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DTSTART;VALUE=DATE:20240314
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SUMMARY:Ina Gerken: A swirl of dust\, a shift of sound
DESCRIPTION:Ina Gerken\nA swirl of dust\, a shift of sound\nMarch 14 – April 27\, 2024\nOpening Reception: Thursday\, March 14\, 6:00-8:00pm \n \nRYAN LEE is pleased to announce A swirl of dust\, a shift of sound\, an exhibition of new abstract gestural paintings by German artist Ina Gerken (b. 1987). Her process is one that yields to artistic instincts\, often expressed through a method of heavily layered brush strokes\, splatters\, and streaks. This sense of movement embodies Gerken’s tendency toward an itinerant nature\, wherein moving her studio from place to place can at times become a part of her practice. The five evocative paintings in A swirl of dust were produced in New York City in 2023\, to which she traveled after being awarded the prestigious Pollock-Krasner grant. Large-scale and full of activity\, her paintings collectively represent an homage to the city’s vibrant\, unique sensory elements. This is Gerken’s first major solo presentation in New York.  \nGerken’s paintings are a dialogue between her subconscious and her mediums. She begins with a deliberately undefined end goal\, allowing primordial approaches of observation and discovery to take the lead. “I try to absorb everything like a sponge or a container\, and let it come to life in the works\,” she says. The past five years have taken her from Berlin to London to Los Angeles to Maine to New York\, where each scene is a blank canvas to explore. “I discover my own themes that may have been lying dormant inside me\,” she says\, citing the power of each new environment to function like a mirror\, reflecting ideas and feelings back to her\, to in turn respond to through painting. \nIn each vivid piece for A swirl of dust\, Gerken manipulates the sounds and sensations of New York City through expressive shades of blues\, greens\, and violets\, splaying them across the canvas with intense brush strokes\, raw stipples\, and impasto details. These works allude to concrete shapes but ultimately exist as abstractions\, suggesting moods and temperaments\, the timbre of a city street\, or the momentary tumult of an inner landscape.   \nDespite their reliance on energetic versus tangible subject matter\, Gerken acknowledges the influence of specific characteristics of her locations. Inspired by the sounds of NYC as well as the “dust” of energy the city emits\, she employs the visual motif of very small dots. By applying and then scaling the shape\, Gerken offers an impression that mimics the transience of the city itself\, rendering indecipherable whether the small and large forms are all dissolving apart\, or are just coming together. \nThe surreal effects of Gerken’s approach are intensified by the scale of this series of artworks\, which allows her to literally immerse herself in the meditative process of creating. Painting on the floor\, she is enabled to actually “be in the painting” and\, conversely\, is granted the dual vantage point of then stepping out and away from it to survey the experience and impact afresh. Evading ideas or ideals of the end result\, she loses herself in the physical and psychological act of painting\, lettering herself  “drift\, circle around something unknown\, and discover how the invisible becomes visible.” Though in a sense spatially methodical\, her process is fully reliant on intuition\, and culminates in an un-anticipatable moment of recognition. “The picture emerges\,” Gerken says\, “and it exists out of itself.”  \nThe gestural energy of each painting invites viewers into the same physicalized\, almost hypnotic sense of participation\, finding their own recognitions or senses of meaning within it. Built on layers of exploration\, action\, and reaction\, the artworks exist as testaments to the fluidity between reality and imagination\, between rationale and intuition\, between person and place. \n\nIna Gerken (b. 1987\, Speyer\, Germany) is a painter whose process-based practice is rooted in intuition and spontaneity. Relinquishing control\, Gerken allows her paintings to unfold autonomously and follow their own logic. To keep her process alive and exciting\, she embraces the rapidly drying medium of acrylic paint\, modifying content quickly and at will. Her work has been exhibited at museums and galleries around the world\, including Logomo\, Turku\, Finland (2023); Green Family Art Foundation\, Dallas\, TX (2023); Stiftelsen Vestfossen Kunstlaboratorium\, Vestfossen\, Norway (2022); Deictorhallen Hamburg\, Hamburg\, Germany (2020); Museum Wiesbaden\, Wiesbaden\, Germany (2020); and Bonn Museum of Modern Art\, Bonn\, Germany (2019)\, among others. Gerken studied art at the Kunstakademie Düsseldorf and is currently based in Düsseldorf\, Germany.  \n\nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/ina-gerken-a-swirl-of-dust-a-shift-of-sound/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20240125
