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SUMMARY:Held by the Same Stars
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Held by the Same Stars\, a group exhibition featuring work by 24 contemporary artists. The exhibition will be on view from September 5 to October 4\, 2025\, with an opening reception on Friday\, September 12\, from 6 to 8 p.m. at the gallery at 191 Henry St. on New York’s Lower East Side. Works and installation images will also be available via Artsy. \nIn a world often characterized by its differences\, Held by the Same Stars highlights the profound commonalities that unite us. The exhibition focuses on shared human experiences—community\, belonging\, memory\, care\, and resilience—while reflecting on the collaborative spirit that has sustained Amos Eno Gallery as an artist-run collective for over 50 years. Whether across personal\, cultural\, or environmental lines\, the featured works emphasize that we all participate in the same larger systems of connection. We are\, quite literally and metaphorically\, held by the same stars. \nArtists & Works: \n\nTulu Bayar – Untitled: A pigment transfer that draws from land as a collaborator\, highlighting the interconnectedness of people and place.\nBartosz Beda – Owing to the Absence 27: Monochromatic ink work exploring presence\, absence\, and the subtle interrelations that shape communal life.\nDamien Berdichevsky – Common Ground: A wood sculpture capturing the spirit of individuality in unity\, much like a group portrait or shared gathering.\nAdam Erlbaum – Thick as Thieves: An abstract painting designed to cultivate intimate viewership\, dissolving distance through close attention.\nChris Esposito – Exit from the right: An oil on wood painting exploring disunity and the need to realign with core shared values.\nMatt Greco – extra body problem: A porcelain sculpture considering the dualities of mind and body as both individual and collective\, referencing shared human challenges.\nJames Horner – The Silenced Dandy: A mixed-media work confronting the silencing of marginalized voices\, urging community-driven advocacy and support.\nGrant Johnson – Welcome to the Future: An archival pigment print that calls for collective effort in shaping a shared civic future.\nSamantha Jones – Archipelagations: Paper and ink islands pinned to the wall\, reflecting movement\, thought\, and the constant reformation of human connection.\nCharleen Kavleski – Quilt-Top Study: Greater Together: A photographic quilt study that symbolizes the strength and beauty of collective assembly.\nHiroko Ohno – Galaxy I: A cosmic landscape linking the origins of precious materials to our shared human and planetary history.\nMimi Oritsky – Race to the Edge: An oil painting depicting a fleet of boat racers working in tandem to navigate toward a shared goal.\nAllison Pottasch – Rangoli: A paper collage reinterpreting cultural ritual as a universal symbol of gathering and care.\nJosé-Ricardo Presman – India Russia The Vatican – Largest Largest Smallest: A trio of collaged flags reminding viewers of our shared geopolitical world despite vast differences.\nKathy Putnam – Remainder Series #1: A collage of repurposed clothing fabric that preserves traces of past lives\, evoking memory\, absence\, and the enduring connections we carry.\nOlga Rudenko – In a Pickle #1: A silicone and embroidery sculpture reflecting on how modern identities are collectively shaped by technology and data.\nAleksandra Scepanovic – The Fourfold: A mixed-media sculpture where four forms emerge from one body\, symbolizing coexistence within collective structures.\nNishiki Sugawara-Beda – KuroKuroShiro+ XLVII: Using ancient pigments\, the work reflects on shared origins and the catalysts that unify people across time.\nChristopher Squier – Harmonics (## — ♭): A drawing where sound\, light\, and line intertwine\, suggesting collaborative creativity through sensory experience.\nDain Susman – Confluence: A 3D collage using textiles and photographic assemblages to document the layered communities of Brooklyn’s Gowanus neighborhood.\nPhilip Swan – Star: A small-scale acrylic painting that evokes cosmic unity and universal wonder.\nAaron Wilder – Expletive Chapel: Lavender Heights (DECADENCE): A painted Pride flag honoring LGBTQ+ community stories\, resilience\, and solidarity.\nGrant Whipple – We are Rainbow Falls: Pastel drawings symbolizing the spectrum of shared spiritual and cultural awakenings.\nJoyce Yamada – Non-endangered Species: Rattus: A humorous portrait of a rat\, challenging cultural narratives and reframing ideas of shared existence.\n\nHeld by the Same Stars invites viewers to reflect on the enduring bonds that transcend geography\, identity\, and circumstance. In this moment of cultural complexity\, the exhibition reminds us of our shared place in the world—not as isolated individuals but as co-participants in an interconnected human and ecological fabric. Through these diverse works\, the artists of Amos Eno Gallery offer a powerful visual testament to the strength of community\, collaboration\, and mutual care. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. ​ \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nNote: The gallery is closed from July 28 through September 4\, 2025\, for summer holiday.
URL:https://artinamericaguide.com/event/held-by-the-same-stars/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250728
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SUMMARY:Adam Cable: Domestic Techtonics
DESCRIPTION:Amos Eno Gallery\, a non-profit artist collective in the Lower East Side\, Manhattan\, is pleased to present Domestic Tectonics\, a solo exhibition in the gallery’s Project Space by Adam Cable. An opening reception is scheduled for Friday\, June 20\, at 191 Henry St\, New York\, NY; The Project Space will be open on Saturdays from noon to 6 p.m. and by request during the gallery’s regular hours.​ \nCable’s energizing collages transform and remix depictions of home environments\, blending physical and emotional associations with the observable world. Through his use of found digital images—ranging from snapshots to commercial textures—and arrangements into perspective-based scenes\, these layered works function like a visual puzzle. The image fragments form pictorial metaphors and narratives that conform to or push against the contours of domestic settings\, relaying the artist’s feelings of incompatibility within everyday spaces. As these layers slip in and out of their expected places\, sometimes frictions burn bright. Other times\, unexpected moments of harmony emerge from the image pairings. Domestic Tectonics visualizes how internalized forces define and shape the terrain of awareness\, even within seemingly neutral\, intimate settings such as the American home.  \n​The ten works on view include State of Emergency (Crash)\, where a test car explodes in a freeze-frame impact\, bursting within the outline of an oversized plant against a windowed wall comprised of asphalt\, seatbelts\, and traffic cone orange. A companion piece\, State of Emergency (Collide)\, encapsulates a maelstrom of grief amidst one’s continued existence in a suddenly remade world. Its similar leafy form now vibrates with barely contained energy\, hosting a black-and-white image of lightning bolts as the backdrop reveals a burnt-down neighborhood through the granite-curtained window. In Holding My Breath (Known Conclusions)\, Cable employs a personal narrative to express the tension between external expectations and internal pressures. A ‘pillow’ form contains a lit match photograph atop an oil-slick-patterned bedspread. Partially enclosed by a bed frame made of timber\, the scene plays out against a color-inverted backdrop of an open Christian bible\, illustrative of the artist’s self-realization of homosexuality within an evangelical upbringing and its resulting fallout. \nInfluenced by the spatial reorganization of early 20th-century Crystal Cubism and crisply outlined paintings of interiors by Brazilian artist Wanda Pimentel\, Cable breaks apart and reconstructs pictures to create reimaged spaces that navigate cultural and social values\, relationships\, experiences\, and the built environment. Building on years of using images as malleable raw material\, he remaps the familiar through visceral\, emotive compositions\, delving into how these private—yet publicly influenced—sites engage with and influence the inner lives of their inhabitants. Cable’s work articulates ‘queer domesticity\,’ a multifaceted concept about how the home can be both a place of belonging and exclusion\, defined by subjectivity and experiences.  \nAuthor Stephen Vider\, in The Queerness of Home\, notes that “For LGBTQ people\, home was the critical site of contact with the conventions of the American family and the gender\, sexual\, racial\, and class norms they consolidated.” We relate to communities and ourselves through the lens of the home. Yet\, these connections are often fraught with tension between cultural ideals and the realities of being.  \n​Domestic Tectonics portrays perception as constantly shifting ground underfoot. Sometimes\, its transitions go unnoticed; at others\, the topography transforms abruptly. Nothing is truly static. \n​About the Artist\nAdam Cable (b. 1989) creates vignettes of American domestic life using found digital images. His work entwines perception and narratives into the reconstruction of these environments\, highlighting ways that impressions and expectations inform experiences of space. Cable has shown in several group and solo exhibitions\, including at The Painting Center\, NYC; University of North Carolina\, Asheville; PULSE Art Fair\, Miami; Local Project\, NYC; and The Plaxall Gallery\, NYC. He co-curated Annus Horribilis with Float Magazine in 2020\, a group exhibition of work created that globally significant year\, and in 2021\, The Wassaic Project included his work in the book Secrets of the Friendly Woods. Cable holds an MFA from the School of Visual Arts (2017) and a BFA from the University of North Carolina\, Asheville (2013). He lives and works in Brooklyn NY. \nImage: State of Emergency (Crash)\, 2021. Archival inkjet print\, 24 x 18 inches.
URL:https://artinamericaguide.com/event/adam-cable-domestic-techtonics/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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SUMMARY:Julianne Nash: Flora non Grata
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Flora non Grata\, the inaugural solo exhibition by artist Julianne Nash. The exhibition will be on view from June 19 to July 27\, 2025\, with an opening reception on Friday\, June 20th\, from 6 to 8 p.m. at the gallery at 191 Henry St. on New York’s Lower East Side. Works will also be available to view online via Artsy. \nCoinciding with the release of her first monograph by the same name (Snap Collective\, 2025)\, Flora non Grata encompasses nearly ten years of the artist’s photographic explorations into personal and ecological grief. Grappling with the conventions of vanitas and isolation\, Nash creates images that are in a constant state of evolution – akin to the fragile ecosystems she seeks to memorialize. Blurring the boundaries between documentary\, artifice\, and perception\, Nash constructs mutable landscapes where nothing is certain. Images explode with vivid color or collapse into near monochrome as they rest uneasily in a moment of instability on the edge of collapse. Individual elements—rocks\, leaves\, blades of grass—are rendered with sharp clarity\, full of crisp lines and delineation while others blur into abstraction\, alive with mystery. Nash’s landscapes are composed through agglomerated digital processes—stacked images\, layered focuses\, color distortions\, digital compression. Her methods are both precise\, yet unpredictable. Moving pieces of landscape around the digital plane\, the artist allows for elements of serendipitous discovery to occur between layers\, each building upon the last.  \nThe heart of the exhibition is a 12-foot dye sublimation print on celtic cloth\, Juniper and Sagebrush (22 Images). The hostile aridity of the desert envelops viewers through the combination of infrared photographs and digitally painted golden hues. Desert landscapes are deeply vulnerable to subtle changes as all species vie for limited resources—a sobering reminder amid the accelerating spread of desertification. The juniper tree\, twisting on a cellular level in response to hardship\, becomes a metaphor for both ecological adaptation and human resilience. This desert is not empty but charged with silent struggle; a vanishing place marked by its refusal to remain still.  \nIn parallel to this sits a triptych\, Artemisia Tridentata\, that focuses on sagebrush at various times of day. As a sacred plant for many Indigenous peoples of North America\, the sagebrush’s history is fraught\, a constant tension written into the bones of the desert landscape. The job of the sagebrush is regeneration: a keystone species growing out of the erosion-carved\, cracked earth\, made brittle from poor alkaline soils where few other species can survive while providing water to those that do with its tendril-like roots. Its vast range can be deceiving—the loss of sagebrush habitat is accelerating\, and thus the species it provides habitat for. As cheatgrass and other non-native species increase\, warmer conditions spark more fires with more frequency and the ecosystem becomes ever-more unstable. While we\, much like the sagebrush\, may have roots strong enough to endure crisis and regrow\, the frequency and intensity of our changing systems make both our future and the future of the ‘sagebrush sea’ precarious. \nThe exhibition also presents earlier work by Nash\, including lenticular prints that render image-stacked layers on shifting focal planes. In Grandpa’s Flowers Post Mortem  (Focus Stack\, 74 Images\, Re-stacked 5 Times Upon Itself)\, Nash compresses the life cycle of funerary flowers down to a chaotic yet orderly frame indecipherable to logic. “[A] bouquet of errors\,” Lyle Rexer writes of Julianne’s floral arrangements in his book Fifteen Pictures to Understand Photography\, later saying: \n“These make for an image that is both static and unstable\, superficially perspicuous and incoherent. […] Wedded to a lens-based viewpoint\, audiences find that viewpoint undercut by Nash’s flowers\, and with it the dual sense of the subject – the subject being looked at and the subject doing the looking. The experience eludes description\, like going blind. Something is there to be seen\, but what it is and how it is done cannot be grasped visually.”  \nA selection of Nash’s most somber series Ennuipocalypse fills the gallery’s back room with a desaturated void of darkened landscapes.  These works present stark realities—seemingly healthy wetlands\, disappearing glaciers\, dead forests—all in an act of vanishing\, both epidemiologically and visually. A cold\, unflinching examination of landscapes under threat\, the artist contemplates extinction on both micro and geologic scales. Nash questions our collective emotional dissonance of climate collapse\, inspired by David Wallace-Wells’s “climate’s kaleidoscope” from The Uninhabitable Earth: \n“This is climate’s kaleidoscope: we can be mesmerized by the threat directly in front of us without ever perceiving it clearly. Climate devastation is everywhere you look\, and yet nowhere in focus\, as though we are displacing our anxieties about global warming by restaging them in theaters of our own design and control.” \nThe exhibition concludes with Nash’s most recent piece: Drill\, Baby\, Drill a dye-sublimation print on satin\, created in response to the current administration’s rollback of climate protections. Land\, sea and sky collapse in on themselves into a swirling\, flooded frame\, shimmering with the movement of gallery visitors as the satin fabric moves gently with the air. The surface effect evokes a water-like shine to the already flooded frame\, underscoring the precariousness of our present ecological moment. Climate change has become an environmental uncanny—everywhere and nowhere\, omnipresent yet out of focus. Nash’s images don’t offer certainty\, but ask you to sit with ambiguity\, to feel into the multiplicity of the fragile living world and\, perhaps\, to reattune your senses to its rhythms\, suggesting that to perceive is to care. \nAbout the Artist \nJulianne Nash received her MFA in Photography Video and Related Media from the School of Visual Arts (2018) and her BFA in Photography from Massachusetts College of Art and Design (2013). Julianne’s work has been exhibited widely in galleries such as: The Wassaic Project\, Griffin Museum of Photography\, Robert Klein Gallery\, et al.; and has been published in magazines such as Create!\, Dear Dave\, Meregoat Magazine\, and more. Most notably\, Julianne’s work was published in Lyle Rexer’s acclaimed book\, The Critical Eye: Fifteen Pictures to Understand Photography (Intellect Press 2019).  Julianne’s work has lead her to participate in multiple climate-focused events such as: “Lost in the Woods: Grief and the Ennuipocalypse”\, a Death Cafe she hosted with the Greenwood Cemetery; and the Creative Climate Awards 2024 at the Human Impacts Institute\, which included a CCA Arts & Action Chat: “From Climate Anxiety & Grief to Action”.  Julianne has participated in residencies at The Montello Foundation (NV)\, The Eastern Frontier Society’s Norton Island Residency (ME)\, and SEAR: Searsport Eco-Art Residency with Parsonage Gallery (ME). \nImage: Juniper and Sagebrush (22 Images)\, 2024. Dye sublimation print on celtic cloth\, 100 x 142 inches.
