to the walls, floor and ceiling, bubble wrap, old newsprint, un-stretched canvases and press releases from gallery exhibitions.

The breakthrough success of Lawrence van Hagen’s What’s Up, held in London earlier this year, underlined for its young curator the need for more global surveys of emerging and established contemporary artists.

What’s Up 2.0, the second of Lawrence’s ambitious series of shows, opens a week before Frieze Art Fair. With the kind support of House of the Nobleman, Susanne van Hagen, and Amazon property, What’s Up 2.0 will exhibit its dynamic range of artists to collectors from the capital, as well as art aficionados from all over the world.

I had a great conversation with American figurative artist Bo Bartlett. Bo’s paintings have a deep emotional and spiritual impact. He’s been painting for the last 40 years and it shows. Bo is highly revered and his work is collected around the world in private collections and museums.  This is a long conversation and as we got deeper into it Bo talked about his experience of life and death and the underlying philosophy of his work and life.

Rachel Beach, Lisa Beck, Nuno De Campos, Stacy Fisher, Rob Fischer, Sophia Flood, Halsey Hathaway, Andrew Prayzner, Oliver Jones, Matthias Neumann, Carolyn Salas, David Schafer, Greg Simsic, Richard Tinkler, Austin Thomas

Curated by Björn Meyer-Ebrecht

Opening Reception: Thursday, 29 September 2016, 7 - 10pm

Open during Bushwick Open Studios 2016: Saturday / Sunday, 1 - 2 October 2016, 12 - 7pm and by appointment

Björn Meyer-Ebrecht's Studio 1182 Flushing Avenue, 2nd floor, Brooklyn, NY 1123

by Leah Ollman

Amy Bennett makes paintings that call little attention to the elaborate process of their creation, but what may seem like conventional landscapes come with a back story that gives us far more to absorb and ponder than what’s visible on the wall.

For "Small Changes Every Day," her recent series at Richard Heller Gallery in Santa Monica, Bennett started with an 8-by-8-foot hunk of plastic foam and built a model of an undisturbed patch of verdant terrain. She painted a portrait of the land as seen from above, a handsome Eden dotted with ponds and etched with streams.

Three currents merge and reconfigure in Julio Larraz’s work—as do the waters of rivers, clouds, and ice he often paints—and these are: still-life turned into theater, theater seizing the moment in rebellion against plot, and character defying its persona. The three currents together articulate this great artist’s enduring primary concern: the representation of mystery escaping resolution to become the hedonist’s enigma, an inexhaustible, celebratory insistence on the imagination’s life in the luminous moment.

WORKSHOP: 9am to 4pm, 14 Oct. – 16 Oct. 2016 PUBLIC PRESENTATION: Thursday, 13 Oct. 2016, 7pm EXHIBITION: 24 Sep. – 30 Dec. 2016

Drawing Realism"

During this workshop, Patrick Lee will share the specific techniques he uses to achieve a photorealistic look in the portraits he creates. He will teach other artists who are looking to accurately capture an individual or an object how to use pencil (graphite). Lee will explain his process, from approaching individuals on the street and photographing them to editing images and choosing what will hopefully be a compelling composition. In addition he will tell the stories behind his drawings in the gallery and help participants focus on how to pick subjects to draw. Drawings will be based on photographs the participants provide and will take shape over the three days of the workshop.

by Danielle Tcholakian

SOHO — Vesuvio Playground will double as an art gallery for the month of October, featuring a mural project by downtown-based artist Isca Greenfield-Sanders — and the help of more than 200 local kids.

The installation, entitled "Playground Parachutes," includes four large-scale murals that Greenfield-Sanders gridded into 72 square tiles printed in four basic colors: blue, pink, yellow and black.

Teaching artists at the Children's Music of the Arts (CMA) in Hudson Square took the tiles and helped more than 200 children fill them in with colored pencils, before returning them to Greenfield-Sanders so she could reassemble into four parachute images.

Amy Bennett's current exhibition at Richard Heller Gallery, entitled "Small Changes Every Day," is her first solo exhibition in four years. Featuring all new works, Bennett's dreamlike scenes depict a miniaturized world playing at reality.

Bennett designs and paints from miniature 3D models, allowing her total creative control of the scenes she imagines. She is able to manipulate composition, light, and vantage point, often in an attempt to simulate the inadequacies of memory, dreams, and the imagination.