DTEND;VALUE=DATE:20240310
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CREATED:20240103T214211Z
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SUMMARY:Richmond Barthé and Christopher Udemezue: in this moisture between us where the guinep peels lay
DESCRIPTION:Richmond Barthé and Christopher Udemezue\nin this moisture between us where the guinep peels lay\nJanuary 25 – March 9\, 2024\nOpening reception: Thursday\, January 25\, 6:00-8:00pm \n\nRYAN LEE is pleased to announce in this moisture between us where the guinep peels lay\, an exhibition of sculptures by American modernist Richmond Barthé (1901-1989) alongside images by multimedia artist Christopher Udemezue (b. 1986). The two bodies of work\, created by artists of vastly different generations\, explore figural representation through myth and movement\, engage respective ties to Jamaica\, and invoke evolutions of the queer Black perspective.  \nThrough their distinct mediums\, both artists capture the eternal beauty and mysticism of the human body. Barthé\, who was most prolific during the early-to-mid twentieth century\, depicted the dynamism\, energy\, and movement of his subjects\, often sculpting from memory. His figures\, such as African Boy Dancing (1937) and Black Narcissus (1929) are characterized by their graceful\, elongated forms\, spiritual emotion\, and delicate sense of motion.  \nIn dialogue with these sculptures\, Udemezue’s photographs offer a striking and intimate meditation on the body from a contemporary perspective. “The scenes and stories depicted traverse historical and geographic borders\,” Udemezue says\, at the same time “addressing questions of African queerness\, Caribbean spirituality and oral storytelling.” The artists’ bodies of work\, when paired\, highlight intergenerational possibilities for the queer Black perspective through expression and visual storytelling; while also calling upon their deep\, yet differently rooted\, ties to Jamaica.  \nUdemezue’s photographs are directly inspired by trips to his ancestral homeland of  Bickersteth\, Jamaica\, each staged portrait responding to the folklore and oral stories of his imagined queer ancestors. “a tenderness when I was low and a touch on the side of my waist on days like today. a voice? something brought us to this space” embodies these perspectives. Lighted in the hot colors of passion\, Udemezue’s portrait captures affection and longing\, depicting queer bodies entwined among the lush throes of island foliage. A hand emerges into frame\, suggesting a tension between possibilities of being “beckoned away”\, and consenting approval for the embrace. Together\, Udemezue’s photographs are a rebuttal of and reclamation from Western myopia\, its artistic and literary canon\, and its historical misappropriations of Jamaican culture\, spirituality\, and identity.  \nBarthé’s relationship to Jamaica\, in contrast to Udemezue’s\, was less linear. “I’ve always identified myself with a certain shade of blue-green\,” Barthé relayed to fellow artist Camille Billops in a 1975 interview. “When I saw the water there [in Jamaica] it was like coming back home. I stayed for over twenty years because of the color of the water.” Despite not being genealogically connected to the island\, its coasts\, colors\, and way of life had a profound impact on his work. Moved by its character\, Barthé’s time there imbued into his sculptures the vitality and spirituality he observed around him. Simultaneously\, although he never explicitly revealed his sexuality to the public\, his sculptures over the years returned to themes of homoeroticism\, engaging subject matters of the male body in particular. \nAligned with their thematic conversions\, both artists’ work also shares a preoccupation with figural representation\, and a clear fascination with the body’s forms\, movements and expressions. “This show\, for me\, acts as a conversation through time\,” Udemezue says\, “connecting present day pain and triumphs to those who came before me.” Through this lens\, Barthé’s figures may be interpreted as predecessors to the younger artist’s work\, and engaged with along the same representational spectrum of experiences.  \nBarthé and Udemezue are united by the enduring timeliness of these subject matters. With in this moisture between us where the guinep peels lay\, the invitation is to both contemplate and contextualize the evolution – but also the tenacity – of queer Black perspectives across era\, geography\, and medium. The gallery is working with the estate of Samella Lewis\, who was instrumental in continuing Richmond Barthé’s legacy and creating later lifetime casts. \n\nRichmond Barthé (b. 1901\, Bay St. Louis\, MS – d. 1989\, Pasadena\, CA) was an American artist known for his sculptures of Black performers\, athletes\, dancers\, and historical figures. While attending the Art Institute of Chicago\, Barthé took up sculpture at the suggestion of one of his professors. Barthé began sculpting figures that expressed his sitters’ emotions through their gestures and movements. Shortly after graduating in 1928\, the artist relocated to New York City\, where he became a vital participant of the Harlem Renaissance. Over the next two decades\, Barthé exhibited widely and gained considerable acclaim as one of the first modern artists to depict African Americans in his work. In the 1940s\, Barthé became the first African American artist to be represented—together with painter Jacob Lawrence—in the Metropolitan Museum of Art’s and Whitney Museum of American Art’s collections. By the late-1940s\, Barthé moved to Jamaica and lived there for two decades. \nIn 2015\, Barthé’s work was featured in America Is Hard to See\, the inaugural exhibition at the new Whitney Museum of American Art. Recently\, his work has been featured in exhibitions at the Telfair Museums\, GA (2023); Kunsthal KAdE\, Amersfoort\, Netherlands (2020); and Wadsworth Atheneum Museum of Art\, CT (2019)\, among others. His work can be found in the collections of the Art Institute of Chicago\, IL; Los Angeles County Museum of Art\, CA; Museum of Fine Arts\, Boston\, MA; and Smithsonian American Art Museum\, DC\, among others. \n\nChristopher Udemezue (b. 1986\, Long Island\, NY) is an interdisciplinary artist whose practice is rooted in his Jamaican heritage\, healing\, personal mythologies\, and the desire for connection. Udemezue’s concentration has recently expanded to recounting and visualizing the effects of his mother’s immigration from Jamaica. He is the founder of RAGGA NYC\, a collective platform that connects a growing network of queer Caribbean artists and allies through online storytelling and events. In 2017\, Udemezue completed a residency at the New Museum that culminated in an exhibition on the platform\, titled RAGGA NYC: All the threatened and delicious things joining one another. \nIn 2018\, his work was featured in the New Museum’s 40 year anniversary show\, Trigger: Gender as a Tool and a Weapon. In 2019\, Udemezue participated in The Shed’s inaugural Open Call grant and group show. He has also been included in exhibitions at the Kemper Museum of Contemporary Art\, MO; Künstlerhaus\, Vienna\, Austria; Mercer Union\, Toronto\, Canada; MoMA PS1\, NY; New Museum\, NY; and Queens Museum of Art\, NY\, among others. Udemezue received his BFA from Parsons School of Design in 2008. He lives and works in New York\, NY. \n\nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/richmond-barthe-and-christopher-udemezue-in-this-moisture-between-us-where-the-guinep-peels-lay/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20231130T180000
DTEND;TZID=America/New_York:20231130T200000
DTSTAMP:20260502T144902
CREATED:20231106T154140Z
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SUMMARY:Opening reception of Anne-Karin Furunes: ALL MOST