URL:https://artinamericaguide.com/event/julianne-nash-flora-non-grata/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20250501
DTEND;VALUE=DATE:20250616
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SUMMARY:Joyce Yamada's 'Animalia: Other Eyes\, Other Lives"
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Animalia: Other Eyes\, Other Lives\, a solo exhibition by artist Joyce Yamada. The exhibition draws its name from the scientific classification for the animal kingdom and offers a celebration of the myriad ways different species perceive and exist in the world. \nAnimalia: Other Eyes\, Other Lives will be on view from May 1 to June 15\, 2025\, with an opening reception on Friday\, May 2\, from 6 to 8 p.m. at the gallery at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \nFollowing a 2022 solo show at Amos Eno that addressed protest and environmental anxiety\, Yamada’s work has taken a transformative turn — shifting toward exploration\, celebration\, and scientific insight. Through vivid imagery and conceptual depth\, Animalia invites viewers to see through other eyes and live other lives: to imagine navigating the world like a bee\, gliding through the air like a flying squirrel\, or perceiving the light spectrum in a way that reveals a pink-glowing counterpart. \n“This show is a celebration of different ways of seeing and of being\, an appreciation of the many paths by which we earthlings evolve in order to survive and to prosper\,” Yamada says. “No one species is superior to any other; we are shaped by our histories and by our environments.” \nYamada’s art reflects a deep appreciation for the evolutionary ingenuity of life on Earth. From bees who read ultraviolet patterns on flowers to locate nourishment for their hives\, to squirrels who defy gravity with skin-bound membranes and may see each other bathed in radiant hues\, Animalia prompts awe at the complexity and resilience of the natural world. \n​“Flying squirrels can climb up a tree\, leap into space\, glide to a new tree with the assistance of their special membrane\, land on the trunk\, and then quickly scurry to the other side of the tree to evade watching predators\,” Yamada explains. “We have also surmised that squirrels see the light spectrum differently and more thoroughly than we humans can\, and see each other in a lovely pink glow.” \nAmid an era of disconnection\, conflict\, and environmental degradation\, Yamada’s work underscores the interdependence of life forms and the urgent need for collaborative stewardship between all creatures. By illuminating alternate perspectives and honoring the intricate webs of survival that have evolved over millennia\, Animalia is a call for wonder\, respect\, and renewed commitment to life on Earth. \n“We currently live in difficult times characterized by excessive anger and hatred\,” Yamada says. “We inadequately appreciate Earth’s complex networks that bind all animals\, plants\, and physical environments. This can lead to blind blundering and to the destruction of complex environments that once supported us. Hatred\, anger\, and rampant selfishness multiply under these conditions\, but it doesn’t need to be this way. Our survival will require working together generously and intelligently\, with full respect for the complexity of life on Earth.” \n​About the ArtistJoyce Yamada is a New York City-based artist who splits her time between the East Coast and the San Francisco Bay Area. After earning a medical degree from University of Texas Southwestern Medical school\, she worked as a physician until 2004. She also trained as an artist at the San Francisco Art Institute\, University of California\, Berkeley\, and the Alliance for International Studies in Italy. After transitioning to art full-time\, her work has been shown at Front Room Gallery\, ABC No Rio\, Edward Morgan Ballet\, David Schweitzer Gallery\, M.David Studios\, and Denise Bibro Fine Arts. For more information\, visit joyceyamada.com.​ \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \n​The gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street – Essex Street Station. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/joyce-yamadas-animalia-other-eyes-other-lives/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20250320
DTEND;VALUE=DATE:20250428
DTSTAMP:20260416T160400
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SUMMARY:Aaron Wilder's 'Contact Traces'
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Contact Traces\, a solo exhibition by artist Aaron Wilder. \nThe exhibition will be on view from March 20 to April 27\, 2025\, with an Opening Reception on Friday\, March 21\, from 6 to 8 p.m. and a Panel Discussion & Closing Reception on Friday\, April 25\, 2025\, from 6 to 8 p.m. Both events will be held at the gallery at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \n​Before the COVID-19 pandemic\, artist Aaron Wilder had cobbled together an art career in San Francisco from multiple\, part-time jobs\, all of which were lost by March 2020. In a twist of fate\, Wilder was offered underemployment in Chicago. With no other viable options\, he accepted the offer and moved across the country to a place where he had an absence of close contacts. Naïve optimism for a short pandemic quickly gave way to multiple layers of isolation. Wilder’s relocation to Chicago was rendered moot by the outcome of working remotely. As they say\, hindsight is 2020. \nThe exhibition title is derived from “contact tracing\,” which the Centers for Disease Control and Prevention define as “the process of identifying people who have recently been in contact with someone diagnosed with an infectious disease.” Contact Traces represents Wilder’s delayed processing of the pandemic’s impact on himself as a method of coping with profound isolation. In this show\, the artist follows the threads of ruptures in contact among people\, place\, and time through the exploration of literal and symbolic barriers. The exhibition centers on bodies of work from experiences before\, during\, and after the shelter-in-place. \nBegun in 2016\, Wilder’s ongoing Social Boundaries photography project focuses on physical barriers along neighborhood perimeters. While traversing these borders\, Wilder reflects on the stimuli of these obstructions. They block movement directly\, exemplify fortifications\, and enforce physical separation. In the pandemic\, the term “social distancing” became one of the most commonly repeated phrases. Like other cities\, San Francisco was plagued by social distance in areas such as gentrification and homelessness long before the pandemic. \nInvisible Self-Portrait / Expletive Chapel: Lavender Heights is a video Wilder made in 2019 in which he imagines what his self-portrait would look like if it were as invisible as he felt living in San Francisco. The film’s audio is the layered pronouncing of individual letters of derogatory slurs to transform them into rhythmic\, meditative sounds. \nWilder was forced to leave San Francisco due to a lack of viable economic opportunities at the onset of the pandemic\, which robbed him of the opportunity to leave on his own terms. Wilder felt incapable of coming to terms with what felt like defeat. Before Exile is a series of mixed media drawings on darkroom photography test prints. As he made them Wilder reflected on his experiences living in San Francisco and the circumstances that forced him to leave. \nAbundance of Caution is a series of digital collages tracing notions of contact and exploring the literal and symbolic meanings of the phrase\, which touch on anxiety and debilitating fear stemming from rapid change and uncertainty. A range of types of warnings from contamination to chemical exposure to violence are visually investigated through aesthetic strategies of chaos\, clarity\, dissection\, juxtaposition\, layering\, and multiplicity. \nAt the closing reception and panel discussion on Friday\, April 25\, 6 to 8 p.m.\, moderated by gallery director Ellen Sturm Niz\, fellow gallery member artists James Horner and Julianne Nash will join Wilder to discuss the pandemic’s impact on them and their creative practices. \nAbout the ArtistAaron Wilder is an interdisciplinary artist originally from Phoenix\, Arizona. He currently resides in Roswell\, New Mexico. \nWith the history of being a self-taught artist since 2002\, Wilder received his MFA from the San Francisco Art Institute in 2017. He has exhibited his work extensively across the United States as well as in Italy. Contact Traces is Wilder’s second solo exhibition at Amos Eno Gallery after joining as an artist member in 2020. For more information\, visit aaronwilder.com.​ \n​About Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \n​The gallery is located at 191 Henry Street between Jefferson and Clinton Streets on the Lower East Side of Manhattan. It’s a 5 minute walk from the F Train’s East Broadway Station and a 10 minute walk from the J Train’s Delancey Street – Essex Street Station. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.​ \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/aaron-wilders-contact-traces/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20250213
DTEND;VALUE=DATE:20250317
DTSTAMP:20260416T160400
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SUMMARY:Adam Erlbaum: Flag Building
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present ‘Flag Building\,’ a solo exhibition by Philadelphia-based artist Adam Erlbaum. \nThe exhibition will be on view from February 13 to March 16\, 2025\, with an artist reception on Friday\, February 21\, at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \nAdam Erlbaum begins his paintings with a pencil diagram. He denotes the width of each stripe in fractions of an inch. These measurements are then transferred to canvas with a ruler. Erlbaum cannot mark sixteenths of an inch exactly by hand. The lines he draws between the marks further depart from the initial diagram\, as these lines must jibe with each other on the canvas. \nRather than build according to plan\, each step further removes the painting from Erlbaum’s initial diagram\, until the painting ‘stands’ independently. The word ‘building’ conjures heavy brick and mortar\, yet a flag is light enough to be raised by a small wind. For Erlbaum\, building is not about plan or weight\, but a felt sense of constructive action. \nAbout Adam Erlbaum\n \nAdam Erlbaum received a BA in Mathematics from The Colorado College in 2002. He has attended the Pennsylvania Academy of the Fine Arts\, the University of the Arts\, and the MFA program at the Vermont College of the Fine Arts. \nErlbaum’s work has been shown in Philadelphia at InLiquid Gallery\, The Yard\, I Brewster Gallery\, and Artist’s House Gallery and at the St. Louis Artists Guild in St. Louis\, Missouri; Center for the Arts in Rock Hill\, South Carolina; Studio Montclair in Montclair\, New Jersey; and Bower Center for the Arts in Bedford\, Virginia. He paints at The Mill Studios in Philadelphia. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/adam-erlbaum-flag-building/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250109
DTEND;VALUE=DATE:20250210
DTSTAMP:20260416T160400
CREATED:20250107T203235Z
LAST-MODIFIED:20250107T203235Z
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SUMMARY:Sacred Ground
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Sacred Ground\, a group exhibition that examines spaces imbued with deep significance and meaning. \nThe exhibition will be on view from January 9 to February 9\, 2025\, with an opening reception on Friday\, January 10\, at 191 Henry St. on the Lower East Side. Works are also available to view on Artsy. \nCurated by gallery director Ellen Sturm Niz\, Sacred Ground examines the idea of spaces that hold deep significance and meaning\, both personally and collectively. Through a variety of artistic approaches\, the exhibition invites reflection on the concept of what makes a place — either a literal or figurative one — sacred. \nFeaturing an array of mediums including painting\, sculpture\, photography\, and video\, the works explore themes of memory\, identity\, ecology\, and spirituality. \nBelow are highlights of all the featured artworks: \n\nBartosz Beda: Paramount of Eternity 02. This oil painting\, inspired by Freud’s metaphor of a layered chocolate cake\, reflects the layered complexity of the human psyche.\nDamien Olsen Berdichevsky: Bridge. This acrylic painting (shown below) captures the natural architecture of bridges as sacred sanctuaries within their surroundings.\nDamfino (Chris Esposito & Matt Greco): it could be anything…. This wood and canvas sculpture embodies the tension between curiosity and uncertainty.\nAdam Erlbaum: Sign Pale. This oil painting explores the interplay between abstract symbolism and the specific meanings of street signs.\nJames Horner: Shenanigans at the Chateau. This mixed-media work was inspired by the artist’s residency in France and the layered history of wartime chateaux.\nCharleen Kavleski: Quilt Top Study: “Father’s Early Stripes” II. This inkjet print honors the military’s qualities of self-sacrifice and valor as forms of sacred ground.\nJulianne Nash: Deforestation (52 Images). This archival pigment print mounted on Sintra grapples with the grief of ecological loss and the rapid transformation of our planet’s landscape.\nEllen Sturm Niz: Slipping Under. This digital video captures the ephemeral and dreamlike interplay of memory\, light\, and sound.\nHiroko Ohno: ALMA. This mixed-media piece — featuring lapis-lazuli\, coral\, and acrylic — symbolizes the universe’s fiery origins and hidden depths.\nMimi Oritsky: Heart of Ice. This oil-on-canvas from the Wissahickon series embodies the fragile beauty and meditative calm of nature.\nJosé-Ricardo Presman: Saturn. This paper silhouette evokes sacred beginnings and the symbolism of planetary and human forms.\nAleksandra Scepanovic: Who. This fired clay sculpture explores identity and introspection through shifting profiles and layered contours.\nChristopher Squier: Disturbances (Scattered Light). This colored pencil drawing captures atmospheric phenomena that transform ordinary spaces into moments of sacred wonder.\nNishiki Sugawara-Beda: KuroKuroShiro CVI. This sumi ink on wood piece delves into the sacred inner landscapes of the human mind.\nPhilip Swan: Tygers. An abstract oil on board inspired by natural forms and William Blake’s poem The Tyger\, this work invites contemplation of nature’s complexity.\nDain Susman: 197 Malcolm X Blvd. This mixed-media piece celebrates the shared and ritualistic aspects of urban laundromats.\nSam Jones: Swarm. This seven-foot felt installation symbolizes the sacred vitality and irreverence of the wild.\nGrant Whipple: Subsidence. This oil painting on panel with organic edges evokes natural transformation and decay.\nAaron Wilder: Delivered Under the Similitude of a Dream. This artist book\, reconstructing John Bunyan’s Pilgrim’s Progress\, explores layered authorship and identity.\n\nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974. It has moved with changing arts neighborhoods over the years and is now at a new location on the Lower East Side of Manhattan. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \nFor more information\, please contact gallery director Ellen Sturm Niz at amosenogallery@gmail.com. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