ACME Fine Art is proud to announce the gallery’s Fall exhibition: WOLF KAHN: EARLY WORK.  The exhibition will focus on a single decade of Kahn’s early career, the 1960s. This was an important decade in which Kahn’s work garnered the critical acclaim that helped establish his trajectory towards becoming one of America’s favorite contemporary landscape painters. The exhibition will feature fifteen works—fourteen oil paintings and one pastel—that demonstrate Kahn’s artistic arc during this pivotal decade. Many of the canvases have not been exhibited since the year that they were created. The show will open on Friday, 30 September, and run through 26 November, with an opening reception held Friday, 7 October from 6:00 to 8:00 in the evening.

by Juliet Helmke

If not for rapidly rising Brooklyn rents, Amy Bennett’s last series of paintings might never have come to fruition. “Space- and money-wise, my husband and I felt pushed out,” the artist, who earned her MFA at the New York Academy of Art in 2002, explains. Hunting for a new place to call home, the painter found herself spending hours “just image-searching specific towns and looking down at them in Google maps.” By the time the couple and their young son decided on Cold Spring, in Upstate New York, she “had the impulse to build my own town.” But for Bennett, that meant doing so at 1:500 scale, or what she calls “Monopoly size.”

Green Below 14 and SmartSpaces present Isca Greenfield-Sanders’ Playground Parachutes, in partnership with the Children’s Museum of the Arts (“CMA”) and NYC Parks, opening at 10:30 a.m. on October 1, 2016 at Vesuvio Playground in SoHo (corner of Spring and Thompson Streets).

The New York-based artist Isca Greenfield-Sanders transforms old slides by scanning and gridding them, and then applying multiple layers of watercolor, colored pencil, or oil paint. The resulting painting blends photographic and painted elements to reimagine scenes of beach vacations or Nantucket outings. With fuzzy figures and muddled blues, her painted imagery evokes a nostalgic air that tugs at the viewer’s memory and perception. Balance Point will be Greenfield-Sanders first solo show at Reynolds Gallery in Richmond, Virginia.

On the same block where Bo Bartlett’s first solo exhibition in New York opened 35 years ago, Ameringer | McEnery | Yohe is giving audiences a sneak peek into the much anticipated Bo Bartlett Center, set to open in Columbus, Georgia next fall. Journals, preparatory drawings, and palettes piled high with miniature cliffs of oil paint are just a glimpse of what Bartlett has donated to his center. The mid-career retrospective also features his latest work, along with his cache of props and ephemera, many of which are dutifully rendered in the works themselves. These freshly executed pieces hold fast to Bartlett’s endearing style of Realism with a curious twist. He proudly carries on the American lineage of Winslow Homer, Thomas Eakins, and Norman Rockwell, but there is an oddity about his works that creates psychological pause within the viewer, and sets him apart from the Realist tradition. In response, the term Magic Realism is being revived.

By Peter Plagens

What’s a realist painter to do? The skill of rendering on a flat canvas convincing portrayals of three-dimensional space containing objects and human figures is fairly common, especially in an age when photographic and digital aids are not only readily available, but—at least since the advent of Photorealist painting in the 1960s—immune from accusations of “cheating.” The problem for the hard-core figurative painter is how to stand out from the herd—how to give the viewer something more than the feeling of, “Wow, that looks so real.”

Bo Bartlett at Ameringer | McEnery | Yohe by John Thornton

Yunhee Min in conversation with Thierry de Duve at Ameringer | McEnery | Yohe

In 1934, a year after Hitler’s accession to power, the exiled German painter established his Hans Hofmann School of Fine Arts, on Fifty-seventh Street. It went on to become the clearinghouse of the first internationally successful generation of American painters. In the five succulent early works here, painted in Provincetown and predating Hofmann’s more familiar paintings of solid blocks of color, you can see him infusing his European inheritance (specifically, the jarring non-local color of Fauvism) with American verve. A studio interior, from 1936, has the bright blues and violets of Matisse, but the orange pigment of a chest of drawers bleeds past its contours, onto the wall and the floor, prefiguring a combustible abstraction of 1944, whose uncontainable splatters offered a new model of creation.

Guy Yanai to be featured in group show, THE TIES THAT BIND, at David Achenbach Projects outside of Düsseldorf, Germany.