DESCRIPTION:Anne-Karin Furunes\nALL MOST\nNovember 30\, 2023 – January 20\, 2024\nOpening Reception: Thursday\, November 30\, 6:00-8:00pm \nRYAN LEE is pleased to announce ALL MOST\, an exhibition of new paintings by leading Norwegian artist Anne-Karin Furunes. Meditating on the natural world\, its sublime beauty\, and the current environmental threats imperiling it\, Furunes’ series addresses the catastrophic consequences of global warming and the ephemera of nature through monumental depictions of calving icebergs and various transient states of precipitation. This is Furunes’s fourth exhibition at the gallery. \nThe emphasis of the show is on works that capture the moment when chunks of ice ablate\, melt\, or break from larger bergs; the exhibition also includes portrayals of clouds pregnant with rain\, alongside other powerful interferences of water. Each painting\, some of which are up to thirteen feet long\, offers an expansion upon the artist’s signature perforation technique. This meticulous method involves applying tiny\, hand-made holes to canvas\, which is then layered with pointillist-like spots of color that\, upon stepping back\, mimic the look of halftone printing. Manipulations of light\, scale and color deploy slight optical illusions that adjust a viewer’s perception\, based on where they’re standing. The immersion in both scene and detail invites proximity and empathy toward the glacial trauma\, and its suggestions of imminent climate tragedies. \nEmploying her long-time engagement with archival photographs\, these new paintings are inspired by the ongoing documentation of calving icebergs in the remote archipelago of Svalbard\, Norway that have been compiled by glaciologists at the Norwegian Polar Institute. The original images\, which depict the dramatic changes in our environment caused by climate change\, served as the impetus for Furunes to revisit the subject of the calving iceberg\, one which she first explored in her early work over two decades ago. \nFurunes also finds inspiration in the wonder and mystery of the transformations that take shape in the natural world at large. From the changing states of climate\, to the different speeds at which bodies of water move in waterfalls or maelstroms\, “We see spectacular moments of nature’s force that are awe-inspiring\,” she says. “As an artist\, I want to remind people of the beauty of nature\, [but also that it] will be lost forever unless we change our habits of consuming.”  \nConcepts of slow consumption are imbued not only in each artwork’s invocations\, but also in their production. Each painting in ALL MOST is composed manually\, laboriously\, and lovingly\, as Furunes hand-punctures every perforation. Through this process she is literally shedding light on the ongoing destruction of the natural world. Adding dotted layers of indigo\, cyan\, magenta\, and yellow ink to the canvases\, Furunes intensifies and deepens the optical effect of each scene: from up close\, the pointillist details are entirely abstract\, while from afar\, the human eye joins red\, blue and yellow to create the clarified image. Furunes’ gestures with these dots considers multiple scales and experiences in her compositions\, at once creating friction and unity through her precise and astute manipulation of pattern and color. The works\, both tragic and captivating\, beckon viewers to become re-enchanted by our ecologies. They ignite Furunes’ belief in “a possible future where we can continue to admire life in its manifold shapes and ways\,” and in a world where we can more truly “live in harmony with other living beings.” \nWhile Furunes’s previous works have powerfully presented human victims of history – particularly her evocative depictions of Norway’s colonized native Sámi people – she now focuses her gaze on the global state of a victimized ecosystem. She reminds us that “nothing is guaranteed unless we all drastically change our way of living\,” and in her works offers us agency and the opportunity to ally with the natural world through its appreciation\, by understanding its traumas and indulging in a more empathetic cohabitation. \n \nAnne-Karin Furunes (b. 1961\, Ørland\, Norway) is a leading Scandinavian artist in painting and public commissions. Since 1992\, Furunes has developed a signature technique of perforating canvas or metal to consider photographic and digital elements of space\, light and material. The punctured holes in her canvases mimic the halftone process\, most popularly used in periodicals. Furunes does not employ a computer to create her images\, instead she composes them manually. Substituting ink for light\, she creates a star pattern on a diagonal grid\, cutting each hole by hand to create an image through the way the human eye perceives light. Furunes works