URL:https://artinamericaguide.com/event/sacred-ground/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20241107
DTEND;VALUE=DATE:20241216
DTSTAMP:20260416T160400
CREATED:20241104T155023Z
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SUMMARY:Nathaniel Lieb’s ‘Ichnoliths’
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Ichnoliths*\, an exhibition by Nathaniel Lieb\, on view from November 7 to December 15\, 2024. An opening reception will take place on Friday\, November 8\, from 6 to 8 p.m. The exhibition and opening reception will be at our new location on the Lower East Side at 191 Henry Street between Jefferson and Clinton streets. \nNathaniel Lieb’s work traces common moments and actions to reveal underlying significance. Toward that end he has worked across various mediums\, sculpture\, video\, performance\, ceramics\, sound\, and others.  \nWith Ichnoliths\, Nathaniel finds new sculptural forms in the banal results of everyday activity\, and for this project he has mined his pockets. He dug out the lost and forgotten nuggets of paper buried within. Presenting these curious objects to us electroplated in copper\, gold\, silver\, etc. By plating them he removes them from their formation\, allowing us to see them separate from the chance and time that they were created. Was that a dollar bill? A receipt\, or maybe a straw wrapper? Their strange and unfamiliar forms are the compressed record of a person’s passage. How they were made blends with what they were\, what they mean and what they suggest. Ichnoliths allow people to recognize that their moments and gestures leave a wake that is resonant. \n*Ichnofossils\, or trace fossils\, are made from the biological activity of lifeforms but not the preserved remains of the organism itself. They include tracks\, trails\, feces\, and burrows. \nAbout the Artist \nNathaniel Lieb lives and works in Brooklyn and has shown both nationally and internationally. His work can be found in select public and private collections. He had a solo show\, Wad You Say\, 2022 at the Delaware Valley Arts Alliance in Narrowsburg\, NY. He was Artist in Residence at Amherst College in 2015. His site-specific piece Duet in Marble\, 2018 can be seen at the Carving Studio and Sculpture Center in Rutland\, VT. Another site-work\, Morongo\, can be found at A-Z Projects\, High Desert Test Site in Joshua Tree\, CA. To get a fuller understanding of his work or arrange a meeting please visit www.nathaniellieb.com. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \nThe exhibition and opening reception will be at our new location on the Lower East Side at 191 Henry Street between Jefferson and Clinton streets. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/nathaniel-liebs-ichnoliths/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20241107
DTEND;VALUE=DATE:20241216
DTSTAMP:20260416T160400
CREATED:20241104T155023Z
LAST-MODIFIED:20241105T162236Z
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SUMMARY:Chris Esposito’s ‘Odd balls and one-offs’
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery\, is pleased to present Odd Balls and one-offs\, an exhibition by Chris Esposito\, on view from November 7 to December 15\, 2024. An opening reception will take place on Friday\, November 8\, from 6 to 8 p.m. The exhibition and opening reception will be at our new location on the Lower East Side at 191 Henry Street between Jefferson and Clinton streets. \nInfiltration of inorganic materials into our food stream\, unintended damage to our ecosystem\, and the man-made materials to blame are all the catalysts for this new work. With a purposeful irony these common materials are repurposed\, through which their usage is expanded and a dialogue of material awareness and ecological fragility is created — as fraught as that conversation may be. Even though we hold these materials as “separate” from ourselves you only need to look around — to walk the streets — to see we are defined by materials — material goods we collect and the material trappings of culture. \nThe use of beeswax and lint in the work speak to communal by-products\, created as the offshoots of life\, made by the industriousness of insects or the fastidiousness of humans. It acts as a binder — exposing the strength and the weakness. \nLiving today has become an overwhelming endeavor\, especially if you hope for some black and white — assets and liabilities\, positive and negative — we have only the gray areas left\, the in-between. So this work is presented in fits and starts\, mimicking the inevitable indivision of our digital appetite for mediated information. The feeling that one cannot hold on to something long enough to establish more than an acquaintance before the next new “it” is introduced.​ \nCast offs and odd balls\, one-offs with no apparent reason for being — fractures\, dead ends\, lost causes\, and the misadventures of the malcontent — all exploration of the debris and its value (or lack of). \nAbout the Artist \nChris Esposito is a painter and installation artist that lives and works in Queens\, New York. He has exhibited locally and internationally and is one half of the art collaborative Damfino. His work is composed of meticulously chosen found materials often selected for their apparent lack of aesthetic qualities and then juxtaposed with sections of monochromatic canvas or impasto; a process of selection\, deconstruction and reconstruction that invokes the cosmopolitan of his native NYC with its endless cycles of expansion and decay\, and hope and despair. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \nThe exhibition and opening reception will be at our new location on the Lower East Side at 191 Henry Street between Jefferson and Clinton streets. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/chris-espositos-odd-balls-and-one-offs/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20241011
DTEND;VALUE=DATE:20241104
DTSTAMP:20260416T160400
CREATED:20240919T181528Z
LAST-MODIFIED:20240919T181528Z
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SUMMARY:From the Cold Edge: Creative Meditations on Svalbard and The Arctic Circle Residency
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery in Bushwick\, Brooklyn\, is pleased to present From the Cold Edge: Creative Meditations on Svalbard and The Arctic Circle Residency\, a group exhibition curated by Candace Jensen\, Jacinda Russell\, and Hester Blum. The show will be on view from October 11 to November 3\, 2024\, with an opening reception at the gallery’s location at 56 Bogart St. on Friday\, October 11\, from 5 to 9 p.m. \nFrom the Cold Edge is an international curatorial project that will feature 23 artists\, writers\, and their collaborators from over 6 countries\, representing a diverse reflection on their shared experience in Svalbard during The Arctic Circle Residency in October 2022. The exhibition includes manifold responses to the unique ecosystem and cultural significance of the Svalbard archipelago; the complex realities of survival\, residency & tourism there; and the mythic significance of the Polar North in its symbolism and beauty. The work grapples with questions about belonging\, climate change\, temporality\, human impact on the land\, and the privilege of stepping foot in such a remarkable place.Media in From the Cold Edge spans lyrical writing and poetry\, data-collection and aggregation\, sound recording\, performance\, and work from a broad spectrum of visual media such as painting\, multi-channel video\, photography and sculpture. Due to challenges of scale\, temperature\, and adapting practices to being nearly off-grid for 2 weeks aboard the tallship Antigua\, much of this work was completed and refined in the 2 years since the Arctic voyage. The show does\, however\, include artifacts of the creative process as it happened at 80º North\, including paintings\, glacial rubbings\, film photography\, and a few lithic mementos\, to name a few.Notably\, this exhibition also presents a partial preview of the curatorial selection made for a special issue of the peer-reviewed environmental humanities journal Regeneration: Environment\, Art\, Culture titled “On the Cold Edge” (forthcoming 2025). Preparation for the special issue served as inspiration for the curatorial team to organize From the Cold Edge at Amos Eno Gallery.Special events schedule: \n— Opening Reception: Friday\, October 11th\, 2024\, 5-9 p.m.— Live Performance\, Poetry Reading & Meet the Artists: Saturday\, Oct. 12th\, 2-4 p.m. — Closing Reception: Sunday\, November 3rd\, 4-6 p.m.List of artists and writers to be included in the exhibition: \n\n\nJoan Albaugh \n\n\nLeonor Anthony \n\n\nAshlin Aronin (in collaboration with Morgan Rosskopf) \n\n\nHester Blum \n\n\nSergei Chernikov \n\n\nDianne Chisholm \n\n\nHarley Cowan \n\n\nJessica Creane \n\n\nSarah Gerats \n\n\nLaurie Glover \n\n\nBrian House \n\n\nCandace Jensen \n\n\nHannah Larrabee \n\n\nGreg Lecker \n\n\nAndrea Legge \n\n\nFelicia LeRoy \n\n\nJia-Jen Lin \n\n\nAlexandra Lockhart \n\n\nZoriça Kelly Markovich \n\n\nAlejandro Marra Mejía \n\n\nTerhi Nieminen \n\n\nJacinda Russell \n\n\nPaula Sćiuk \n\n\n​Amos Eno Gallery and the curators would like to thank the Penn State Department of English\, College of the Liberal Arts\, and Climate Consortium for their generous support to cover costs associated with mounting the exhibition “From the Cold Edge\,” as well as The Arctic Circle Residency for additional support. Gratitude also to NYSCA for their grant contribution to Amos Eno Gallery programming and honorarium costs\, including for “From the Cold Edge” live performance and readings. \n\n\nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.​​ \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/from-the-cold-edge-creative-meditations-on-svalbard-and-the-arctic-circle-residency/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240905
DTEND;VALUE=DATE:20241007
DTSTAMP:20260416T160400
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SUMMARY:Seeing Is Believing: Artists of Amos Eno Gallery
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery in Bushwick\, Brooklyn\, is pleased to present Seeing Is Believing\, a group exhibition of work by 17 of the gallery’s artists\, on view from September 5 to October 6\, 2024. \nAn opening reception will take place at the gallery’s location at 56 Bogart St. on Friday\, Sept. 6\, from 6 to 8 p.m. The exhibition will also be on view at Artsy.net. \nCurated by gallery director Ellen Sturm Niz\, the dynamic exhibition features a diverse range of artworks\, including:​ \n\n\nTulu Bayar: Conjured up a Fact\, an etched archival pigment print honoring the memory of innocent Susquehannock Indians killed in 1763. \n\n\nDamien Olsen Berdichevsky: All Under a Cloudy Sky\, a mixed media assemblage representing a post-industrial environment in regeneration. \n\n\nAdam Erlbaum: Tetris Shapes\, an oil on canvas piece juxtaposing a paisley pattern with Tetris shapes for a visual punch. \n\n\nJames Horner: Hot Pants Magoo\, a mixed media piece aiming to normalize the LGBTQ+ community through everyday depictions. \n\n\nGrant Johnson: HAYSTACKS (Infrared Light)\, a dye sublimation print on aluminum panel inspired by Monet’s Haystacks but illuminated by infrared light. \n\n\nSam Jones: Threshold\, a 60-second video installation of a glowing sun reflecting off an undulating body of water — the threshold continually opening itself to the wandering eye of the stranger.  \n\n\nCharleen Kavleski: Quilt Top Study ‘Into The Woods’\, an inkjet print paying tribute to the masons and quiltmakers in her family. \n\n\nEmily Loughlin: Cellulose Net\, a glazed stoneware piece that meditates on organic cell structures. \n\n\nHiroko Ohno: Galaxy 1\, a mixed media painting of a celestial body created with an ancient Japanese technique of using paints made from minerals and shells that condense the earth’s time. \n\n\nMimi Oritsky: Fallen Wet No.4\, an oil on linen painting depicting wet leaves on a dry porch. \n\n\nJosé-Ricardo Presman: Study for Invisible Painting\, an acrylic on canvas board piece requiring viewer contemplation. \n\n\nAleksandra Scepanovic: The Veil\, A figure borne of clay and aged with industrial patina reflecting a search for elusive identity amidst war and peace. \n\n\nChristopher Squier: Double Rainbow (Redacted)\, a graphite on rag paper piece that explores the experience of sight and vision. \n\n\nDain Susman: Pleated Weights 2\, an archival pigment print on polyester mesh\, depicting the evolving image of a tool. \n\n\nGrant Whipple: Remission\, an oil on canvas on panel piece evoking the tension of ecological and social change. \n\n\nAaron Wilder: Before Exile 30 and Before Exile 36\, two mixed media drawings on analog film test prints\, reflecting on the artist’s forced exile from San Francisco during the pandemic. \n\n\nJoyce Yamada: On the Border\, a charcoal and conte crayon drawing in response to Trump’s border policy of separating children from their parents. \n\n\nSeeing Is Believing aptly captures the essence of the exhibition by emphasizing the transformative power of perception and the subjective nature of visual experience. Each artist presents a unique interpretation of reality\, challenging viewers to question their own understanding of what they see. From Aaron Wilder’s mixed media drawings that reflect on personal exile to Christopher Squier’s explorations of light and vision\, the artworks invite contemplation and introspection\, making the act of seeing a deeply personal and revelatory experience. \n​Further\, Seeing Is Believing underscores the idea that art can alter our perception and understanding of the world. The diverse mediums and techniques employed by the artists\, such as Grant Johnson’s infrared light prints and Dain Susman’s evolving tool imagery\, demonstrate how different visual approaches can reveal new truths and insights. By engaging with these artworks\, viewers are encouraged to move beyond surface appearances and discover deeper meanings\, ultimately reinforcing the notion that belief and understanding are intrinsically linked to the act of seeing. \n​By highlighting the power of perception and the subjective nature of visual experience\, Seeing Is Believing resonates with contemporary discussions about reality and truth. In an age where information is abundant and often conflicting\, the exhibition encourages viewers to question and reinterpret their perceptions. The diverse range of mediums\, techniques\, and subject matter showcased by the artists help foster a more nuanced understanding of the world. \n​About Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \n​For more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/seeing-is-believing-artists-of-amos-eno-gallery/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20240905
DTEND;VALUE=DATE:20241007
DTSTAMP:20260416T160400
CREATED:20240919T180700Z
LAST-MODIFIED:20240919T180700Z
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SUMMARY:Philip Swan: The Present Is Never Our End
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery in Bushwick\, Brooklyn\, is pleased to present The Present Is Never Our End\, a solo exhibition by Philip Swan\, on view from September 5 to October 6\, 2024. An opening reception will take place at the gallery’s location at 56 Bogart St. on Friday\, Sept. 6\, from 6 to 8 p.m. \nWith a combination of oil paintings on canvas along with several works on paper in this show\, his third solo at Amos Eno\, Swan took inspiration from this quote in Blaise Pascal’s Pensées\, which informed the title of the exhibition:  \n“Let each of us examine his thoughts; he will find them wholly concerned with the past or the future. We almost never think of the present\, and if we do think of it\, it is only to see what light it throws on our plans for the future. The present is never our end. The past and the present are our means\, the future alone our end.” \nInspired by these ideas\, Swan explores the way viewers unconsciously interpret abstraction through free association. He engages with shapes\, colors\, lines and textures in ways that draw on memories and emotions inspired by — but in no way determined by — the memories and emotions of the artist who created the work. By encouraging an element of introspective daydreaming\, the ambiguity of abstraction often generates emotional associations in both the artist and the viewer\, each colored by their own personal experiences.  \nSwan’s paintings are an internalized distillation of living in New York City for nearly three decades\, capturing its energy and geometry in a way that can often be both exhilarating and overwhelming. While the paintings are self-contained\, they are connected through color and compositional similarity.  \nIn the process of creating work\, Swan conceives of compositional and aesthetic roadblocks and then improvises his way to a solution while avoiding resolving problems concretely\, thus allowing previous stray pathways which eluded resolution to remain visible. The resulting pentimento gives the work its complex composition. \nAbout the Artist \nPhilip Swan is a self-taught artist whose paintings\, mainly oil on canvas\, are self-contained\, but connected through color and compositional similarity. Influences include painters Amy Sillman and Charline von Heyl. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/philip-swan-the-present-is-never-our-end/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTEND;TZID=America/New_York:20240728T170000
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SUMMARY:Present Tense
DESCRIPTION:Amos Eno Gallery is pleased to collaborate with The Center for Photographic Art (CPA) in Carmel\, California\, for their 2024 Juried Exhibition\, Present Tense\, with CPA’s Executive Director Ann M. Jastrab serving as Juror. \nThe show will be on view from June 28 to July 28\, 2024. An opening reception will take place at the gallery’s Bushwick location at 56 Bogart St. on June 28 from 6 to 8 p.m. \nThis year\, Amos Enos Gallery opened their juried show exclusively to Friends of Photography members at CPA and invited them to submit work created within the last three years to create an exhibition that reflects this moment in time as seen through the lenses of photographers around the country. \nAnn Jastrab\, Juror’s Statement\, June 2024 \nThanks to the Amos Eno Gallery for partnering with the Center for Photographic Art to give our Friends of Photography members a chance to share their work with a new audience 3000 miles away! Jurying is never easy\, but as the director of our organization\, it was wonderful to see the depth and breadth of the projects submitted by our members\, many of them new to me. The talent\, diversity\, and strength of the portfolios was something to behold and I was honored to view and select from the myriad works. The images in the gallery take us from the intimate and exquisite portraits by Sandra Chen Weinstein from her series\, “She” to the wide open horizons of the bay actually near my home in Northern California\, but Michael Scandling’s vistas are magical\, glowing\, and ever-changing. I liked the way Eben Ostby’s argyrotypes of architectural ruins of the South paired with Phil Sager’s gritty and sometimes apocalyptic street images from San Francisco from his long term project\, “Fragmented Memories.” Then there are the diptychs paired in pandemic introspection by Yelena Zhavoronkova\, quiet observations and beautiful color\, inextricably linked. Jo Ann Chaus’ self-portraits and still lifes are so vibrant in her use of color\, that the color almost becomes a character\, electrically charging each scene. And then our farthest afield member\, Alexis Gerard\, takes us on a journey to fog shrouded Fontainebleau\, letting us peek into empty palaces and walk through the misty grounds and silent streets. Together these projects are a journey across miles and minds and into the heart of 7 diverse artists’ portfolios. \n I want to thank all the photographers for sharing their work with me and for taking me on this journey\, foreign and familiar. It was very difficult culling several hundred images down to just thirty-five in the physical gallery and another forty-fine in the online gallery. I had to leave out many portfolios and photographs that I would have loved to include. Congratulations to all the artists for creating such cohesive and incredible projects and for pursuing your unique vision. It’s not always easy to make work\, but your perseverance and commitment to the medium shines through. \nJastrab selected five works each by seven photographers for installation in the gallery: \n\n\nJo Ann Chaus \n\n\nAlexis Gerard \n\n\nEben Ostby \n\n\nPhilip Sager \n\n\nMichael Scandling \n\n\nSandra Chen Weinstein \n\n\nYelena Zhavoronkova \n\n\n“The images in the gallery take us from the intimacy of bedrooms to the wide open horizon of the sea\, the ruins of the Antebellum South to the gritty streets of a bustling city\, diptychs paired in pandemic introspection and self-portraits made using color as a character\, plus a journey to fog shrouded Fontainebleau\,” Jastrab said of the work on view. “A journey across miles and minds and into the heart of 7 diverse artists’ portfolios.” \nIn addition\, Jastrab selected five images each from an additional nine photographers’ whose work will be on view through a digital gallery presentation: \n\n\nJennifer Fox Armour  \n\n\nGary Beeber \n\n\nEllen Konar and Steve Goldband \n\n\nLandry Major \n\n\nJeanne Rousseau Marino \n\n\nMark Overgaard \n\n\nDavid Rathbone \n\n\nMark Tuschman \n\n\nGary Wagner \n\n\n“There were so many incredible projects submitted from our Friends of Photography members\, that it was nearly impossible to select just seven artists to feature in the gallery\,” Jastrab said. “These additional nine photographers had powerful projects\, from documentary projects about the American West and migrant labor\, to gorgeous landscapes in both color and B&W\, displaying the beauty of our Earth and our surroundings. Many of the images in this online gallery make me want to travel to the poles as well as the wild and tamed places in between.” \nNotable Contributors \n\n\nEllen Sturm Niz\, Exhibition Design & Installation \n\n\nJulianne Nash\, Exhibition Production & Consultation \n\n\nBlick Art Supplies\, Production Materials \n\n\nNew York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature\, Exhibition Funding \n\n\nAbout the JurorAnn M. Jastrab is the Executive Director at the Center for Photographic Art in Carmel\, California. CPA strives to advance photography through education\, exhibition and publication. These regional traditions—including mastery of craft\, the concept of mentorship\, and dedication to the photographic arts—evolved out of CPA’s predecessor\, the renowned Friends of Photography established in 1967. While respecting these West Coast traditions\, CPA is also at the vanguard of the future of photographic imagery. \nBefore coming onboard at CPA\, Ann worked as the gallery director at RayKo Photo Center in San Francisco for 10 years until their closure in 2017. While being a champion of artists\, she created a thriving artist-in-residence program at RayKo where multiple residents received Guggenheim Fellowships. Ann was also the gallery manager at Scott Nichols Gallery in San Francisco where she incorporated contemporary artists with the legends’ photography.About Amos Eno GalleryAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. Summer hours at the gallery are Fridays through Sundays from 1 p.m. to 6 p.m.\n \n​For more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/present-tense/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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SUMMARY:Aruni Dharmakirthi: 'Shrine Room'
DESCRIPTION:Amos Eno Gallery is pleased to present Shrine Room\, a solo exhibition of new and recent works by Aruni Dharmakirthi\, on view in The Project Space at Amos Eno from May 30 to June 23\, 2024. An opening reception will be held on Friday\, May 31\, 2024\, from 6 to 8 p.m. at the gallery’s location at 56 Bogart Street in Brooklyn\, NY. A catalogue of works will also be available on Artsy. \nAs an artist\, Dharmakirthi explores migration\, memory\, and relational dynamics. They utilize personal mythology to expand on ideas of self and interdependence. Through the visual language of divination and deity worship\, their work takes the form of shrines as a conduit to ancestors and past/future selves. \nThey are interested in transmutation within spiritual traditions. Through their creative practice\, they probe the potential of generative fiction and visualization to heal histories of trauma. Imagery is pulled from folklore\, religious iconography\, and personal archives to create collage-like tapestries and soft sculptures.  \nDharmakirthi’s practice embodies processes of ritual through techniques such as sewing\, weaving\, and needle felting. Textiles act as a marker of familiarity and comfort. Color\, shape and pattern function as playful design elements to allure and invite viewers. \nAbout the Artist \nAruni Dharmakirthi is a Sri Lankan-born\, artist\, educator and meditation teacher based in Brooklyn\, NY.  Aruni’s work explores personal and collective narratives through tapestry and soft sculpture. Content and form are stitched together into work that resembles collage.  \nDharmakirthi received an MFA in Visual Studies from the Pacific Northwest College of Art in 2017 and a BA in Studio Art from Florida State University in 2013. They have participated as an artist in residence at the Bric Workspace Residency (NY)\, Centrum Emerging Artist In Residence (WA)\, and Caldera PNCA MFA Residency (OR). They received an Equity Award from the American Craft Council to attend the Present: Tense 2019 conference in Philadelphia and the A4A production fund grant from Saskia Fernando Gallery in Colombo\, Sri Lanka. \nAbout Amos Eno Gallery\nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director.  \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/aruni-dharmakirthi-shrine-room/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240530