Artists list: Georg Baselitz, Sam Francis, Gotthard Graubner, Daniel Heidkamp, Alex Katz, Rosy Keyser, A.R. Penck, Jon Pilkington, Kasper Sonne, Chris Succo, Norbert Tadeusz, Anke Weyer, Guy Yanai

Opening: Hans Hofmann at Ameringer | McEnery | Yohe

In a season dominated by group shows, here's a nice solo show of Hans Hofmann's work. Hofmann, the German-born and later New York-based artist, is best known for his abastract paintings that feature layered geometrical forms against non-figurative backgrounds. Having been one of Harold Rosenberg's favorites, he quickly achieved fame and went on to inspire many more. This show should be a nice, light survery of a big-name artist at a time when many other galleries have turned over their spaces to lesser-known artists.

Ameringer | McEnery | Yohe, 525 West 22nd Street, 6-8 p.m.

By Nina Azzarello

artist markus linnenbrink has installed a vibrant 40,000 square foot mural across the façade of miami‘s soon-to-be completed SLS brickell hotel and residences. best known for his signature ‘drip painting’ technique, linnenbrink has enlivened downtown’s monochromatic urban area with a colossal, chromatic landscape. commissioned by jorge m. pérez with the goal of giving the district a burst of color, the installation wraps the exterior of the architecture and sees vibrant stripes span from ground floor, to the building’s uppermost levels.

The Delaware Art Museum is pleased to present Truth & Vision: 21st Century Realism. On view October 22, 2016 – January 22, 2017, this exhibition surveys the state of representational painting at the beginning of the 21st century and features approximately 40 works by 20 contemporary realist artists from throughout the United States and Canada.

By John Seed

In early 1991, art critic Roberta Smith looked over Bo Bartlett’s painting God—a sweeping image of a black man, poised in front of a sweeping coastal horizon, wrapped in a quilt—and came slightly unglued. In her New York Times review of the exhibition she later wrote of the piece: “As consciousness raising, this is fairly simple-minded. As history painting, it’s idiotic.”

In the same column, Smith also dings Bartlett for his “conservative” artistic style (realism), dismissing his paintings as being “more trendy than timeless.” Smith’s comments, which generated a domino effect of subsequent negative reviews—by Peter Schjeldahl, Michael Kimmelman and others—re-shaped the arc of Bartlett’s career.

New York - Cara Gallery is pleased to present Relevant Notes, a collective exhibition that presents a dialogue between the work of 11 artists to explore the boundaries of disciplines among installation art, land art and architecture. Exhibiting in a wide variety of medias including installation, drawing, photography, painting and sculpture – each created over the past five decades - act as relevant notes to the testimony of the artists’ interpretation of the concept of human intervention. Studying their sustainability in the natural environment, these artists take the location and materials of their work into careful consideration using cultural, political and environmental histories to create art as a catalyst for change.

By John O’Hern

Andrew Wyeth wrote, “Art to me, is seeing. I think you have got to use your eyes, as well as your emotion, and one without the other just doesn’t work. That’s my art.” Writing about Wyeth just after his death, Bo Bartlett called his friend “…a Zen master. He was a contemplative. Regarding the patience it takes to discover a painting, he would sit for hours looking; he said, ‘If you sit long enough, the life will appear.” He has called Wyeth’s ability to see “a lost art. We’re scared of seeing. If we were to see the mystery of what all this is…it’s very overwhelming for our little brain.” He suggests that if we could slow down, and look, “we could, perhaps, if we’re lucky, tap into the great mystery.”  

An exhibition, Omaggio a an Homage, of works by Julio Larraz at Contini Galleria d'Arte in Venice, Italy is on view from 18 June - 23 October 2016.

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 Chuck Williams

A portrait of a federal judge that Columbus artist Bo Bartlett worked on for almost two years was unveiled Thursday night in a Washington courtroom.

Following the success of the 2014 exhibition dedicated to the American hyperrealist sculptor Duane Hanson, the Museum of Ixelles presents PHOTOREALISM. 50 Years of Hyperrealistic Painting. This exhibition highlights the generation of hyperrealist painters after the Second World War. In the aftermath of Pop Art, the hyperrealists portrayed and criticized the American consumer society in a fascinating semi-photographic style.