from archival photographs. She departs from the original images by adjusting color\, cropping\, light and perspective. This method of removing in order to reveal complements Furunes’s research-based practice that frequently focuses on forgotten histories and people. \nTrained as an artist and architect\, Furunes received her degree from the Trondheim Academy of Fine Art in Norway. In 2021\, she was nominated for the ARS Fennica Award in Finland. Her work has been included in solo and group exhibitions at Hå Gamle Prestegard\, Nærbø\, Norway (2023); Nordenfjeldske Kunstindustrimuseum\, Trondheim\, Norway (2022); Paul Robeson Galleries\, Rutgers University\, NJ (2018); Fondazione Musei Civica\, Palazzo Ducale\, Venice\, Italy (2017); Trondheim Kunstmuseum\, Tronheim\, Norway (2017); Palazzo Fortuny\, in conjunction with the 56th Venice Biennale\, Venice\, Italy (2015);  Espoo  Museum  of  Modern Art\, Espoo\, Finland (2014); International Print Center\, NY (2013); Katonah Museum\, NY (2013). She is represented in prominent public collections worldwide including Kiasma Museum of Contemporary Art\, Helsinki\, Finland; Kistefos Museum\, Jevnaker\, Norway; Museum of Arts and Design\, New York\, NY; National Museum\, Beijing\, China; National Museum of Contemporary Art\, Oslo\, Norway; and Trondheim Kunstmuseum\, Trondheim\, Norway\, among others. Furunes lives and works in Stjørdal\, Norway.  \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/opening-reception-of-anne-karin-furunes-all-most/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20240121
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CREATED:20231106T154141Z
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SUMMARY:Anne-Karin Furunes: ALL MOST
DESCRIPTION:Anne-Karin Furunes\nALL MOST\nNovember 30\, 2023 – January 20\, 2024\nOpening Reception: Thursday\, November 30\, 6:00-8:00pm \nRYAN LEE is pleased to announce ALL MOST\, an exhibition of new paintings by leading Norwegian artist Anne-Karin Furunes. Meditating on the natural world\, its sublime beauty\, and the current environmental threats imperiling it\, Furunes’ series addresses the catastrophic consequences of global warming and the ephemera of nature through monumental depictions of calving icebergs and various transient states of precipitation. This is Furunes’s fourth exhibition at the gallery. \nThe emphasis of the show is on works that capture the moment when chunks of ice ablate\, melt\, or break from larger bergs; the exhibition also includes portrayals of clouds pregnant with rain\, alongside other powerful interferences of water. Each painting\, some of which are up to thirteen feet long\, offers an expansion upon the artist’s signature perforation technique. This meticulous method involves applying tiny\, hand-made holes to canvas\, which is then layered with pointillist-like spots of color that\, upon stepping back\, mimic the look of halftone printing. Manipulations of light\, scale and color deploy slight optical illusions that adjust a viewer’s perception\, based on where they’re standing. The immersion in both scene and detail invites proximity and empathy toward the glacial trauma\, and its suggestions of imminent climate tragedies. \nEmploying her long-time engagement with archival photographs\, these new paintings are inspired by the ongoing documentation of calving icebergs in the remote archipelago of Svalbard\, Norway that have been compiled by glaciologists at the Norwegian Polar Institute. The original images\, which depict the dramatic changes in our environment caused by climate change\, served as the impetus for Furunes to revisit the subject of the calving iceberg\, one which she first explored in her early work over two decades ago. \nFurunes also finds inspiration in the wonder and mystery of the transformations that take shape in the natural world at large. From the changing states of climate\, to the different speeds at which bodies of water move in waterfalls or maelstroms\, “We see spectacular moments of nature’s force that are awe-inspiring\,” she says. “As an artist\, I want to remind people of the beauty of nature\, [but also that it] will be lost forever unless we change our habits of consuming.”  \nConcepts of slow consumption are imbued not only in each artwork’s invocations\, but also in their production. Each painting in ALL MOST is composed manually\, laboriously\, and lovingly\, as Furunes hand-punctures every perforation. Through this process she is literally shedding light on the ongoing destruction of the natural world. Adding dotted layers of indigo\, cyan\, magenta\, and yellow ink to the canvases\, Furunes intensifies and deepens the optical effect of each scene: from up close\, the pointillist details are entirely abstract\, while from afar\, the human eye joins red\, blue and yellow to create the clarified image. Furunes’ gestures with these dots considers multiple scales and experiences in her compositions\, at once creating friction and unity through her precise and astute manipulation of pattern and color. The works\, both tragic and captivating\, beckon viewers to become re-enchanted by our ecologies. They ignite Furunes’ belief in “a possible future where we can continue to admire life in its manifold shapes and ways\,” and in a world where we can more truly “live in harmony with other living beings.” \nWhile Furunes’s previous works have powerfully presented human victims of history – particularly her evocative depictions of Norway’s colonized native Sámi people – she now focuses her gaze on the global state of a victimized ecosystem. She reminds us that “nothing is guaranteed unless we all drastically change our way of living\,” and in her works offers us agency and the opportunity to ally with the natural world through its appreciation\, by understanding its traumas and indulging in a more empathetic cohabitation.  \n  \nAnne-Karin Furunes (b. 1961\, Ørland\, Norway) is a leading Scandinavian artist in painting and public commissions. Since 1992\, Furunes has developed a signature technique of perforating canvas or metal to consider photographic and digital elements of space\, light and material. The punctured holes in her canvases mimic the halftone process\, most popularly used in periodicals. Furunes does not employ a computer to create her images\, instead she composes them manually. Substituting ink for light\, she creates a star pattern on a diagonal grid\, cutting each hole by hand to create an image through the way the human eye perceives light. Furunes works from archival photographs. She departs from the original images by adjusting color\, cropping\, light and perspective. This method of removing in order to reveal complements Furunes’s research-based practice that frequently focuses on forgotten histories and people. \nTrained as an artist and architect\, Furunes received her degree from the Trondheim Academy of Fine Art in Norway. In 2021\, she was nominated for the ARS Fennica Award in Finland. Her work has been included in solo and group exhibitions at Hå Gamle Prestegard\, Nærbø\, Norway (2023); Nordenfjeldske Kunstindustrimuseum\, Trondheim\, Norway (2022); Paul Robeson Galleries\, Rutgers University\, NJ (2018); Fondazione Musei Civica\, Palazzo Ducale\, Venice\, Italy (2017); Trondheim Kunstmuseum\, Tronheim\, Norway (2017); Palazzo Fortuny\, in conjunction with the 56th Venice Biennale\, Venice\, Italy (2015);  Espoo  Museum  of  Modern Art\, Espoo\, Finland (2014); International Print Center\, NY (2013); Katonah Museum\, NY (2013). She is represented in prominent public collections worldwide including Kiasma Museum of Contemporary Art\, Helsinki\, Finland; Kistefos Museum\, Jevnaker\, Norway; Museum of Arts and Design\, New York\, NY; National Museum\, Beijing\, China; National Museum of Contemporary Art\, Oslo\, Norway; and Trondheim Kunstmuseum\, Trondheim\, Norway\, among others. Furunes lives and works in Stjørdal\, Norway.  \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/anne-karin-furunes-all-most/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20231025
DTEND;VALUE=DATE:20231126
DTSTAMP:20260502T144902
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SUMMARY:Michael Mazur: Wakeby Islands