DTEND;VALUE=DATE:20240624
DTSTAMP:20260416T160400
CREATED:20240510T161438Z
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SUMMARY:Robert A. McCann: ‘Science Fiction’
DESCRIPTION:Amos Eno Gallery is pleased to present Science Fiction\, a solo exhibition of new and recent works by Robert McCann\, on view from May 30 to June 23\, 2024. An opening reception will be held on Friday\, May 31\, 2024\, from 6 to 8 p.m. at the gallery’s location at 56 Bogart Street in Brooklyn\, NY. A catalogue of works will also be available on Artsy. \nRobert McCann’s recent works explore the strangeness of contemporary life. His paintings reckon with the fragmented present and the constructed past through an open-ended process of fictional world-building. “Science Fiction” refers to the speculative nature of the current moment\, where emergent media and technology conjure what was once fantasy. Science fiction can also describe the double feeling of a mind inside a body\, experiencing continuity and change over time. \nMcCann’s new paintings look outward to current events but are anchored by personal experience. The last few years in which the work was created have seen a gradual\, shaky return to normalcy. The work in this show comes out of that psychological environment. The anxiety of being a middle-aged dad to a toddler informs existential themes of vicarious avatars\, the fragility of the body\, and the invention of the public and private self. Time is another recurring visual idea and essential to the paintings’ gradual realization in the studio. \n“This has felt like a moment to jump in and then linger\,” McCann says. “The paintings are kind of like writing a message in a bottle and then thinking ‘maybe I’ll put a ship in there.'” \nAbout the ArtistRobert A. McCann is a Michigan-based artist and educator. Born and raised in the Ozarks of southwest Missouri\, he developed his studio practice through studies at Missouri State University\, Indiana University\, and as a Fulbright scholar based in Berlin\, Germany. McCann’s paintings have frequently dealt with the potential for metaphors in our byzantine mass media culture\, and the overwriting of epic and intimate events in the particular artifice of painting. He has exhibited his artwork extensively around the United States\, including recent exhibitions at South Bend Museum of Art\, Evanston Art Center\, Ned & Gloria Griner Gallery at Ball State University\, and Davis Gallery at Hobart & William Smith Colleges in Geneva\, NY.   About Amos Eno GalleryAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. Amos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
URL:https://artinamericaguide.com/event/robert-a-mccann-science-fiction/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240425
DTEND;VALUE=DATE:20240520
DTSTAMP:20260416T160400
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SUMMARY:Mimi Oritsky: The Wrinkled Wet
DESCRIPTION:Amos Eno Gallery is pleased to present The Wrinkled Wet\, a solo exhibition of new and recent works by Mimi Oritsky\, on view from April 25 to May 19\, 2024. An opening reception will be held on Friday\, April 26\, 2024\, from 6 to 8 p.m. at the gallery’s location at 56 Bogart Street in Brooklyn\, NY. A catalogue of works is also available on Artsy. \nThe Wrinkled Wet includes paintings executed on linen\, wood\, and paper\, dating from 2019 through 2024. Oritsky painted most of this exhibition outside during soft rainfalls. Droplets of water formed at corners of the graphite and gouache that appeared like jewels against the strong rays of sunlight streaming down from the sky. In this sense\, the artist comes completely to terms with her environment and the rhythms of the moving air. \nIt is not always easy to contemplate the visible air. Humidity and dust add a particular reflective quality. The color and texture of the soil becomes airborne\, differing greatly from region to region. Juxtaposition becomes important. When viewed from above\, the elements flatten out and we become more acutely aware of the volume of air between the viewer and the the ground. With speed we encounter the rhythmic reflective qualities of the air. \nOritsky’s paintings become a shared experience as we move quickly across the landscape with a sense of urgency\, beckoning the elements. Oritsky layers paint\, allowing it to dry between applications. She scrapes away areas until she achieves the exact color\, texture\, and marks to blend abstraction with representation. \n​About the Artist \nMimi Oritsky studied painting and sculpture at the Philadelphia College of Art (now the University of the Arts) in Philadelphia\, PA. She studied drawing and anatomy at the Maryland Institute College of Art in Baltimore\, MD\, receiving her B.F.A. in Painting; she received her M.F.A. in Painting and Printmaking from the University of Pennsylvania Graduate School of Fine Arts in Philadelphia\, PA. \nShe currently lives and works in Philadelphia\, PA.
URL:https://artinamericaguide.com/event/mimi-oritsky-the-wrinkled-wet/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240420T140000
DTEND;TZID=America/New_York:20240420T180000
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SUMMARY:Plant Card Reading
DESCRIPTION:Join The Plant Contingent — Ana Fernandez Miranda Texidor PhD\, Maria Patricia Tinajero\, PhD\, Kate Farrington PhD and 2024 IDSVA and doctoral candidate Samantha Jones — as they engage you in new ways of being with plants beyond purely functional or aesthetic approaches. \nThe Plant Contingent explores alternative and emergent methods that combine creative and artistic research guided by other realms of knowledge-cultivation\, such as plant ontology. The dispersed geographies of the Contingent members across the United States and Ecuador become virtual sites for collectively developing works of art\, proposals\, and texts that thrive on collaborations and in association with plants\, soil\, bees\, and mycelium as grounds for thinking-being. \nBased on the concept of corazonar\, or heartening\, the Plant Contingent sprouts radical entanglements. Participants are invited to engage with the tangible and intangible world of plant-being through the communal and interpretive act of Plant Card readings\, while drinking herbal teas and fragrant infusions of plants in an inviting and supportive atmosphere. The cards draw new significance as we share wisdom and exchange insights to unfold these ‘untold-unheard’ stories. Plants nourish and guide\, transcending time and culture. In this space\, under the gentle sway of plant-infused libations\, we tap into our connections with the cards and the natural world\, weaving new narratives for a more resilient future.
URL:https://artinamericaguide.com/event/plant-card-reading/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Event
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DTSTART;VALUE=DATE:20240329
DTEND;VALUE=DATE:20240422
DTSTAMP:20260416T160400
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SUMMARY:Praxis and the Artist Philosopher: 2024 IDSVA Graduates
DESCRIPTION:“IDSVA becomes a departure point for individuals to cultivate a praxis that guides the purpose of their lives. Contrary to conventional measures of success or fame\, the praxis emphasizes kindness\, care\, consideration\, listening\, and dialogical encounters. This way of thinking blends reason and poetic consciousness\, which extends beyond the individual\, influencing their interactions with family\, community\, friends\, and colleagues…. IDSVA emerges as a transformative space in this light\, and its graduates become torchbearers\, shaping an envisioned future that has yet to be fully realized.”  \n— George SmithInterview with Dr. Kate Farrington and Dr. María Patricia Tinajero \nAmos Eno Gallery is thrilled to announce the opening of Praxis and the Artist Philosopher\, a group exhibition featuring the latest creations by the talented 2024 graduates of the Institute for Doctoral Studies in Visual Art (IDSVA). The exhibition\, on view in The Project Space at Amos Eno\, will kick off with an opening reception on Friday\, March 29\, from 6 p.m. to 8 p.m. at the gallery’s location at 56 Bogart Street in Brooklyn\, NY. A catalogue of works is also available on Artsy. \n The concept of the “Artist Philosopher\,” as articulated by George Smith in a recent interview\, celebrates the innate curiosity and wonder inherent in human nature. Challenging conventional philosophical frameworks that prioritize scientific knowledge\, the artist-philosopher advocates for a form of thinking grounded in wonderment and a poetic understanding of the world. \n Drawing on the concept of praxis\, which refers to the act of bringing forth new thought and action\, the artists in this exhibition engage in a groundbreaking interplay between scholarship and art making. Despite IDSVA’s distinction as a non-studio-based Ph.D. program\, a significant number of participating scholars are practicing artists who have maintained a prolific creative practice alongside their academic endeavors. Praxis and the Artist Philosopher underscores the vital role of art in philosophical inquiry\, fostering a dynamic dialogue between creative expression and intellectual exploration. \nThis thought-provoking exhibition promises to challenge perceptions and inspire contemplation. Join us for an enriching evening of art and conversation at the opening reception on March 29.
URL:https://artinamericaguide.com/event/praxis-and-the-artist-philosopher-2024-idsva-graduates/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20240422
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SUMMARY:Samantha Jones: Delirious Creatures
DESCRIPTION:“…for surely\, I believe there is sense and reason…not only in all creatures\,but in every part of every particular creature.”\n— Margaret Cavendish\, Observations Upon Experimental Philosophy\, 1666\nAmos Eno Gallery is pleased to present Delirious Creatures\, a solo exhibition of recent works by Samantha Jones. An opening reception will be held on Friday\, March 29 from 6 to 8 p.m. at the gallery’s location at 56 Bogart Street in Brooklyn\, NY. A catalogue of works is also available on Artsy. \nDelirious Creatures is an invitation to encounter material imagination as it dreams and wanders\, slipping in and out of forms\, and propagating new worlds in each gesture. Meaning “madness\,” or to “deviate\, be deranged\,” or literally\, to “go off the furrow\,” delirium offers an agricultural equivalent to the familiar industrial metaphor of “going off the rails.” By going off the furrow of human attention and focus\, delirium opens the threshold of the self as a portal to wandering into other modes of being.  \nIn a universe where nothing comes from nothing\, there is no birth — only rebirth into a new constellation of being. To be remade\, there must be a willingness to become unmade. The “I” loses its potency\, taking flight as an insect\, or a bird that just flew by the window. Thought takes flight along with it\, embracing a feeling of what it must be like to float along in the air\, subject to the slightest shift in the wind. This is more than pure imagination — one’s body takes flight along with the mind\, subject to phantom sensations of feathers\, breath and fur.  \nThese works make visible the traces of other lives as they move through their habitat and through the artist as an illuminator\, resonance chamber\, and conduit. Drawing upon automatic practices such as decalcomania\, ecstatic painting and assemblage\, colors and textures shapeshift to blur distinctions between one another. The inherent energy of material — be it wood\, mushroom\, insect\, mineral\, water\, or light — communicates bewildering messages in its own transmutation. Speculation then becomes a sensual “waking dream” to capture the creative residue of these encounters. These actions are uncomfortable; they feel absurd and without purpose\, and yet they are able to escape the distinctly human need for purpose\, or value. Being\, as vital energy acting through material\, breaks down the boundaries of self-imposed perception\, compelling one to feel through another from the inside out\, and opening one’s own being to care\, perhaps for the first time.  \nJones is a doctoral candidate at the Institute for Doctoral Studies in Visual Art (IDSVA)\, and she invited other 2024 graduates of the program to exhibit in a concurrent show in The Project Space at Amos Eno. The group exhibition\, Praxis and the Artist-Philosopher\, celebrates the innate curiosity and wonder inherent in human nature. Challenging conventional philosophical frameworks that prioritize scientific knowledge\, the artist-philosopher advocates for a form of thinking grounded in wonderment and a poetic understanding of the world. \nAbout the Artist \nSam Jones is a materials-based installation artist living in the coastal woods of Maine. She holds an MFA from Tyler School of Art in Philadelphia\, and a doctorate from the Institute for Doctoral Studies in Visual Art. Her dissertation\, Wild Care: A Vital Surrealist Inquiry on Loss in the Wood\, considers new and vital etho-ecologies within the philosophy of aesthetics. Jones is an Assistant Professor of Art at the University of Maine\, Orono. She has participated in residencies including the Worm Farm Institute\, in WI\, Vermont Studio Center in VT\, and Pinea Linea De Costa in Rota\, Spain. She exhibits her work throughout New England\, New York\, and abroad.