By Vanessa Borge

MIAMI (CBSMiami) – It’s about a bold burst of color in Brickell!

World famous artist Markus Linnenbrink is working on his largest mural ever in Brickell’s South Miami Avenue.

Presented by the New York Academy of Art, “WATER|BODIES” is co-curated by artist Eric Fischl and Academy President David Kratz. Generously sponsored by Cadogan Tate, “WATER|BODIES” presents paintings, photographs and sculptures by established and emerging artists with connections to both the East End and the New York Academy of Art. Life on the South Fork of Long Island is based on and intrinsically connected to the water, and this show explores water, bodies and the inevitable meeting of the two. The works in this exhibition depict the sea, the shore, the pool, sunbathers and the nude as a lively and expressive genre that interweaves themes of natural beauty and the nature of pleasure.

Over 30 artists are featured in the show, with works from newly minted Academy MFAs hanging alongside pieces by artists such as Ross Bleckner, Patrick Demarchelier, Eric Fischl, Ralph Gibson, Isca Greenfield-Sanders, April Gornik, Michael Halsband, Enoc Perez, and David Salle.

By Bridget Gleeson

Yunhee Min is a master colorist whose signature works—often featuring geometric color blocks in rainbow hues—have graced museums and galleries across the country. Her latest paintings continue that exploration of color, this time for a solo show at Ameringer | McEnery | Yohe, the New York gallery now representing the Korean-born artist.

Min refers to these new paintings as “movements.” Musical terminology is certainly appropriate, since her works are ethereal and fluid, even rhythmic, like variations on a theme.

Movements: Liat Yossifor

Liat Yossifor’s first artist monograph focuses on a series of ever-evolving grey paintings she produced from 2011-2016. Employing a time-based process to create these works, she continuously scrapes, sculpts, and re-works the paint until it hardens on the surface. Of the works here, Yossifor has said, “The grey is so much more for me. The grey is the result of color being consumed, of constant editing. The grey is the result of a thousand paintings that got destroyed in the process of making a single one.” Yossifor was recently profiled by Modern Painters as an artist to watch for 2016 and this year has exhibitions in New York; Frankfurt, Germany; Guadalajara and Chicago. The book includes essays by Karen Lang, Christopher Michno, Stella Rollig and Ed Schad and was designed by award-winning Vienna-based graphic artist Peter Duniecki.

Limited edition.

By Dan Golden

Yunhee Min is an artist based in Los Angeles. She is interested in painting as foremost a studio practice, where hands-on engagement with the material and the activity of making take priority. Although she has explored the cultural, social, and historical dimensions of signification of color in her previous work, she is currently interested in the potentialities of color as pure sensation.

Eric Green’s meticulously detailed drawings replicate life beautifully- but there is something off about them. “When you really begin to understand life, everything changes completely all the time. Nothing is ever the same again,” he says. Working primarily in colored pencil, Green draws images that are meant to change our perceptions by illustrating the subtleties between moments as light changes and objects are mysteriously moved by unseen occupants.

It's not impossible to master space and time, apparently. If you're artist Eric Green, all you need is some graphite and a nice set of colored pencils. Green's stunning Time Diptych and Mirrored Room series, on display at AMERINGER | McENERY | YOHE Gallery through May 21, distort the rooms in his house in a scrupilous interrigation of his own reality.

In cooperation with the University of California Berkeley Art Museum and Pacific Film Archive, Kunsthalle Bielefeld will present the exhibition Creation in Form and Color, dealing with the work of the German-born painter, Hans Hofmann. The exhibition opens at Kunsthalle Bielefeld on 5 Novemer 2016 and remains on view through 26 February 2017. It will travel to the Musee National d'histoire et d'art - Luxembourg and be on view from 28 September 2017 through 14 January 2018. A third venue for the exhibition will be announced. 

