Miles McEnery Gallery

Miles McEnery Gallery is pleased to present an exhibition of new paintings by Kevin Appel, on view from 16 March through 22 April 2023 at 525 West 22nd Street. The exhibition is accompanied by a fully illustrated digital catalogue featuring text by Molly Warnock.

Miles McEnery Gallery is delighted to present New Paintings, Yunhee Min’s second solo exhibition with the gallery, on view from 16 March through 22 April 2023 at 520 West 21st Street. The exhibition is accompanied by a fully illustrated publication featuring an essay by Nick Herman.

Miles McEnery Gallery is delighted to announce an exhibition of new paintings by Nick Aguayo, on view 16 March through 22 April 2023 at 511 West 22nd Street. Accompanying the exhibition is a fully illustrated publication featuring text by Rochelle Steiner.

Miles McEnery Gallery is pleased to present gods on a bridge, Katy Cowan's inaugural solo exhibition at the gallery. The exhibition will open 16 March at 515 West 22nd Street and will remain on view through 22 April. Accompanying the exhibition is a fully illustrated digital catalogue featuring essays by Stephanie Cristello and Stephanie Bailey.

Miles McEnery Gallery is pleased to present an exhibition of paintings by Wolf Kahn (1927-2020), on view 2 February through 11 March 2023 at 525 West 22nd Street. The exhibition is accompanied by an illustrated publication featuring text by Maura Reilly, PhD. Wolf Kahn is a celebrated colorist who uniquely blended representational painting with abstract methods and principles. Over the course of his seven decade career as an artist, he painted landscapes illuminated with sweeping bands of color that possess a captivating rhythm and vibrancy. Kahn embodied a synthesis of artistic traits—the modern abstract training of Hans Hofmann, the palette of Matisse and Bonnard, Rothko’s variegated hues, and the atmospheric qualities of American Impressionism. The fusion of color, spontaneity, and representation has produced a rich and expressive body of work. The paintings in this exhibition survey a pivotal era in Kahn’s career. Dating from the mid-1980s through the 1990s, the artist employed a brilliant color palette to depict the natural world. As Dr. Maura Reilly writes, “Each of the vibrant landscapes from this period is reduced to a series of mostly horizontal or diagonal bands of bright colors, often in stark contrast with one another. Each composition verges on total abstraction. Often, the only indication that the viewer is looking at a landscape is the title of the work.”

Miles McEnery Gallery is delighted to announce an exhibition of ink drawings by Hans Hofmann on view 2 February through 11 March 2023 at 520 West 21st Street. The exhibition is accompanied by an illustrated exhibition catalogue featuring an essay by Claire Frost. Hans Hofmann is traditionally known for creating paintings that navigate the dynamics of color and form, and this exhibition revists a selection of Hans Hofmann’s works on paper completed during his journey from Europe to America, which were originally showcased at the Legion of Honor and the University of California in 1931. The drawings emphasize a reliance on abbreviated linear expressions to create pictorial space, and they register the immediate observations of Hofmann’s experiences in the South of France and the Bay Area. Claire Frost remarks that “Hofmann’s mobility during his time in the West allowed him to experience a landscape that was also in the throes of transformation. Ryder, John Haley, and Erle Loran, all friends and former students of Hofmann’s, had studios in Point Richmond, an area just north of Berkeley that was then a mix of undeveloped shoreline and industry with access to the train tracks that ran along the bay. The mix of buildings and landscape that fill the sketches from California is indicative of the spaces in which Hofmann and his peers at UC Berkeley had an interest, and those spaces have been credited with playing an important role in Hofmann’s own move into abstraction.” The drawings not only document the geographical movement of Hofmann’s travels, but also the flexibility and spontaneity afforded by the medium itself. Claire Frost writes, “The growing looseness of these select sketches from St. Tropez is amplified in his drawings of California landscapes, where one is struck by the fluidity of line and the quickly delineated forms that describe water, hills, buildings, and roads…as if the view might escape his sight if his hand paused too long.”

Miles McEnery Gallery is pleased to announce an exhibition of new paintings by Berlin-based artist Shannon Finley, on view from 2 February through 11 March 2023. The exhibition is accompanied by a fully illustrated publication with an essay by Camila McHugh. Over the decades, Shannon Finley has honed his painting process, successfully intertwining the artistic dichotomy between the traditional and digital. He starts at the computer, rendering an initial idea on the screen before translating it to canvas. He then takes a photograph of the painting and returns to the computer, collaging the image. Continuing in this back-and-forth, he pivots between the screen and canvas until the finished composition reveals itself. Presenting questions surrounding technique and materiality, Finley’s newest body of work transcends any preconceived notions of what painting can be. Seamless interplay between inky hues and fluorescent neons of acrylic creates intangible depth on flat linen. Gleaning acrylic refracts and reflects light from the two-dimensional. Puzzling geometries of interlocking fragments create a tension between the forms. A reflexive need to decipher draws the viewer in, unfolding the realization that each shape acts as a keystone in the visual structure, precariously upholding the symphonic whole. Akin to looking into a kaleidoscope, Finley’s overlapping compositions seem to present themselves differently with each blink, coming into view as the mind processes what it sees. As Camila McHugh succinctly puts, “Shannon Finley’s paintings offer themselves up as sounding boards, ready to bounce off the inflection of connotation, association, and projection inherent in putting abstract painting into language. They can stand on their own. They have processed the artist’s experience of life into an abstract form and can become a site of processing for their viewers, too.”