URL:https://artinamericaguide.com/event/samantha-jones-delirious-creatures/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20240316T160000
DTEND;TZID=America/New_York:20240316T170000
DTSTAMP:20260416T160400
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SUMMARY:Special Music Event: Live Score to "Adapt Adopt"
DESCRIPTION:Experience the work of Nishiki Sugawara-Beda while listening to musician Damien Olsen Berdichevsky interpret the art on view through an improvised piano soundtrack. \nIn Adapt Adopt\, her solo exhibition of Sumi ink paintings at Amos Eno Gallery\, Nishiki Sugawara-Beda probes questions around “tradition.” Can we pinpoint the origin of any tradition? Are we confined by traditions\, or do we govern and shape them with our own hands? This exhibition marks a turning point in Sugawara-Beda’s work where she is exploring these questions through not only the visual but the introduction of the aural. \nA companion event\, Live Score to Adapt Adopt\, will take place on Saturday\, March 16th\, from 4 p.m. to 5 p.m. Visitors are invited to view the Sumi ink paintings in Adapt Adopt while listening to artist and musician Damien Olsen Berdichevsky interpret the artwork through this improvised piano soundtrack. Admission is free. \nAdapt Adopt features work from Sugawara-Beda’s ongoing series KuroKuroShiro\, translated to “black-black-white” in Japanese. The title of this series is indicative of her process using Sumi\, a traditional East Asian ink. With the distinctly rich and subtle tones of Sumi\, the artist composes monochromatic yet colorful painted worlds in which the viewer can be immersed and commune with an inner\, quieter spirit. \nBorn and raised in Japan\, Sugawara-Beda was steeped in a poetic Japanese aesthetic valuing symbolic interpretation over direct representation. It is from this lyrical\, and oftentimes philosophical\, Japanese sensibility that Sugawara-Beda creates. After moving to the United States and earning an MFA at an American institution\, Sugawara-Beda’s Japanese sensibilities were in tension with a Western conceptual framework that often emphasized a definitive end goal. Adapting traditional ink to Western language and adopting Western language within her artistic practice that employs Japanese traditions\, the tension initially encountered between these two cultures Sugawara-Beda now cherishes. The images are based on the artist’s own negotiations with traditions she has experienced and the traditions she embodies. \nAbout the Artist \nNishiki Sugawara-Beda is a Japanese-American visual artist focusing on painting and installation\, and actively exhibits her work in solo and group exhibitions and offers lectures nationally and internationally. Connecting across space and time\, she experiments in ancient Japanese materials and techniques including Sumi ink\, Kakejiku landscapes\, and rice paper\, to merge them with abstract and expressive forms familiar to the modern Western aesthetic. \nHer works are in private and public collections including the Dallas Museum of Art (TX) and Dennos Museum (MI). Exhibition venues include the Spartanburg Art Museum (SC)\, Morris Graves Museum of Art (CA)\, Dennos Museum (MI)\, Amos Eno Gallery (NY)\, and Cris Worley Fine Arts (TX). Publications include New American Paintings\, AEQAI\, Athenaeum Review\, London Post\, Art Spiel\, and WhiteHot. Awards including a Seed Grant\, Diversity Fellowship\, International Enhancement Grant\, Idaho Arts Fellowship\, Sam Taylor Fellowship\, Tusen Takk Foundation Residency\, and the Dallas Museum of Art’s Otis and Velma Davis Dozier Travel Fund have supported her artistic research. \nCurrently\, Sugawara-Beda is an Associate Professor of Art at Southern Methodist University in Dallas\, TX. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. Amos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
URL:https://artinamericaguide.com/event/special-music-event-live-score-to-adapt-adopt/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Event
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240229
DTEND;VALUE=DATE:20240325
DTSTAMP:20260416T160400
CREATED:20240222T205958Z
LAST-MODIFIED:20240222T205958Z
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SUMMARY:Nishiki Sugawara-Beda: "Adapt Adopt"
DESCRIPTION:Amos Eno Gallery\, a non-profit\, artist-run gallery in Bushwick\, Brooklyn\, is pleased to present Adapt Adopt\, a solo exhibition by Nishiki Sugawara-Beda. An opening reception will take place at the gallery’s Bushwick location on Friday\, March 1\, from 6 to 8 p.m. The exhibition will also be on view virtually through the gallery’s Artsy profile. \nAdapt Adopt features work from Sugawara-Beda’s ongoing series KuroKuroShiro\, translated to “black-black-white” in Japanese. The title of this series is indicative of her process using Sumi\, a traditional East Asian ink. With the distinctly rich and subtle tones of Sumi\, the artist composes monochromatic yet colorful painted worlds in which the viewer can be immersed and commune with an inner\, quieter spirit.  \nIn Adapt Adopt\, Sugawara-Beda probes questions around “tradition.” Can we pinpoint the origin of any tradition? Are we confined by traditions\, or do we govern and shape them with our own hands? This exhibition marks a turning point in Sugawara-Beda’s work where she is exploring these questions through not only the visual but the introduction of the aural. \nA companion event\, Live Score to Adapt Adopt\, will take place on Saturday\, March 16th\, from 4 p.m. to 5 p.m. Visitors are invited to view the Sumi ink paintings in Adapt Adopt while listening to artist and musician Damien Olsen Berdichevsky interpret the artwork through this improvised piano soundtrack. Admission is free. \nBorn and raised in Japan\, Sugawara-Beda was steeped in a poetic Japanese aesthetic valuing symbolic interpretation over direct representation. It is from this lyrical\, and oftentimes philosophical\, Japanese sensibility that Sugawara-Beda creates. After moving to the United States and earning an MFA at an American institution\, Sugawara-Beda’s Japanese sensibilities were in tension with a Western conceptual framework that often emphasized a definitive end goal. Adapting traditional ink to Western language and adopting Western language within her artistic practice that employs Japanese traditions\, the tension initially encountered between these two cultures Sugawara-Beda now cherishes. The images are based on the artist’s own negotiations with traditions she has experienced and the traditions she embodies. \nAbout the Artist \nNishiki Sugawara-Beda is a Japanese-American visual artist focusing on painting and installation\, and actively exhibits her work in solo and group exhibitions and offers lectures nationally and internationally. Connecting across space and time\, she experiments in ancient Japanese materials and techniques including Sumi ink\, Kakejiku landscapes\, and rice paper\, to merge them with abstract and expressive forms familiar to the modern Western aesthetic. \nHer works are in private and public collections including the Dallas Museum of Art (TX) and Dennos Museum (MI). Exhibition venues include the Spartanburg Art Museum (SC)\, Morris Graves Museum of Art (CA)\, Dennos Museum (MI)\, Amos Eno Gallery (NY)\, and Cris Worley Fine Arts (TX). Publications include New American Paintings\, AEQAI\, Athenaeum Review\, London Post\, Art Spiel\, and WhiteHot. Awards including a Seed Grant\, Diversity Fellowship\, International Enhancement Grant\, Idaho Arts Fellowship\, Sam Taylor Fellowship\, Tusen Takk Foundation Residency\, and the Dallas Museum of Art’s Otis and Velma Davis Dozier Travel Fund have supported her artistic research.  \nCurrently\, Sugawara-Beda is an Associate Professor of Art at Southern Methodist University in Dallas\, TX. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from Morgan Ave. L subway. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. Amos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/nishiki-sugawara-beda-adapt-adopt/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240202
DTEND;VALUE=DATE:20240226
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SUMMARY:Li Xin Li: "Illusions of Being" Solo Show
DESCRIPTION:Amos Eno Gallery is pleased to present “Illusions of Being\,” the first solo exhibition of Li Xin Li at the gallery. An opening reception will take place at the gallery’s Bushwick location at 56 Bogart St.\, on Friday\, February 2\, from 6 to 8 p.m. \n“Illusions of Being” is a journey that unravels the essence of existence. Through the paintings\, explore ideas around philosophy\, memories\, and the meaning to exist. Amidst enigmatic colorful spaces and surreal atmospheres\, explore the profound with the absence of humanity\, through objects\, corners\, perspectives\, and clashes of colors. As the tangible and imaginary converge\, the artist invites you to question\, reflect\, and embrace the extraordinary nature of being. \nAbout the Artist\nLi Xin Li (b.1999) is firstly an art practitioner\, then an artist. One of Li’s guiding principles is encapsulated in his belief that “one cannot simply paint a cloud because they see it; they must feel it.” This notion emphasizes his commitment to infusing his artwork with genuine emotion\, inviting viewers to connect with the work on a deeper level. \nAbout Amos Eno Gallery\nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com. \nAmos Eno Gallery’s programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
URL:https://artinamericaguide.com/event/li-xin-li-illusions-of-being-solo-show/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240119T180000
DTEND;TZID=America/New_York:20240119T200000
DTSTAMP:20260416T160400
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SUMMARY:Ryan M. Schroeder: ‘Thin Air and Cinders’
DESCRIPTION:Amos Eno Gallery\, a non-profit artist collective in Bushwick\, Brooklyn\, is pleased to present Thin Air and Cinders\, a solo exhibition by Ryan M. Schroeder. An opening reception will take place at the gallery’s location at 56 Bogart St.\, Brooklyn\, NY\, on Friday\, January 19th\, from 6 to 8 p.m. A virtual gallery of the show is on Artsy.\n\n\n\nThe Show \nThin Air and Cinders\, is an exhibition of recent works by Ryan M. Schroeder. His debut solo exhibition with Amos Eno Gallery features paintings engaging themes of life\, death\, war\, community\, the media\, and reflections on current events. \nThe  Artist \nRyan Schroeder is an artist from Rochester\, New York. His body of work primarily focuses on cultural erasure\, environmental destruction\, and overlooked people in society through oil paintings. Ryan has won numerous art awards and grants\, including two Elizabeth Greenshields Grants\, and has been featured in various art publications. His art has been shown in over 30 exhibitions around the US\, Asia\, and Europe. \nEngaging Reality: People and Spaces\, Schroeder’s most recent solo show\, took place at Space 776\, New York\, NY. The exhibition was featured in Metropolitan Magazine in the December Issue of 2023. Ryan was an artist-in-residence at Shanghai University in China and was twice the artist-in-residence of the Raketensation at the Insel Hombroich Foundation in Germany. He was also selected as a Fulbright Scholar for painting in Düsseldorf and Münster\, Germany. Ryan has previously worked for Jeff Koons and at the Guggenheim Museum on retrospective exhibitions with artists such as Alex Katz that have been featured in the New York Times and Vogue. In 2022\, he was the Featured Artist for the White House Fellows Annual Leadership Conference. Ryan received a Bachelor of Arts from the Maryland Institute College of Art and a Master of Fine Arts from the New York Art Academy. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \n​For more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/ryan-m-schroeder-thin-air-and-cinders/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Event
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DTSTART;VALUE=DATE:20240118
DTEND;VALUE=DATE:20240220
DTSTAMP:20260416T160400
CREATED:20240202T194937Z
LAST-MODIFIED:20240202T194937Z
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SUMMARY:Ryan M. Schroeder: ‘Thin Air and Cinders’