Curated by Clemence Duchon & Flavie Loizon

Artists list : Mustafah Abdulaziz, Pierre Ardouvin, Tauba Auerbach, Rana Begum, Mohamed Bourouissa, Kadar Brock, Micky Clément, Petra Collins, Gregory Crewdson, Yanis Dadoum, Sam Durant, Antoine Espinasseau, Matias Faldbakken, Harry Gruyaert, Nils Guadagnin, Ren Hang, Laurent Kronental, Ulrich Lebeuf, Thomas Lélu, Thomas Mailaender, Ari Mar- copoulos, John Miller, Robert Montgomery, François Morellet, Julien Nédélec, Amanda Ross-Ho, Viviane Sassen, Taryn Simon, Tony Stamolis, Thomas Struth, Mika Tajima, Juergen Teller, Ed Templeton, Joep van Lieshout, Thomas Vergne, Adrien Vescovi, Johannes Wohnseifer, Guy Yanai

By Claire Voon

Japan’s major passenger railway company JR East has just launched what officials call “the world’s fastest art experience” with a traveling art gallery aboard one of its bullet trains, or shinkansen. Zipping at speeds up to 200 miles per hour, a train named “Genbi Shinkansen” on the Jōetsu Shinkansen line now holds a group exhibition of contemporary works by six Japanese artists, the Japanese collective Paramodel, and New York-based artist Brian Alfred.

Click on "Read More" to view John Sonsini interviewed on Telemundo 52

Guy Yanai featured in a group show, Bisou Magique, at Galerie Derouillon and curated by Yundler Brondino Verlag, Guy Yanai and Aurore Chauve's publishing house.

By Bridget Gleeson

Compared to solo exhibitions, group shows can seem unfocused—the artists arbitrarily arranged, their works adhering, however loosely, to a central theme. Not so with “Dynamic Pictorial Models,” at 101/Exhibit in Los Angeles. The show, featuring pieces by four artists, was specifically and intentionally planned down to the last detail.

By Dan Piepenbring

Eric Green has a new exhibition at Ameringer | McEnery | Yohe through May 21. Green’s two series, Time Diptych and Mirrored Room, use graphite grisaille layered with colored pencil and varnish to depict the almost imperceptible passage of time in various rooms in his home in Maine. “It is the amalgamation or comparison of the two images that creates the specific emotion, not each individual panel,” he wrote. “Gauging and balancing this convergence is everything.”

Eric Green’s current exhibition at Ameringer | McEnery | Yohe consists of six works all of which are colored pencil drawings on board. The most striking moments occur in the mirrored works: each panel contains two identical renditions of the same space with the upper half (the first drawing) in an upright orientation while the lower part (second drawing) is rotated by 180 degrees to form a mirrored counterpart to the upper half. 

The Spanish-born artist Esteban Vicente, whose career spanned eight decades, seemingly did it all. Arriving in the U.S. in 1936, the artist was part of the first generation of the New York School Abstract Expressionists, held a teaching gig at Black Mountain College, and counted Willem de Kooning as a floor mate at his Tenth Street studio space.

By Patricia Ann Alvares

New York-based Portuguese artist Nuno de Campos created a series of portraits based on short stories and novels originating in Goa. This graphite on paper, titled, ‘Goans,’ currently on exhibit at MOG, represents one or more characters from each story. He recounts his fascinating discoveries to Café. 

A solo exhibition, Fox Hill Road, of recent works by Guy Yanai will open at Rod Barton, Brussels on 19 April and be on view through 28 May 2016.

David Allan Peters’ hallucinogenic paintings have a vibrant quality that is distinctly Californian. Inspired by the natural beauty of his West Coast home, the Cupertino native renders the area’s flora and neon haze into radiant, fractal-like patterns. At first, his midsized paintings on wood panels might appear to be composed of simple brushstrokes, but the reality of Peters’ process is much more complex.

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.  

Inspired by Robert C. Jackson’s 2014 publication, Behind the Easel: The Unique Voices of 20 Contemporary Representational Painters, this exhibition surveys the state of realistic painting at the start of the 21st century. Indicative of this moment are two trends in representational painting–the depiction of the natural world and the creation of fantastic imaginings. Featuring artists from throughout the United States and Canada, including Steven Assael, Bo Bartlett, Debra Bermingham, Margaret Bowland, Paul Fenniak, Scott Fraser, Woody Gwyn, F. Scott Hess, Laurie Hogin, Robert C. Jackson, Alan Magee, Janet Monafo, John Moore, Charles Pfahl, Scott Prior, Stone Roberts, Sandra Mendelsohn Rubin, Daniel Sprick, Will Wilson, and Jerome Witkin, Truth & Vision: 21st Century Realism reveals the contemporary developments in a mode of painting historically tied to the greater Brandywine Valley.