Miles McEnery Gallery is delighted to present an exhibition of new paintings by Warren Isensee, on view from 2 February through 11 March 2023 at 515 West 22nd Street. The exhibition is accompanied by a fully illustrated catalogue featuring text by Charlotta Kotik. Over his nearly three-decade career, Warren Isensee has captured and honed the line between fluidity and structure. Coming from a family background of craftsmen and evangelists, coupled with his early career experiences of house painting and nuclear technical illustrating, Isensee’s compositional process has always been rooted in, as he states, “classic modernist ideas with a spiritual twist.” At once organic and acutely technical, Isensee’s compositions pulse with the energy and optics of illusionary color. Painted freehand, one is hard-pressed to visually accept the precision he achieves. Filtered through the rigidity of craft and a strict adherence to symmetry, the paintings culminate in free-flowing improvisation with undercurrents of an inherent lyricism. In this newest body of work, rectilinear canvases encapsulate the seemingly exponential expansion of forms while ricocheting vibrations of contrasting palettes are contained within hard-edge boundaries. With titles alluding to sensations of touch, sight, and sound, undulating lines draw one into the endless portals of abstraction. Step back from the painting, and the viewer is engulfed with the vibrant environment that Isensee has created.

Miles McEnery Gallery is delighted to announce an exhibition of recent paintings by Monique van Genderen, on view 8 December 2022 through 28 January 2023 at 511 West 22nd Street. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Dr. Moran Sheleg. Expanding upon the legacy of the women of Abstract Expressionism, Monique van Genderen has created her own unique contemporary language characterized by painterly gesture and dynamic color. Her surfaces teeter between opacity and translucence with her deft use of metallic, luminescent, and pearlescent paints. Moreover, fluid biomorphic forms appear in her “quotation mark” works displayed within this exhibition. Scale, too, plays a large role in her practice, as she has worked across the intersection of painting and installation for over two decades. A playfully rebellious streak runs through the wildly ambitious and deliberate new paintings on view, offering an experience not only of beauty, but also of intrigue. Viewers are invited to have a conversation, engage, and navigate with the paintings themselves in a mind-bending game of reference and recall. As Dr. Moran Sheleg writes, “This is painting as a conceptual illusion, which reaches into our minds through our eyes and thus reverses the age-old adage—echoed by artists from Marcel Duchamp to Gerhard Richter and beyond—that painting is the work of conceit and idiocy. Instead, it reimagines what a painting that has the potential to change one’s perspective as a person, however short-lived or unexpected, might look like.”

Miles McEnery Gallery is delighted to announce an exhibition of recent works by Rico Gatson, “Spectral Visions.” The artist’s second solo exhibition at the gallery will open on 8 December 2022 and remain on view through 28 January 2023 at 515 West 22nd Street. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Siddhartha Mitter. An undeniable energy radiates from Rico Gatson’s new works. Both spiritual and socially constitutive at once, there is, as Gatson says, “a dialogue between things in space. There is a vibration.” Through polyrhythmic geometric patterns and intuitive color decisions, the paintings unlock worlds. Gatson’s varied practice transcends the labels “abstract” or “figurative.” Paintings with triangles and circles are Council Paintings, says the artist, “it’s a group of forms, loosely figurative in my mind.” The concentric circle motif throughout his work recalls targets, tracking a history of violence and resistance. The mirroring elements allude to islands in space, or to keyholes. And the ensemble of Totems, what Gatson calls panel paintings, embrace the patterned social and ritual information communicated through textile traditions, such as kente. Siddhartha Mitter writes, “The variety alone in these works – the patterns that contrast and segment and overlap, the complex bravura coloration – brim with the intuitive confidence of a brilliant and experienced improviser. Gatson’s latest paintings underscore how method – in art as in science – is a gateway rather than a result.”

Miles McEnery Gallery is delighted to announce Flat Earth, an exhibition of recent work by Daniel Rich. The artist’s second solo exhibition at the gallery will open on 8 December 2022 at 525 West 22nd Street and will remain on view through 28 January 2023. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Wells Fray-Smith. Daniel Rich paints angular, geometric architectures of modernist buildings in Midtown Manhattan in this new body of work. His process begins with screenshots from Google Street View and his own photographs, which are scaled up and realized in brightly colored acrylic paint on panel. The scale and perspective of the paintings draw the viewer to a place of tension between the specific and the ubiquitous, the individual and the anonymous, the surveilled and the surveyor. The distortion and cropping of the compositions thrust the viewer into the vantage point of a protestor, demonstrator, or parade marcher on the street. In this unique contemporary moment, when anything could happen next, ordinary street views and buildings toe a tense line between banal and significant. In his newest body of work, Rich expands on his decades-long investigation into the ways architecture bears witness to, reflects, and suggests underlying political narratives. “In referring to the artifice of painting while invoking real-life politics, the Flat Earth paintings operate as clever devices in which life and art map onto one another and become self-referential,” writes Fray-Smith, “Life, like painting, these works suggest, is a series of constructions in which there is no truth. Both are, after all, a matter of perspective.”