DESCRIPTION:Amos Eno Gallery\, a non-profit artist collective in Bushwick\, Brooklyn\, is pleased to present Thin Air and Cinders\, a solo exhibition by Ryan M. Schroeder. An opening reception will take place at the gallery’s location at 56 Bogart St.\, Brooklyn\, NY\, on Friday\, January 19th\, from 6 to 8 p.m. A virtual gallery of the show is on Artsy.\n\n\n\nThe Show \nThin Air and Cinders\, is an exhibition of recent works by Ryan M. Schroeder. His debut solo exhibition with Amos Eno Gallery features paintings engaging themes of life\, death\, war\, community\, the media\, and reflections on current events. \nThe  Artist \nRyan Schroeder is an artist from Rochester\, New York. His body of work primarily focuses on cultural erasure\, environmental destruction\, and overlooked people in society through oil paintings. Ryan has won numerous art awards and grants\, including two Elizabeth Greenshields Grants\, and has been featured in various art publications. His art has been shown in over 30 exhibitions around the US\, Asia\, and Europe. \nEngaging Reality: People and Spaces\, Schroeder’s most recent solo show\, took place at Space 776\, New York\, NY. The exhibition was featured in Metropolitan Magazine in the December Issue of 2023. Ryan was an artist-in-residence at Shanghai University in China and was twice the artist-in-residence of the Raketensation at the Insel Hombroich Foundation in Germany. He was also selected as a Fulbright Scholar for painting in Düsseldorf and Münster\, Germany. Ryan has previously worked for Jeff Koons and at the Guggenheim Museum on retrospective exhibitions with artists such as Alex Katz that have been featured in the New York Times and Vogue. In 2022\, he was the Featured Artist for the White House Fellows Annual Leadership Conference. Ryan received a Bachelor of Arts from the Maryland Institute College of Art and a Master of Fine Arts from the New York Art Academy. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \n​For more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/ryan-m-schroeder-thin-air-and-cinders-2/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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SUMMARY:Magic Hour: Group Show of 20 Artists
DESCRIPTION:Amos Eno Gallery is pleased to present Magic Hour\, a group exhibition of work by 20 artists. An opening reception will take place at the gallery’s Bushwick location at 56 Bogart St.\, on Friday\, December 8\, from 6 to 8 p.m. \nCurated by gallery director Ellen Sturm Niz\, the exhibition features work by: Damien Olsen Berdichevsky\, Damfino\, Chris Esposito\, Matt Greco\, James Horner\, Grant Johnson\, Sam Jones\, Charleen Kavleski\, Emily Loughlin\, Li Xin Li\, Julianne Nash\, Hiroko Ohno\, Kathy Loev Putnam\, José-Ricardo Presman\, Ryan Schroeder\, Dain Susman\, Christopher Squier\, Philip Swan\, Michelle Thompson Ulerich\, and Aaron Wilder. \n“Coveted by photographers\, ‘magic hour’ is that special moment at sunset when the sun bathes the world in a warm\, otherworldly glow\, but it’s an apt description of all the work in this show\, from sculpture to paintings to drawings\,” Niz says. “Each piece has a quality that connects to this sense of the ephemeral and having captured the alchemy of a place\, time\, or narrative. While viewing each work\, you can’t help but be transported.” \nAnchoring the exhibition on the far wall of the gallery\, Kathy Loev Putnam’s two works on wood panel utilize saturated paint colors\, screen printing\, monotype\, and collage to achieve dream-like compositions with illogical interruptions in forms and patterns. The result of both Party in My Hair (2019) and In Fine Feather (2019)\, both on loan from Stanek Gallery in Philadelphia\, convey joyful innocence and its inevitably fleeting nature. \n“Anchored in a gesture that is both personal and familiar\, my subjects are universal portraits of girls during their formative years\, marked by a vivid internal consciousness\, and at times a sense of social disconnection\,” Putnam says.  \nOther works on view in Magic Hour include sculpture\, paintings\, photographs\, mixed media\, and drawings where reality intertwines with fantasy\, and the ordinary is infused with a touch of the extraordinary. This exhibition not only celebrates the transitory nature of\, well\, everything\, but also invites contemplation on the elusive magic hidden within the everyday\, encouraging observers to rediscover the extraordinary in the ordinary. \nAaron Wilder does just that in the two 24 x 32 inch inkjet prints of his digital photographs\, Details (2017) and Details (2020)\, which celebrate the gorgeousness of textured\, golden-hued surfaces when viewed in extreme close-up. \n“Inspired by the ‘Evidence’ collaboration between Larry Sultan and Mike Mandel as well as Sol LeWitt’s ‘PhotoGrids\,’ Details is a zoomed in exploration of minutiae\, such as marks\, patterns\, and signs of weathering—these are details of human impact and manipulation cut off from context to emphasize the aesthetics of wear and tear that typically go unnoticed in our daily lives\,” Wilder explains. \nSimilarly\, 38°31′30″N 111°45′00″W (Pando) by Emily Loughlin explores the unnoticed beauty hidden in the natural world. Created in residency with the Friends of Pando\, the sculpture — made of bisque-fired stoneware\, wire\, and CMUs and displayed on six cinder blocks — maps the root system of the 106-acre Pando Aspen Tree. A clonal organism\, Pando’s 4\,400 individual stems grow from a single root system\, making it the largest known organism on earth. \nAlternating between references to topography and to organic materials\, Loughlin’s sculptures examine the interplay between geology and biology\, shifting between their vastly different time scales. With clay as her primary medium\, she uses firing temperature to manipulate the work’s longevity\, making topographies and landscapes “temporary” through raw clay and bisque firing\, and organic forms “permanent” through high-fire vitrification. \nMeanwhile\, Hiroko Ohno challenges us to look to the skies and luxuriate in the celestial in her mixed media works Galaxy Event Horizon (2023) and Space II (2018)\, which convey the stunning vastness and eerie beauty of space. \n“My questions about the universe and the world drive me to create artwork. I am interested in time and gravity. I use pigments of minerals\, seashells\, corals\, etc.\, and focus on celestial bodies\,” Ohno says. “Recently\, I have been particularly interested in the Event Horizon Project\, which is investigating black holes. The stars and celestial bodies I depict are based on my physical and mental experiences and memories from my travels around the world\, including Namibia\, Africa\, the Sahara Desert\, and Quebec\, where I saw them on the spot.” \nJames Horner implores us to cherish seemingly mundane moments with loved ones with his petite glazed ceramic sculpture Sleepers in Green Bed (2020). Horner is a gay man whose psychological artworks tell stories of the LGBTQ+ peoples’ lives to help divert discrimination. This sculpture is of Horner and his partner\, Chris\, sleeping together. He created the work after Chris committed suicide during the pandemic to promote suicide awareness among the queer community. \nLi Xin Li also explores the personal and emotional in I Just Want to Rest (2023)\, in which an exhausted figure is draped over a large block\, with his head set neatly below. Who doesn’t want to sever themselves from their incessant stream of thoughts occasionally? Now that would be magic. \nIt’s a “self-consciousness breakdown; a grief over the downfall of ego; a direct translation of the artist’s feeling onto the media itself\,” notes Li of the acrylic on canvas painting that expertly uses both color and form. \nAlso on view in the exhibition is a video of the 16-minute duet dance “Up\, at the moon\,” performed by dancers Michelle Thompson Ulerich and Lydia Soueidan at the gallery on September 16\, 2023. Choreographed by Ulerich in response to “The Golden Rule\,” a solo exhibition by Elena Barenghi\, the dance was inspired by nature and the beautiful balance present in the natural world. Similarly\, Ulerich’s choreography explored the miraculous and harmonious cycles of nature and life\, with the dance emerging from the wall almost as if the dancers were being born out of the mural. \nMagic Hour invites viewers to reflect on the beauty of fleeting moments and the enchantment of discovering the extraordinary in the ordinary. These seven works as well as the 23 others in the exhibition all contribute their own dialogue to the overall message of acknowledging the profound magic of our existence. The works’ diverse perspectives weave together a narrative that celebrates the intricacies of our world\, making it a must-see showcase of artistic perspectives and contemplation. \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/magic-hour-group-show-of-20-artists/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/New_York:20231208T180000
DTEND;TZID=America/New_York:20231208T200000
DTSTAMP:20260416T160400
CREATED:20231205T165401Z
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SUMMARY:Let's Get Critical
DESCRIPTION:The Project Space at Amos Eno Gallery in Bushwick\, Brooklyn\, is pleased to present Let’s Get Critical\, a group exhibition by seven emerging artists from the New York City area. An opening reception will take place at the gallery’s location at 56 Bogart St.\, Brooklyn\, NY\, on Friday\, December 8\, from 6 to 8 p.m. \nCurated by gallery director Ellen Sturm Niz\, Let’s Get Critical will be on view through January 14. Artists featured are Sazia Afrin\, Naomi Frank\, Leah Harper\, Dustin Oriente\, Lynn Ubell\, Renee Valenti\, and Gail Vachon\, who were participants in Amos Eno’s inaugural critique group\, held over six online sessions this fall. This cohort of artists investigated their artistic practices with each other and with a rotating cast of nine of the gallery’s artists who served as moderators. \n“Artists constantly think critically about their practice and their work\, but outside perspectives and feedback are integral to growth and evolution\,” Niz says. “External viewpoints offer valuable insights that artists might not have considered within the confines of their own creative bubble. At any stage of their career\, constructive criticism and diverse interpretations from peers contribute to an artist’s ability to refine their skills\, broaden their conceptual horizons\, and adapt to changing artistic landscapes.” \nAs an artist-run gallery for almost 50 years\, Amos Eno is dedicated to fostering creative communities in New York City and beyond. The virtual critique group connected local New York City-based artists with each other and with the gallery’s artists from Philadelphia to Dallas to Santa Fe\, NM\, to explore their creative practices. \n“One area of interest in my creative practice is the making and unmaking of identity\, particularly from an immigrant’s perspective\,” says Sazia Afrin “ I use mixed-media and text-based art to revisit memories and family stories\, or to investigate the conflicting process of assimilating into another culture or nationality.” \nAfrin’s Rickshaw Book: A Study\, A Memory (2023) itself makes and unmakes colorful rickshaws as one flips through the cutout papers marked with acrylic gouache and acrylic markers. Bound together\, the collected pages reveal and assemble fragmented forms of the vehicle. \nFurther\, engaging in critical thought about the world and society is a cornerstone of an artist’s practice. By delving into the nuances of social\, political\, and cultural landscapes\, they can distill their observations into visual narratives that resonate with viewers on a profound level.  \n“It’s through this analytical process that artists not only reflect on the current state of affairs but also envision alternative perspectives and possibilities\,” Niz says. “Through their critical engagement with the world\, artists contribute to a collective dialogue\, fostering understanding\, empathy\, and\, at times\, sparking transformative change.” \n“My photographs explore themes of gender identity\, body image\, sexuality and desire through the lens of being a transmasc queer individual\,” says Dustin Oriente\, whose digital photographic prints Sprout (2023) and Decay (2023) are on view. “Using color\, texture and landscape\, I create a visual representation of my body’s appearance changing from testosterone therapy. Through physical transition\, my fear\, shame\, dysphoria\, and feelings of undesirability decay with the dying plants\, and in its place sprouts newfound confidence\, a sense of thriving and belonging as a beautiful part of nature.” \nLeah Harper’s work also investigates nature but through her own critical lens: “My practice centers on experimentation with materials\, such as bioplastics containing algae or seaweed\, and my work often highlights the implications of rising seas by portraying nature overtaking interior space\,” she says. “Drawing inspiration from marine ecosystems\, I create sculptures and installations that explore the balance between nature and the built environment.”  \nHer sculptures Overgrown (2023)  and Stagnant (2023) transform everyday ceramic and glass dishware with the addition of gelatin-based bioplastic and nori seaweed\, as if ocean life is taking back its space and more\, flooding into cupboards to show humans what it feels like to be invaded and polluted. \nMeanwhile\, in Renée Valenti’s recent series of work — of which the oil on canvas paintings Tether (2023) and Give Me Your Awful Parts and I Will Lick Them (2023) are on view in Let’s Get Critical — biomorphic shapes and saturated colors draw from spaces that straddle reality and the imaginary. Her work is heavily influenced by cinema\, low culture\, and the genres of figure painting and early abstraction\, as well as fantastical and outlandish sets and films from artists like John Waters\, David Lynch\, Sofia Coppola\, and sets and performances from opera and drag. \nUltimately\, the interplay between internal reflection and external engagement — with each other and the world around them — forms a crucial foundation for an artist’s continuous development\, ensuring that their creative journey remains dynamic\, relevant\, and resonant. A critical look\, in meaning both analytical and urgently important\, is evident in all 14 of the works from these seven artists who came together through this critique group. \n“Our supportive community is a testament to the belief that artistic expression thrives in a collaborative environment\,” Niz says. “ At Amos Eno\, we recognize that the strength of our gallery lies not only in the individual talents of our artists but in the collective spirit that binds us together.” \nAbout Amos Eno Gallery \nAmos Eno Gallery has been a fixture in the New York art scene since 1974 when it opened in Soho. It has moved with changing arts neighborhoods over the years to land at its current space at 56 Bogart St. in Brooklyn\, across from the Morgan Ave. L train stop. The gallery is open Thursdays through Sundays from noon to 6 p.m. and is run by a small community of professional artists\, both from New York City and across the country\, and a part-time director. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/lets-get-critical/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20231102