During March and April the George Adams Gallery will present “Differing Views,” a group exhibition featuring the work of five notable realist painters: Rackstraw Downes, Richard Estes, Yvonne Jacquette, Andrew Lenaghan, and Rod Penner. Each artist will be represented by multiple paintings including a new series of tondos by Lenaghan and four pastels by Jacquette.

101/EXHIBIT proudly presents Dynamic Pictorial Models, an exhibition featuring gallery artist Pedro Barbeito in collaboration with artists Lydia Dona, Fabian Marcaccio, and Franklin Evans. The opening will be held from 6-9pm on Saturday, March 12th at 8920 Melrose Ave, located on the corner of North Almont Drive, one block south of Santa Monica Blvd. A full-color catalog with essay entitled “New Models, Strange Tools” by New York-based poet and art critic Raphael Rubinstein will accompany the exhibition.

Guy Yanai to participate in a group exhibition, IMAGINE, at Brand New Gallery in Milan, Italy from 2 March - 2 April 2016.

By Graham McLean

With an ease and precision that comes only from a lifelong dedication to one’s craft, it is no wonder why so many consider Cuban born artist Julio Larraz to be one of the most important Latin American artists working today. Larraz creates monumental works of art that are majestic and refined, but still somehow accessible. His works, though painted naturalistically, are often highly imaginative, and this duality is what draws the viewer in.

Larraz has had an impressive career dating back to the 1960s when he drew political caricatures for the New York Times, The Washington Post, The Chicago Tribune, Vogue Magazine, and other publications. He is the recipient of an award from the American Academy of Arts and Letters and his work can be found in museums, galleries, and private collections all across the globe. I had the great honor of speaking with Larraz about his work and what he thinks his art means.

Rod Penner's paintings to be featured in "Photorealism. 50 Years of Hyperrealistic Painting" at the Kumu Art Museum in Estonia.

By Priscilla Frank

When John Sonsini began painting Latino day laborers in Los Angeles, California, around 2001, his intentions weren't quite political. They were practical. The subjects were available and abundant.

By Paul Laster

Opening: “John Sonsini” at Ameringer | McEnery | Yohe

A Los Angeles-based artist best known for his portraits of Latino day laborers, John Sonsini adds a conceptual twist to his portraiture by paying his subjects their normal hourly working wages to sit as his painting models. Working with rough, lively brushstrokes, the artist renders the faces and figures of men seeking daily employment on the streets of L.A., while also capturing the realistic likeness and realities of immigrants in work clothes and cowboy hats that are burdened with all of their belongings in bags. New to his compelling oeuvre is a group of still lifes, which focus on tender and heart-wrenching details of these men’s difficult lives.

Ameringer | McEnery | Yohe, 525 West 22 Street, New York, 6-8 p.m.

A solo exhibition featuring new paintings and sculptures by Iva Gueorguieva opens 5 February 2016 and is on view through 14 March 2016. The opening reception is 5 February 2016 from 7:30 - 9 pm.

Isca Greenfield-Sanders has with her oil paintings spellbound a large audience in the US. Her paintings in the exhibition All Roads in My Mind depict scenes that most of us are familiar with: a boat trip or a summer day on the beach, and you can almost feel the wind in your hair, touch the sand and feel the warmth of the sun on your skin. Isca Greenfield-Sanders utilizes private photo slides found on eBay and from the chosen photographs she arranges parts and details into her work. The people she portraits are anonymous to her but also to the viewer by the way they are depicted, often from a distance and without any distinct characters. Her use of color and at times abstract fields in her paintings bring to mind painters like Claude Monet, Winslow Homer as well as the Swedish artist Carl Fredrik Hill.

Brian Alfred's City Sunrise, 2004, will be on exhibition in the Denver Art Museum's reinstallation of the Modern & Contemporary galleries. Audacious: Contemporary Artists Speak Out officially opens to the public February 21, 2016 and will be on view through February 2017.

7. Stephen Dean at Ameringer | McEnery | Yohe, through February 6.

Labor intensive doesn't begin to describe the technique New York-based artist Stephen Dean uses to create the large-scale “Crossword" watercolor compositions featured in this exhibition of recent works. Each square of the hundreds of crossword puzzles from newspapers and magazines, mounted on archival Tycore, is tinted with a drop of watercolor, estimated at 100,000 drops per panel. The process of creating these works must be as rigorous and contemplative as the resulting images, which are at once visually arresting and psychically soothing. The fluid color counters the rigid geometric patterns of the crossword sections in each work, instigating a luminous, pulsating surface. The overall feeling must certainly correspond to that of finishing a particularly complex puzzle.