Miles McEnery Gallery delighted to announce an exhibition of recent work by Tomory Dodge on view 8 December 2022 through 28 January 2023 at 520 West 21st Street. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Gary Brewer. Tomory Dodge’s latest compositions are radiant and poetic resolutions to a painting’s process of becoming. Known for his iterative and contemplative approach, the artist deeply questions each aesthetic choice to create, scrape away, and rebuild a rich surface. Patchworks of abstract and biomorphic shapes assemble into glowing hues and dynamic patterns that shift across the surface. Through the additive and reductive process, Dodge discovers what painterly forms and gestures lie underneath a universe of possibilities. Soft palettes and geometric fragments embrace personal memories and art historical references, emerging alongside a curiosity for how elements may combine and interact. Energetic color reverberates from within and echoes inspiration from the psychedelic rock posters of his childhood. Dots and zig-zag patterns dance across multiple works, drawn from the artist’s memory of Sunday morning cartoons playing on analog television screens. The artist’s paintings culminate in a search for balance. His brushstrokes navigate between intention and uncertainty, all while testifying to the joy experienced in the process. Brewer expresses the artist’s ethos, writing, “There is layering, and there are areas of thin washes; the transparencies allow one to see the various moments and decisions–the erasures and additions that Dodge made to arrive at a point of completion. All of this is done with a lyrical wit and a love of painting that elevate the effort, giving it both a sense of humor and gravitas.”

Miles McEnery Gallery is delighted to announce an exhibition of recent paintings and works on paper by Fiona Rae. The artist’s inaugural solo exhibition with the gallery will open on 20 October at 511 West 22nd Street and remain on view through 26 November 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Christina Rees and an interview with Iwona Blazwick. Fiona Rae is an internationally regarded British artist whose abstract paintings expand the traditional boundaries of her field. Drawing on inspiration from Abstract Expressionism, Japanese anime, computer games, fashion and typography, Rae’s paintings deploy a wide range of pictorial marks and styles. “Throughout her career, Rae has made paintings that are triumphs of abstraction to illustrate layered and complex truths about our world and our interior lives. Some of these truths are purely physical: how paint strokes resolve, how pigments layer, how line and shape redefine the plane but the second truth in her work is in the lyricism of the relationships between her figures–and they are figures, however conceptual and speculative they may be.” Christina Rees. Rae’s latest series explores the confluence of abstraction and literature. The brushstrokes appear to form letters and words, but there is no simple reading of a text as these marks and shapes simultaneously form an abstract painting with all its ambiguities and all its painterly incidents and concerns. The titles, which are enacted as sentences on the canvas, are derived from both classical and popular culture, from Metaphysical poetry and film, pop music and Shakespeare. Fiona Rae thus challenges any rigid notion of cultural hierarchy whilst the myriad of influences that inform her work underline its profoundly contemporary dimension.

Miles McEnery Gallery is thrilled to announce an exhibition of new paintings by James Siena. The artist’s first solo exhibition at the gallery will open on 20 October at 525 West 22nd Street and remain on view through 26 November 2022. The exhibition is accompanied by a fully illustrated exhibition catalogue featuring an essay by Professor Robert Hobbs. James Siena is celebrated for his inimitable process of creating intricate abstractions that have situated him firmly within the trajectory of contemporary American art. His practice is driven by self-imposed, often cryptic sets of rules that he—and various critics—have termed visual algorithms. Siena preemptively determines his marks and actions and repeats them procedurally as his works result in intensely concentrated, vibrantly colored, freehand compositions. His oeuvre often references diagrams, complex puzzles, labyrinths, and mapping. Siena’s inward meditations actively engage traditions of pattern and mark-making in an ongoing exploration of scale, materiality, and interaction of color. Maneuvering across a diverse range of mediums, including painting, sculpture, drawing, lithography, etching and woodcuts, his work has placed him firmly within the canon of contemporary American art. In the new larger works of the past few years, the process of emergence appears in the form of phased grids, whose cascade effects underpin the logic of the completed paintings. These works, like visual machines, elide conventional abstract strategies, and activate in the mind of the active viewer the ever-shifting nature of perception.

