Miles McEnery Gallery presents exhibitions by a multigenerational roster of artists whose works are linked by their drive to discover the points at which the paths of pleasure and knowledge intersect.Read More
Sometimes that happens organically: minds and bodies working in concert as insight and enjoyment dovetail gracefully. At other times it’s awkward. And unsettling. And consequential.
Conflict enters the picture when what you feel and what you know tug you in different directions. That tension creates experiences that compel you to reorganize your relationship to the world—starting with your self, which is, hopefully, a fairly complex constellation of experiences and imaginings, facts and fantasies, realities and relationships.
The art exhibited at McEnery highlights the multilayered nature of identity, not to mention history and humanity. It also leaves people free to experience things for themselves. And once that individual experience has begun, it invites you to determine what that experience means for you, but not just to you alone.
Freedom and responsibility—or independence and interconnectedness with others—take shape before works that do not strive to provide answers to life’s big questions so much as to draw visitors into conversations with themselves, with their friends, and with strangers. Both internal and external, these dialogues can be insightful, and they can also be infuriating. They are often both. At their best, they sharpen perceptions, excite the imagination, stimulate thinking, and change behavior by making us aware of realities previously unseen.
Prescriptive art is nowhere to be found. Nor are one-dimensional works, single-issue statements, or academic rehashes of ideas that have been thoroughly worked through by previous generations.
Painting and drawing predominate. This is not because these media are historically important or intrinsically valuable, but because they are basic: simple technologies that record, often in exceptionally nuanced ways, the gestures and maneuvers of a consciousness in action (making decisions, adapting to circumstances, working through rough spots, and coming to conclusions—only to start all over again in the next painting or drawing). The drama—of striving to do something and then striving to do more—opens up all sorts of stories. Each story has lots to say about all sorts of situations, artistic and otherwise. Often both.
Both abstract and representational, the works at McEnery invite viewers into worlds within worlds. Familiar details give way to strangeness. What you thought you knew turns out to be different from what you actually know. Strangest of all, your journeys through the overlapping, intersecting worlds in these works do not take you away from the real world so much as they take you more deeply into it—more attentive to subtle differences and inspired to share such discoveries with others.
Ocula Magazine selects six artwork highlights from EXPO CHICAGO.
Members of The Art Dealers Association of America (ADAA) joined forces for The Art Show at the end of February (27 February–1 March 2020). The 2020 iteration saw more than half of its presentations dedicated to a single artist and 19 exhibitions focused on female artists, in addition to vibrant thematic and group surveys.
Ellie Lee and Matt Connolly, founders of the non-profit Equitable Vitrines in Los Angeles, discuss site-specificity, expanded formats for exhibition-making, and the nuances of commissioning public art.
'In Art Basel's American show, leading galleries from North America, Latin America, Europe, and Asia show significant work from the masters of Modern and contemporary art, as well as the new generation of emerging stars. Paintings, sculptures, installations, photographs, films, and editioned works of the highest quality are on display in the main...
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...
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...
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.
D’emblée, on est hypnotisé par les teintes acides et fruitées de Guy Yanai. Le peintre, né en 1977 en Israël, a fréquenté aussi bien la Parsons The New School for Design de New York que l’École d’art de Pont-Aven en France. En ressortent une galerie d’images aux formes géométriques et colorées, de larges mosaïques où les couches épaisses de...
'I think my dream—what I really hope for—is that the first instinct, when they see the work, is an emotional reaction.' Based in Tel Aviv, artist Guy Yanai reflects on the many influences behind his latest body of work and his lifelong love of art. From his early interest in artists like Cy Twombly and Robert Rauschenberg, to now...
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