DTEND;VALUE=DATE:20231204
DTSTAMP:20260416T160400
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SUMMARY:Tulu Bayar: ​Twine
DESCRIPTION:Amos Eno Gallery is pleased to present Twine\, a solo exhibition by Tulu Bayar. An opening reception will take place at the gallery’s Bushwick location at 56 Bogart St.\, on Friday\, November 3\, from 6 to 8 p.m. Concurrently\, an exhibition by Dalit Gurevich will be on view in The Project Space. \nA  limited number of exhibition catalogs signed by the artist will be available during the exhibition with a curatorial essay by Nina Chkareuli-Mdivani. This exhibition catalog is made possible by a grant from the Mellon Confounding Problems in the Public Humanities and Arts. \n“In her new body of work for the exhibition Twine at Amos Eno Gallery\, Turkish-American artist Tulu Bayar visually culls together an identity made up of two\, eastern and western\, paradigms embodying distinct halves of her life\,” writes independent curator\, writer\, and researcher Nina Chkareuli-Mdivani in her curatorial essay\, East and West Entwined: Tulu Bayar at Amos Eno Gallery. “As an immigrant\, Bayar carries the sense of being the Other with her\, not being fully at home either in the U.S. or in Turkey because she simultaneously exists within two historical and geographic continuums. … In Twine we encounter a more nuanced and abstract meditation on the nature of immigrant experience.” \nThe center of Bayar’s exhibition is a series of 18 Citra transfer prints on cotton paper\, which she brushed with pastes made from soil\, sand\, water\, and vegetation collected from various geographical regions of the U.S.A. and Turkey. The images are already exquisite in composition — often with a solitary female figure in the foreground\, surveying a distant landscape — but are rendered even more haunting as a result of both the transfer process and the earth-paste application. Colors are pushed and pulled\, edges are softened\, and textures are enhanced. The resulting prints look as if they were discovered in a long-forgotten trunk\, transporting us to a time and place we aren’t sure ever existed.​ \nBayar’s photo transfer technique symbolizes the imprint of memory on the self. “The images themselves become a collage of moments that have shaped my path\,” she says. “I maintain a multidisciplinary practice that weaves through to produce reflections of immigrant experience.” \nLike many immigrants in the States and elsewhere\, Bayar negotiates her identity on the borderline of two languages and cultures. Her heightened sensitivity to flux and transition opens a gate for a dialectic worldview where she constantly relearns to exist. “Bayar creates urban cityscapes devoid of crowds\, but with hints and outlines of a mysterious feminine figure. By providing us with a reference point of a human body\, Bayar not only gives us a scale of her fantastic synthesized structures\, but also a protagonist\, a human being who is unlikely to inhabit these architectural marvels\, yet\, is presiding over them\,” writes Chkareuli-Mdivani. “The figure is like a hopeful immigrant herself trying to subvert the power of the golden city in the sky\, yet trying to hold onto the reality available to her.” \nBayar’s site-specific installations at Amos Eno Gallery reference and enhance the imagery in her series of prints. A collection of white trays are scattered flat across the wall\, with assortments of Turkish coffee and tea cups with saucers as well as mugs with varying heights jutting out from their surfaces. These drinking vessels mimic the architectural forms on the Citra transfers\, but their perpendicular orientation makes the resulting “floating cities” rather uncomfortable dwellings for anyone approaching from a different perspective — an apt commentary on the immigrant experience. \nMeanwhile\, a trio of giant scrolls cascades vertically down another wall. Hung at staggered heights and curling onto the floor in various sculptural piles\, they reveal information only on the part that is not rolled. Both ends are rolled up\, referencing the hidden past and future\, waiting for an unfold. “I assemble disparate elements\, ranging from salvaged images\, photographs\, photographic films\, old drawings\, and maps to repurposed textiles and cultural belongings\, and imbue them with new life\,” Bayar says. “This process of amalgamation serves as a metaphor for the mosaic of human existence — fragments coming together to form a coherent whole.”​ \nThe circular shapes of the scrolls and their circular motifs reference the white trays and the Citra transfer prints\, all borrowing from Italo Calvino’s “continuous cities.”  Calvino suggests that there is actually one continuous city that does not begin or end. To that end\, exposing the less-obvious differences in the things hiding in plain sight in each cityscape or landscape in that continuity becomes a performative act in Bayar’s Twine exhibition: Material becomes the mirror and she gives materials human traits. The comprehensive effect of Bayar’s prints\, trays\, and scrolls altogether then transform the gallery into a continuous city. \nAbout Tulu Bayar  \nBayar has participated in numerous solo and group exhibitions at museums and galleries in the US as well as in Germany\, Denmark\, UK\, Ireland\, France\, Colombia\, Turkey and China.  Her work is part of public collections including Belfast Exposed Photography\, Samuel Dorsky Museum\, Elgiz Museum of Contemporary Art (Istanbul)\, and the Textile Museum at George Washington University. Her exhibitions have been covered by international media including NPR\, The Irish Times\, Afterimage\, Photography Quarterly\, TRT (National Public Broadcaster of Turkey) and the Bushwick Daily. \n A Fulbright Scholar\, she has also received funding from Esmée Fairbairn Foundation\, Ténot Foundation\, artist-in residency grants from Camac Centre d’Art in France and the Center for Photography at Woodstock funded by the Andy Warhol Foundation as well as William Sackett Fellowship through Virginia Center for Creative Arts. \nBayar received her BA degree in Communications and Journalism from Ankara University and her MFA in Electronic Arts from University of Cincinnati. She is currently Professor of Art and Chair at Bucknell University in Pennsylvania\, where she co-founded the Ekard Artist Residency. \nFor more information\, please contact Gallery Director Ellen Sturm Niz at amosenogallery@gmail.com.
URL:https://artinamericaguide.com/event/tulu-bayar-twine/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220715T180000
DTEND;TZID=America/Halifax:20220715T200000
DTSTAMP:20260416T160400
CREATED:20220711T135319Z
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SUMMARY:Opening Reception\, Root Systems: Artist Collectives in NYC
DESCRIPTION:“Root Systems: Artist Collectives in NYC” examines the enduring legacy of grassroots artist-run collectives ABC No Rio\, Culture Push\, Amos Eno Gallery and Southeast Queens Artist Alliance (SEQAA) through a survey of marketing collateral\, posters\, fine art and oral and written histories documenting each organization’s unique imprint in the New York alongside contemporary artworks from artist members of these organizations. \nWe invite you to the opening reception of this two-week exhibit\, taking place on Friday\, July 15th from 6-8 PM. The exhibition highlights the efforts of the four NYC-based artist collectives — Amos Eno Gallery\, ABC No Rio\, Southeast Queens Artist Alliance and Culture Push– as each collective will have a space in the gallery to present. Organizations are exhibiting works on paper\, paintings\, new media and installation work aligned with their mission\, values and artist members’ studio practice in a manner that is meaningful to their own imprint on the past and dialogue with the present as we move toward a resilient future for artist communities based in New York City’s five boroughs. \nVisitors to the exhibition will encounter materials from the 1970s until today which offer insights into the rich experiences that artist-run spaces and initiatives have contributed to the wider cultural landscape in New York City.
URL:https://artinamericaguide.com/event/opening-reception-root-systems-artist-collectives-in-nyc/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220506T180000
DTEND;TZID=America/Halifax:20220506T210000
DTSTAMP:20260416T160400
CREATED:20220421T185401Z
LAST-MODIFIED:20220421T185401Z
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SUMMARY:Opening Reception\, Recalling the Chimaera
DESCRIPTION:Amos Eno Gallery is pleased to present Recalling the Chimaera\, works on paper\, parchment\, pellicles and the paper-like\, by artists Candace Jensen (VT)\, Thomas Little (NC) and Coleman Stevenson (OR). \n\nThe chimæra: a myth\, a monster and child of monsters\, a dazzling\, implausible corpus formed of parts unalike and unamicable. Elemental\, untamable\, misunderstood\, or obfuscating understandability. Furs and feathers\, viscera and aetheria. To recall: to remember\, to recognize. Bringing into focus that which haunts from the edges of memory. To come back to\, to open lines of communication once again. Anamnesis. ReCalling the Chimæra includes griffonage\, symbiotic organismic collaborations\, abecedary illuminations\, bestiaries and visual spellwork by three artists whose interdisciplinary practices defy simple categorization\, and deify the rhizomatic\, the mycelial\, the alchemical\, and the holographic. The assemblage of works on view summon the traditions of sigildry\, spellwork\, erasure\, calligraphic illumination\, guerrilla gardening\, biology\, psychology\, recursive systems\, yantras\, poetry\, labyrinths\, embroidery\, mediumship\, folk magic\, and many other pursuits that bridge the above with the below\, contain all\, and bind nothing. \n​ \nAt its simplest\, Recalling the Chimeæra pursues the aesthetics of complex\, polysemic messages\, and seeks to present language as a magical question. This exhibition is a ritual\, a spell\, and likely also a collection of asemic ephemera. The work is nothing more than earth and fibers\, slime mold and hammered sheets of metal which allow light to pass through\, like stained glass. The artists are devotees to the yellow friend\, haphazard sorcerers and cautious Doctors Frankenstein\, making a pass at presenting meaning inherent in their material\, playfully irreverent of some conventions and deadly serious about the rest of them.
URL:https://artinamericaguide.com/event/opening-reception-recalling-the-chimaera/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220401T180000
DTEND;TZID=America/Halifax:20220401T210000
DTSTAMP:20260416T160400
CREATED:20220314T130815Z
LAST-MODIFIED:20220314T130815Z
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SUMMARY:Sign of Frankenstein Group Exhibition Opening Reception
DESCRIPTION:Amos Eno Gallery is pleased to present Sign of Frankenstein\, an exhibition of some thirty recent paintings by eight New York City based artists.  The artists do not share a singular theme or mode of representation or abstraction.  They are loosely affiliated by their layered practices.  In this show viewers are invited to consider painting as an aggregate media\, to look to what is combined or collected. Curated by artist Robert McCann\, exhibiting artists include Tine Lundsfryd\, Noga Cohen\, Nicole Parcher\, Nancy Baker\, KellyAnne Hanrahan\, Jesse McCloskey\, Charity Baker\, and Adi Rejto.
URL:https://artinamericaguide.com/event/sign-of-frankenstein-group-exhibition-opening-reception/
LOCATION:Amos Eno Gallery\, 191 Henry Street\, New York\, NY\, 10002\, United States
CATEGORIES:Exhibition
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