Miles McEnery Gallery is pleased to announce an exhibition of photograms by Liz Nielsen. The artist’s inaugural solo exhibition at the gallery, “Edge of Forever,” will open on 20 October at 520 West 21st Street and remain on view through 26 November 2022. The exhibition is accompanied by a fully illustrated exhibition catalogue featuring an essay by Grace Edquist. Liz Nielsen is a photographer, who works without a camera to create abstract photograms, or light paintings, as she calls them, in the darkroom. Though her light paintings radiate a dreamy, serene aura, they are the result of a meticulous, methodical process of exposing light-sensitive paper to handmade negatives and various light sources that she then processes using traditional photographic chemicals. Her darkroom innovations take on a performative nature, simply reserved for an audience of one. Each photogram is completely unique and ranges in scale from intimate to substantial. Deeply interested in expanding the boundaries of the photographic medium, Nielsen’s vibrant and luminous abstractions transform preconceived notions of traditional photography. Influenced by her philosophical studies, knowledge of the physics of light, and color theory, she uses photography to investigate visual cognition. Nielsen is fascinated by light because it is both tangible and ethereal—it surrounds us, and as she says, “it has the incredible power to shape space, infuse emotions, and transcend time.” Light is quite literally her medium and her work is conceptually about light. Nielsen’s glossy renderings of overlapping shapes in luscious colors present a world of untapped potential and unlimited interpretation. This series consists of new stone arches, landscapes, and still lifes that are neither bound by scale or place and are set in another dimension, as dualities emerge and light comes in and out of being.

Miles McEnery Gallery is pleased to present an exhibition of paintings by Ryan McGinness titled, New Narratives. The artist’s second solo exhibition at the gallery will open on 20 October at 515 West 22nd Street and will remain on view through 26 November. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Hilarie M. Sheets. This new body of work by McGinness represents a change for the artist toward addressing the picture plane as a whole. Rather than individual symbol drawings collaged together to create abstract compositions, figurative pictures now hold together the compositions. Sheets writes in her essay, “In a dramatic shift in the way he pieces together his paintings, McGinness is now using a single drawing as the skeleton or lattice for an entire canvas... In the most personal show of his career, McGinness is using images plucked from his domestic life as a departure point for paintings that he has constructed as singular images rather than a collage of many.” In addition to paintings of his family, McGinness also depicts potted plants, flowers, and figures inspired by stock photography. While representing specific singular situations from afar, the viewer is simultaneously drawn into the narratives to investigate intricate details close up—a signature of McGinness’ previous works. Sheets continues, “In New Narratives, McGinness has taken on the challenges of traditional painting genres—landscape, figure, still life—albeit in a way that remains entirely on-brand for the artist. Perception Management (2020), anchoring one wall in the exhibition, still has a cacophony of individual icons, looping and layered edge to edge.”

Miles McEnery Gallery is thrilled to announce an exhibition of new paintings by David Huffman. “The Awakening,” the artist’s second solo exhibition at the gallery, will open on 8 September at 525 West 22nd Street and remain on view through 15 October 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Lawrence Rinder.

Miles McEnery Gallery is pleased to announce an exhibition of paintings by Alexander Ross. The artist’s inaugural solo exhibition at the gallery will open on 8 September at 520 West 21st Street and remain on view through 15 October 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Philomena Epps.

Miles McEnery Gallery is delighted to announce an exhibition of recent paintings by Elizabeth Magill. The artist’s inaugural solo exhibition with the gallery, “Flag Iris,” will open on 8 September at 511 West 22nd Street and remain on view through 15 October 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Andrew Hunt.

Miles McEnery Gallery is pleased to present an exhibition of recent paintings by Enrique Martínez Celaya, “The Foreigner’s Song.” The artist’s inaugural solo exhibition at the gallery will open on 8 September at 515 West 22nd Street and remain on view through 15 October 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Leah Ollman.

Miles McEnery Gallery is pleased to announce an exhibition of late paintings by Esteban Vicente. The artist’s seventh solo exhibition at the gallery will open on 28 July at 520 West 21st Street and remain on view through 2 September 2022. The exhibition is accompanied by a fully illustrated digital catalogue featuring an essay by Tom McGlynn.

DIANA AL-HADID, BRIAN ALFRED, TRUDY BENSON, INKA ESSENHIGH, ANDREW KUO, GEOFF MCFETRIDGE, LIZ NIELSEN, MARGAUX OGDEN, CARL OSTENDARP, JAMES SIENA, JASON STOPA, and ANNE VIEUX. Miles McEnery Gallery is pleased to announce Why I Make Art, a group exhibition derived from the recent publication by Brooklyn-based artist, Brian Alfred. Gathered from the archives of “Sound & Vision,” a podcast directed by Alfred, the book presents interviews with artists conducted between 2016 and 2020. Both the publication and the exhibition explore the practices and life stories of artists across multiple mediums. The exhibition opens on 28 July 2022 at 511 West 22nd Street and will remain on view through 26 August 2022. “There are certain themes that recur for many of the artists I’ve spoken with in my time. For a lot of them, creativity entered their lives early. It often scratches an itch–boredom, loneliness, a desire to connect or entertain, to find validation or a feeling of worth–that children can have difficulty articulating with words. A lot of the time this instinct to create, visually, materially, is only understood in retrospect. This book is full of written portraits of artists. It’s not about one thing in particular–theory or studio practice or their inspiration. It’s about them as people in the world. An artist myself, I wanted to approach this compendium of portraits as an exploration, rather than a place to make definitive statements about the art being made today. In the moment, when I’m speaking with an artist, the conversations fly by. Going back over the talks has been like watching a complicated movie for a second time; I’ve seen things more fully, with deeper context and richer understanding. It’s also allowed me to slow down, reconsider, and ponder what’s being said. I hope this book does the same for you.” - Brian Alfred

Miles McEnery Gallery is pleased to announce an exhibition of large-scale paintings from the 1970s by Norman Bluhm. The artist’s first solo exhibition at the gallery will open on 28 July at 525 West 22nd Street and remain on view through 1 September 2022. The exhibition is accompanied by a fully illustrated digital catalogue featuring an essay by Zachary Ritter.