BY IAN EPSTEIN

As Stephen Dean was on his way back to the studio after a quick stop at the Outsider Art Fair last week, Artsy caught up with the artist to hear about his current show at Ameringer | McEnery | Yohe—comprised of a series of huge crossword puzzles, dotted meticulously with color. These works are counterposed to a set of smaller drawings on Chinese calligraphy paper, where glass-head pins punctuate evenly spaced intersections. In his sculptures, videos, and works on paper, Dean often approaches color with a scientific perspective. But what’s clear from our conversation is that the psychological and spiritual histories of color weigh equally in his mind as he works. Using the tools of the laboratory and drawing inspiration from the microscopic to the prehistoric, Dean’s work celebrates the relationship between saturated color, transparency, and light.

In Aikido Dream, his new solo exhibition at MCA Santa Barbara, the Los Angeles–based artist Tam Van Tran slips sideways through the gaps separating painting, drawing, and sculpture, using multiple procedures and unusual materials (chlorophyll and spirulina but also Wite-Out and staples) to create densely layered objects, some of them quite beautiful.

Opening Reception: Wednesday, December 16, 2015 6:30–8:30pm

Equitable Vitrines is pleased to announce a new exhibition by Los Angeles based artist Yunhee Min in its namesake headquarters, two vitrines in the lobby of Koreatown’s Equitable Life Building.

Nuno de Campos to exhibit drawings at the Museum of Goa, India, 12 February - 2 May 2016.

Morphology of Archive, an international exhibition featuring the work of thirty three artists curated by Sabitha TP and Lina Vincent, is conceptualised around connected migrant histories of Goa. Goa’s position as a significant port of trade and travel creates a unique cosmopolitan archive from which the various agents of history emerge. Goa has been an active site of trade and conquest from the 350 years of medieval Kadamba rule to the more recent 450 years under the Portuguese, profoundly shaping its architecture, music, cuisine, customs, and morphing identities. It is this deep cosmopolitanism in the internal and external landscape of Goa that this exhibition reflects. Morphology of Archive is a multimedia artistic engagement with the archive of transoceanic associations with Goa, its memories of other places, other peoples, other visual and tactile cultures that have all gone into the making of its diverse identity.

Guy Yanai to partipate in a duo show with Kaye Donachie at Appartement in Paris, France on view from 15 January - 30 January 2016.

Guy Yanai's solo exhibition, Ordinary Things, at Haifa Museum of Art in Israel on view from 12 December 2015 - 4 May 2016.

In a recent review of Maureen Gallace’s current exhibition at 303 Gallery by Barry Schwabsky, the subject of whether painting a landscape is relevant in today’s era was brought up. Gallace’s landscapes are certainly an example of how a landscape can be far more than just an aesthetic rendering of a natural scene. They present moments in time that exhibit specific natural and subconscious occurrences. In a way, her handling of light and movement of natural elements makes her a contemporary Impressionist painter.

The Cosmopolitan of Las Vegas, in partnership with Art Production Fund, is pleased to announce P3Studio artists-in-residence Kate Gilmore and Franklin Evans. Through their interactive project, “Shelf Life,” Gilmore and Evans will use the activity of shared art making to explore Las Vegas. By juxtaposing the absurd with the logical, the project’s collection of curated and transformed material objects will reflect the principles that underlie the artists’ broader portfolios.

By Amah-Rose Abrams

It has been an exciting year for contemporary art, with a young generation of artists pushing the boundaries both in terms of materials and subject matters. But with so much going on it's easy to miss out. In an effort to capture the moment, we at artnet News have put together a directory of the most exciting artists showing, living, and working in Europe at the moment. Here's Part Two of our list, continuing yesterday's Part One.

Octogenarian painter Wolf Kahn—who was among the second generation of the New York School artists—continues to paint every day. Ameringer | McEnery | Yohe celebrates his recent work with a solo exhibition, featuring the luminous scenes of barns, rivers, meadows, and wooded New England landscapes for which the much-lauded artist is known.