MILES McENERY GALLERY is pleased to announce an exhibition of recent paintings by David Allan Peters. The artist’s fifth solo exhibition at the gallery will open on 9 June at 520 West 21st Street and remain on view through 23 July 2022. The exhibition is accompanied by a fully illustrated exhibition catalogue featuring an essay by Adam Milner.

MILES McENERY GALLERY is delighted to announce an exhibition of recent paintings by Isca Greenfield-Sanders. The artist’s third solo exhibition with the gallery, “The Things I Can’t Forget,” will open on 9 June at 511 West 22nd Street and remain on view through 23 July 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by esteemed writer and critic Phyllis Tuchman.

MILES McENERY GALLERY is pleased to announce an exhibition of recent paintings by Heather Gwen Martin. The artist’s second solo exhibition with the gallery, “Verse,” will open on 9 June at 515 West 22nd Street and remain on view through 23 July 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Kara L. Rooney. In conjunction with her gallery show, Martin’s work will also be the subject of a two-person museum exhibition, “The Lyrical Moment: Modern and Contemporary Abstraction by Helen Frankenthaler and Heather Gwen Martin,” curated by Christian Viveros-Fauné, at the University of South Florida’s Contemporary Art Museum, on view June 17–July 30, 2022.

MILES McENERY GALLERY is pleased to announce an exhibition of recent works by Jason Middlebrook. The artist’s second exhibition with the gallery, “Light Lines,” opens on 9 June and will remain on view through 23 July 2022. The exhibition is accompanied by a fully illustrated digital catalogue featuring an essay by Peter Heller.

Miles McEnery Gallery is pleased to announce an exhibition of paintings by Alex Dodge and Tom LaDuke. We Contain Multitudes opens on 28 April and will remain on view through 4 June 2022. This is the inaugural exhibition of Miles McEnery Gallery’s fourth and newest gallery location at 525 West 22nd Street, contributing to a combined Chelsea presence of nearly 26,000 square feet. The fourth gallery is ideally situated a few doors down from the current 511 and 515 locations. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Evan Moffitt.

Miles McEnery Gallery is pleased to announce an exhibition of recent paintings by Annie Lapin. The artist’s second exhibition at the gallery, Bones of Light, will open on 28 April at 520 West 21st Street and remain on view through 4 June 2022. The exhibition is accompanied by a fully illustrated digital catalogue featuring an essay by Mardee Goff and a conversation with Ed Schad.

Miles McEnery Gallery is pleased to announce an exhibition of recent works by Michael Reafsnyder. The artist’s sixth solo exhibition with the gallery will open on 28 April at 511 West 22nd Street and remain on view through 4 June 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Charles Palermo.

Miles McEnery Gallery is delighted to announce an exhibition of recent diptychs by Patrick Wilson. The artist’s fifth solo exhibition with the gallery will open on 28 April at 515 West 22nd Street and remain on view through 4 June 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Dan Cameron.

Miles McEnery Gallery is delighted to announce an exhibition of recent works by Elliott Green. The artist’s inaugural solo exhibition with the gallery will open on 17 March at 525 West 22nd Street and remain on view through 23 April 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Wayne Koestenbaum.

Miles McEnery Gallery is pleased to announce an exhibition of recent paintings by Danny Ferrell. The artist’s inaugural exhibition at the gallery, Castle in the Sky, will open on 17 March at 520 West 21st Street and remain on view through 23 April 2022.

Miles McEnery Gallery is pleased to announce an exhibition of recent works by Brian Alfred. Escape Plan, the artist’s fifth solo exhibition with the gallery, will open on 17 March at 511 West 22nd Street and remain on view through 23 April 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Stephen Westfall.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce an exhibition of recent work by Erin Lawlor. The artist’s second solo exhibition with the gallery will open on 3 February at 525 West 22nd Street and remain on view through 12 March 2022. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Grant Vetter.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of recent paintings by Robert Russell. The artist’s inaugural exhibition at the gallery will open on 3 February at 520 West 21st Street and remain on view through 12 March 2022. The exhibition is accompanied by a fully illustrated digital catalogue featuring an essay by Naomi Lev.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of recent works by Roy Dowell. The artist’s second solo exhibition with the gallery will open on 3 February at 511 West 22nd Street and remain on view through 12 March 2022. The exhibition is accompanied by a fully illustrated publication featuring an essay by Ed Schad.

NEW YORK, NY - MILES McENERY GALLERY is pleased to announce Annotations & Improvisations, a group exhibition curated by New York-based curator Kristen Becker. This exhibition opens on 9 December 2021 at 525 West 22nd Street and will remain on view through 29 January 2022.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to present an exhibition of Hans Hofmann’s Chimbote Mural paintings on view 9 December 2021 through 29 January 2022 at 520 West 21st Street. The exhibition is accompanied by an illustrated catalogue featuring essays by Dr. David Anfam and Alexandra Thorold.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of new works by John Sonsini. The artist’s third solo exhibition at the gallery will open on 9 December at 511 West 22nd Street and remain on view through 29 January 2021. The exhibition is accompanied by a fully illustrated publication featuring an essay by David Pagel.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of recent paintings by Emily Eveleth. Twenty Paintings, the artist’s inaugural exhibition at the gallery will open 21 October at 520 West 21st Street and remain on view through 27 November 2021. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Jackson Arn.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of new paintings by Trudy Benson. WAVES, the artist’s inaugural solo exhibition at the gallery will open on 21 October at 511 West 22nd Street and remain on view through 27 November 2021. The exhibition is accompanied by a fully illustrated publication featuring an essay by Charlotte Jansen.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce an exhibition of paintings by Guy Yanai. The Things of Life, the artist’s fourth solo exhibition with the gallery, will open on 21 October at 525 West 22nd Street and remain on view through 27 November 2021. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Terence Trouillot.

NEW YORK, NEW YORK – MILES McENERY GALLERY is delighted to announce an exhibition of recent work by Tomory Dodge, on view 9 September through 16 October 2021 at 525 West 22nd Street. The exhibition is accompanied by a fully illustrated catalogue featuring an essay by Terry R. Myers.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of recent paintings by Whitney Bedford. The artist’s inaugural exhibition at the gallery will open 9 September at 520 West 21st Street and remain on view through 16 October 2021. The exhibition is accompanied by a fully illustrated publication featuring an essay by Barry Schwabsky.

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of new works by Douglas Melini. Intelligent Life Forms, the artist’s inaugural exhibition at the gallery, will open on 9 September at 511 West 22nd Street and remain on view through 16 October 2021. The exhibition is accompanied by a fully illustrated publication featuring an essay by Sara Roffino.

Miles McEnery Gallery is pleased to present, Home & Away: Selections from Common Practice, a group exhibition organized by John Dennis, Dan Peterson and Carlos Rolón. Artists include Alexandre Arrechea, Holly Bass, Katherine Bernhardt, Dan Colen, Eric Haze, Paula Henderson, David Huffman, Titus Kaphar, Tomokazu Matsuyama, Carlos Rolón, Ashley Teamer, Nari Ward, Wendy White, and Jonas Wood.

New York, NY: Miles McEnery Gallery is pleased to present an exhibition of new paintings by Tom LaDuke. This exhibition is accompanied by a fully illustrated publication featuring an essay by Daniel Spaulding.

New York, NY: Miles McEnery Gallery is pleased to present an exhibition of new paintings by Franklin Evans. "fugitivemisreadings" is accompanied by a fully illustrated publication featuring an essay by Raphael Rubinstein.

NEW YORK – MILES McENERY GALLERY is pleased to announce "YOU AGAIN", a group exhibition of works curated by Franklin Evans."YOU AGAIN" features artists Pedro Barbeito, Jackie Gendel, Elliott Green, Josephine Halvorson, Fabian Marcaccio, Tom McGrath, Tracy Miller, Ann Pibal, and Eric Wolf.

New York, NY: Miles McEnery Gallery is pleased to present an exhibition of new paintings by Bo Bartlett. This exhibition is accompanied by a fully illustrated publication featuring an essay by Matthew Jeffrey Abrams.

New York, NY: Miles McEnery Gallery is pleased to present an exhibition of new paintings by Liat Yossifor. Communicating Vessels” is accompanied by a fully illustrated publication featuring an essay by Susan Power.

New York, NY: Miles McEnery Gallery, Markus Linnenbrink: WEREMEMBEREVERYONE, 1 April – 8 May 2021 Image: Christopher Burke Studio. Courtesy of the artist and Miles McEnery Gallery, New York, NY

New York, NY: Miles McEnery Gallery, Shannon Finley: Cascade, 1 April – 8 May 2021 Image: Christopher Burke Studio. Courtesy of the artist and Miles McEnery Gallery, New York, NY

NEW YORK, NEW YORK – MILES McENERY GALLERY is pleased to announce an exhibition of new paintings and sculpture by Beverly Fishman. I Dream of Sleep will open 10 September at 525 West 22nd Street and remain on view through 10 October 2020. The show is accompanied by a fully illustrated publication featuring an essay by Amy Rahn. Since the early 1980s, Beverly Fishman has developed a distinctive body of hard-edge, dimensional, abstract paintings that are infused with emotion. While her works have been compared to those of Finish Fetish artists like John McCracken and Robert Irwin, as well as those of Peter Halley, she affirms that her practice deviates from a direct dialogue with (implicitly male) hard-edged abstraction. Fishman’s works are instead grounded in a “messier lineage of paintings and sculpture that occupy an interchangeable space between form and feeling - that channel loss and joy, contemplation and analysis along the lines of color.” Shape and color are united with questions of identity. The paintings in I Dream of Sleep are based on the slick, angular packaging of the pharmaceutical industry. They suggest the sleek corporate marketing and the fluorescent language of caution, even emergency. Each one contaminates the spaces of art and pharmaceuticals, speaking of the rage of loss in the language of corporate cure. Instilled with the standardized shapes of mass-produced medications, Fishman’s works deliver what looks like an opaque, machine high-gloss nish that, paradoxically, is meticulously handmade. Fishman appropriates familiar and addictive pill forms, drawing both the philosophies and the physical manifestations of pharmaceuticals into conversation with their intensely felt human repercussions. As an artist who came of age in New York during the AIDS crisis and having cared for multiple ailing family members, Fishman’s life experiences have been marked by the medicalization of the people she has loved. Deeply personal, the selection of works on view are partially motivated by her sister Judy’s passing in December 2018 after a month-long stay at a New Jersey hospital. BEVERLY FISHMAN (b. 1955, Philadelphia, PA) received her Bachelor of Fine Arts degree in 1977 from Philadelphia College of Art and her Master of Fine Arts degree in 1980 from Yale University. Recent solo exhibitions include “I Dream of Sleep,” Miles McEnery Gallery, New York, NY; “Untitled Monotypes,” Louis Buhl & Co., Detroit, MI; “Fantastic Voyage, 1985-1987,” Library Street Collective, Detroit, MI; “Future Perfect,” Kavi Gupta Gallery, Chicago, IL; Ronchini Gallery, London, United Kingdom; “Synthetic Wonderland,” Gavlak Gallery, Palm Beach, FL; Miles McEnery Gallery, New York, NY; “Chemical Sublime,” Kavi Gupta Gallery, Chicago, IL; “T. N. N.,” Kravets Wehby Gallery, New York, NY; “DOSE” (curated by Nick Cave), CUE Art Foundation, New York, NY; “Another Day in Paradise,” Abroms-Engel Institute for the Visual Arts, University of Alabama, Birmingham, AL and “Pain Management,” Library Street Collective, Detroit, MI. Recent group exhibitions include “Shapeshifters: Transformations in Contemporary Art,” Cranbrook Art Museum, Bloomfield Hills, MI; “The Responsive Eye Revisited: Then, Now, and In-Between,” Miles McEnery Gallery, New York, NY; “Shape, Rattle, and Roll,” Eric Firestone Gallery, East Hampton, NY; “Driving Forces: Contemporary Art from the Collection of Ann and Ron Pizzuti,” Columbus Museum of Art, Columbus, OH; “Inaugural Exhibition,” Gavlak Los Angeles, Los Angeles, CA; “Constructed,” Contemporary Art Galleries, University of Connecticut, Storrs, CT; “cart, horse, cart” (curated by Michael Goodson and Anna Stothart), Lehmann Maupin, New York, NY; “Double Edged: Geometric Abstraction Then and Now,” Weatherspoon Art Museum, Greensboro, NC; “Grafik,” Harper’s Books, East Hampton, NY; “Xeriscape - Nina Chanel Abney, Rosson Crow, Beverly Fishman, Tschabalala Self and Wendy White,” Library Street Collective, Detroit, MI; “Front International” (curated by Michelle Grabner), Cleveland Triennial for Contemporary Art, Cleveland, OH and “Public Matter,” Library Street Collective, Detroit, MI. Her work is included in many public collections including Chrysler Museum of Art, Norfolk, VA; Columbus Museum of Art, Columbus, OH; Cranbrook Art Museum, Bloomfield Hills, MI; Detroit Institute of Arts, Detroit, MI; Discovery Museum, Bridgeport, CT; Housatonic Museum of Art, Bridgeport, CT; Kresge Art Museum, East Lansing, MI; Mattatuck Museum, Waterbury, CT; Pérez Art Museum Miami, Miami, FL; Nerman Museum of Contemporary Art, Overland Park, KS; Stamford Museum & Nature Center, Stamford, CT; Toledo Museum of Art, Toledo, OH; and Weatherspoon Art Museum, Greensboro, NC. She is the recipient of many awards including Anonymous Was A Woman Award; Hassam, Speicher, Betts, and Symons Purchase Award, American Academy of Arts and Letters; John Simon Guggenheim Memorial Foundation Fellowship; Louis Comfort Tiffany Foundation Award; Artist Space Exhibition Grant; and NEA Fellowship Grant, among others. Beverly Fishman lives and works in Detroit, MI.

NEW YORK, NEW YORK – MILES MCENERY GALLERY is pleased to announce an exhibition of new paintings by Daniel Rich. Back to the Future will open on 10 September at 520 West 21st Street and remain on view until 10 October 2020. Back to the Future is accompanied by a fully illustrated publication featuring essays by Emily McDermott and Ara H. Merjian. Daniel Rich’s reticulated cityscapes and slick façades appear at first glance to be quite literally superficial. Whether it is a geometric exterior pressed close to the picture plane or a cluster of multiple structures glimpsed from a distance, we experience architecture in his painting as a wholly exteriorized phenomenon— looming close up or made smaller through a bird’s-eye view. His process-oriented paintings offer windows to different parts of the world— some figuratively, others much more literally—and can evoke a distorted experience of temporality for the viewer. Like compositions by Bernd and Hilla Becher or Andreas Gursky, Rich’s artworks offer clinical, complex architectural views onto the world that are filled with subtleties. However, Rich differs from Becher or Gursky in his painstaking, intricate process of translating found images into painting. The works also evoke early 20th century European Modernism, recalling Giorgio de Chirico’s metaphysical cityscapes and Germany’s Neue Sachlichkeit (New Objectivity) artists of the 1920s and 1930s. Architecture, as it is commonly understood, is designed and implemented to house the human and is itself the manifestation of our constructed realities. When all signs of life are missing from buildings and spaces, as in Rich’s paintings, the result is an unsettling subversion that upends and questions what we have come to expect of both architectural spaces and the organized linearity of time. Rich probes viewers to consider what lies beyond the surface. Rich also uses his anonymous architectural imagery to talk about history and politics. He speaks of his scenes as “failed utopias” and “changing political power structures.” In their seeming permanence, the fixed and rigid edifices that populate his work speak to a late capitalist urbanism that sees its monuments not as contingent, but as immovable and eternal. DANIEL RICH (b. 1977 in Ulm, Germany) received his Bachelor of Fine Art degree in 2001 at the Atlanta College of Art in Atlanta, GA. He received his Master of Fine Art degree in 2004 at Tufts University in Medford, MA and the School of the Museum of Fine Arts in Boston, MA. He also studied at the Skowhegan School of Painting and Sculpture in Skowhegan, ME in 2004. Recent solo and two person exhibitions include Miles McEnery Gallery, New York, NY; “Never Forever,” Peter Blum Gallery, New York, NY; “On a Boat, Looking for Land: Gil Heitor Cortesao & Daniel Rich,” Carbon 12, Dubai, United Arab Emirates; “Systematic Anarchy,” Peter Blum Gallery, New York, NY; “Platforms of Power,” Museum of Fine Arts, Boston, MA; “Berlin: Daniel Rich and Wieland Speck,” Horton Gallery, New York, NY; “1989-2009: Paintings of the Berlin Airports 20 Years after the Fall of the Wall,” Andrew Rafacz Gallery, Chicago, IL; “Downburst,” Perry Rubenstein Gallery, New York, N Y; and “Black Sunday,” SUNDAY, New York, NY. Recent group exhibitions include “Mensch in Moll,” Inter Port, Berlin, Germany; “Geometric Heat,” GR Gallery, New York, NY; “Invisibli,” Anna Marra Contemporanea, Rome, Italy; “Set for the Sun,” (curated by Jenne Grabowski), Lobe Block, Berlin, Germany; “#” (curated by Markus Linnenbrink), Cindy Rucker Gallery, New York, NY; “In My Room: Artists Paint the Interior, 1950-Now,” Fralin Museum of Art at The University of Virginia, Charlottesville, VA; “After the Fall,” Peter Blum Gallery, NewYork, NY; “Urbanopolis,” Galerie LJ, Paris, France; “Postcard from New York,” Anna Marra Contemporanea, Rome, Italy; “Summer Group Show,” Joshua Liner Gallery, New York, NY. Rich is the recipient of the Traveling Scholars Grant, School of the Museum of Fine Arts, Boston, MA; NYFA Painting Fellow, New York Foundation for the Arts, New York, NY; Keyholder Residency Award, Lower East Side Printshop, New York, NY; Marie Walsh Sharpe, The Space Program, New York, NY; Bemis Center for Contemporary Arts, Omaha, NE; Full Fellowship, Skowhegan School of Painting and Sculpture, Skowhegan, ME; Travel Grant, School of the Museum of Fine Arts, Boston, MA; Graduate Fellowship, School of the Museum of Fine Arts, Boston, MA; Ben Shute Scholarshop for Excellence in Representational Art, Atlanta College Art, Atlanta, GA; and the Dragon Foundation Scholarship, Atlanta College of Art, Atlanta, GA. His work is included in the permanent collections of Cornell Musuem at Rollins University, Winter Park, FL; Fidelity Investments; Maramotti Collection, Reggio Emilia, Italy; Museum of Fine Arts, Boston, MA; and Wellington Management. Daniel Rich lives and works in Berlin, Germany.

NEW YORK – MILES McENERY GALLERY is pleased to announce Do You Think it Needs a Cloud?, a group exhibition of works by seventeen distinguished artists. The show will open 10 September at 511 West 22nd Street and remain on view through 10 October 2020. It is the inaugural exhibition at Miles McEnery Gallery’s newly expanded Chelsea gallery space. Do You Think it Needs a Cloud? features artists Brian Alfred, Milton Avery, Whitney Bedford, Sebastian Blanck, Tomory Dodge, Inka Essenhigh, Helen Frankenthaler, Jane Freilicher, April Gornick, Isca Greenfield-Sanders, Hans Hofmann, Annie Lapin, Joan Mitchell, Robert Motherwell, Michael Reafsnyder, Patrick Wilson and Guy Yanai. The show’s title is based on a charming quotation from Jane Freilicher.