DESCRIPTION:RYAN LEE Gallery is pleased to present Michael Mazur: Wakeby Islands\, the artist’s sixth solo exhibition with the gallery. The exhibition celebrates the artist’s most famous Wakeby series (1982)\, a remarkable study of landscape and memory that follows Wakeby Pond’s full cycle of birth\, life\, death\, and renewal—a subject Mazur would return to for years to come. The exhibition includes two monoprints (including some of the largest monotypes to date)\, an oil painting\, and three pastels—all of which display his multidisciplinary dexterity across mediums to create a stunning variance in mood and technique.  \nWakeby Pond\, an idyllic body of water landlocked on Cape Cod\, was where Mazur and his wife\, poet Gail Mazur\, spent much of their time from the 1970s on. Working from a long-time art studio on the bay\, Mazur created prints and paintings of the pond\, exploring shifts in perception and time through multiple horizon lines and inclusions of cut-outs of previous Wakeby landscapes\, creating ‘picture-within-picture’ compositions. These details disrupt the seemingly linear timeline of a landscape and offer an exciting tension to the composition. \nIn Gail’s Garden\, Wakeby (1983)\, gentle purple and white flowers convey a patient study of nature and its overgrowth. There are psychological undertones to the loose and gestural flowers overtaking the garden scene\, conveying metamorphosis through their sprawl. A series of pastel-on-paper Wakeby studies also approaches the subject with softness\, albeit with suggestions of capriciousness. Mazur pays particular attention to creating a nimble horizon line\, interrupted by treetops and shrubbery against a colorful\, cloudy sky.  \nLayering\, of both subject and content\, plays prominently in Mazur’s work. Originally discovering monotype through an exhibition of Edgar Degas’s works in the medium\, Mazur was encouraged to explore its capacities. In practice\, Mazur worked with master printmaker Robert Townsend in choreographic motions to achieve the extremely experimental and painterly washes in the Wakeby sessions. He eventually began incorporating simulacra through “ghost” impressions of print-over-print layering\, and employing the technique of chine-collé\, which effects diaphanous backdrops to each print.  \nBeyond the technical aptitudes underlying each artwork on view\, the content itself speaks of a serene\, somewhat mystic place. In the Wakeby Night triptychs from 1983 and 1984\, we see oversized flowers loitering over a moonlit lake. In the earlier work\, the moon glows in green tones\, with flora exploding in the foreground; in the later iteration of the scene\, while the sunflowers beam yellow\, the night light casts a deep blue haze over the more subdued plant life\, evoking an entirely different feeling of the placid pond.  \nEach panel in the original Wakeby Day/Wakeby Night series represented the single largest monotype ever printed at that time\, placing the works themselves squarely into the realm of canonical\, art historical touchpoints. Not only have the works been produced on massive scales\, such as a grand in situ commission in 1982 by the Massachusetts Institute of Technology\, but they also now belong to the collections of the Smithsonian American Art Museum\, DC and Brooklyn Museum\, NY.  \nThe masterful range of technical nuances used to make these works – like the use of a roller to offset an image on one plate to another\, the use of solvents to create painterly drips and layers\, and the artist’s uses of his own fingers and rags to create impressionistic\, tactile landscape portraiture – are not only iconic to Mazur’s career and œuvre\, but to the evolution of the medium and art form of monotype at large.  \n  \nMichael Mazur (b. 1935 New York\, NY – d. 2009 Cambridge\, MA) is known for his use of abstract and figurative visual vocabulary across a wide range of media\, including painting\, drawing\, pastels\, and printmaking. Influenced by elements of Impressionist art\, Abstract Expressionism\, and traditional Chinese landscape scroll painting\, Mazur uniquely combines aspects of several periods of art history separated by nearly seven centuries to create lush and luminous work. Mazur’s career is marked by an inventive use of various media and a wide range of interests\, alternating between psychological portraits\, celebrations of nature\, and political engagement\, among other themes.  \nMazur received numerous awards throughout his illustrious career\, including the John Simon Guggenheim Memorial Foundation Fellowship  (1964); American Academy of Arts and Letters Fellowship (1964); and Louis Comfort Tiffany Foundation Grant (1962)\, among others.  \nHis work has been included in several notable solo exhibitions\, including the Museum of Fine Arts\, Boston’s 2006 exhibition Michael Mazur: The Art of the Print and Zimmerli Art Museum’s 2000 exhibition Michael Mazur: A Print Retrospective\, which travelled to the Museum of Fine Arts\, Boston\, MA; the Iris and B. Gerald Cantor Center for Visual Arts\, Stanford University\, CA; and Minneapolis Institute of Art\, MN. Recently\, his work has also been included in exhibitions at RISD Museum\, RI (2022); deCordova Sculpture Park and Museum\, MA (2021); Springfield Art Museum\, MO (2021); Nagoya/Boston Museum of Fine Arts\, Nagoya\, Japan (2018); Mead Art Museum\, MA (2017); and International Print Center of New York\, NY (2015)\, among others. Mazur’s work can be found in numerous prominent museum collections\, including the British Museum\, UK; Los Angeles County Museum of Art\, CA; Art Institute of Chicago\, IL; Metropolitan Museum of Art\, NY; Museum of Modern Art\, NY; National Gallery of Art\, DC; and Whitney Museum of American Art\, NY\, among others. \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/michael-mazur-wakeby-islands/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20231025
DTEND;VALUE=DATE:20231126
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SUMMARY:Scenic Microcosms: Wallpapered Rooms Painted by Andrew Raftery
DESCRIPTION:RYAN LEE is pleased to announce Scenic Microcosms: Wallpapered Rooms Painted by Andrew Raftery. The solo exhibition features ten penetrating views of landmark wallpapers\, represented in watercolor. Each work depicts a scene of real-life interiors from across New England whose ornate\, ornamental wallpapers inspire questions about the colonialist roots of their creation\, installation\, and ongoing appreciation. Raftery’s watercolors balance his genuine admiration and deference to the allure and precision of the wallpaper’s artistry\, while engaging with contemporary cultural criticism. \nKnown for his expressions of contemporary conditions through the use of seemingly archaic mediums\, for example copperplate engraving and ceramic transfer\, Raftery’s fascination with wallpapers carries forth his interest in marrying ancient art-making processes with the conditions and vantage points of today. A fine artist but also a scholar\, he contextualizes each of his ten scenes in an extensive catalog photo-essay\, published as a complement to the exhibition.  \nThe paintings in Scenic Microcosms zoom-in on the refined interiors of stately houses and public buildings. Their subtexts\, however\, carry the heavier cultural weight of specific antique wall-arts\, made in late 18th- and early 19th-century China and in 19th-century colonial-era France\, as installed to this day in contemporary sites. “Much of my time is spent reveling in the brilliant achievements of the artists and craftspeople who preceded me\,” Raftery says. “But the seductiveness of their achievements does not hide those images in the wallpapers that sit uncomfortably at this point in history.” \nProduced from 2021 – the earliest site visit was on Raftery’s first road trip since the start of Covid\, taken in February 2021 to the Baltimore Drinking Room at the Winterthur Museum\, Garden and Library in Delaware – to this year\, Raftery takes us on a journey with him across historical New England and into some of its most esteemed architectural interiors. Situating himself through immediate and intimate presence within a room and in front of a walls’ artistry – each a multitude of scenes and fables ripe for interpretation with a contemporary historian’s lens – Raftery not only illustrates the scenes with his own hand but also offers us\, through both his written catalog narrative and discerningly contextualized recreations\, requisite criticism of the century/ies-old subject matter through the eyes of our current era. \n“Contemplating these works in the rooms and recreating them in the studio counters the impulse to elide or gloss over what was there to be seen ever since the first magnificent (and problematic) scenic paper\, Les Sauvages de la Mer Pacifique was released by [19th-century French wallpaper artisans] Dufour in 1804.”  –  Andrew Raftery \nWith the watercolors on view in Scenic Microcosms\, Raftery spent years studying or considering the composition\, structure\, and geography of every wallpaper depicted. The scenes enamored him\, and he cites the artworks as “some of the most ambitious prints ever made.” Each of his illustrative reenactments is the result of countless hours of attentive in-person sketching\, leading to dozens of preliminary pencil drawings\, then to a lithographic drawing and grisaille for each work before its realization in final\, painted form. The complexity of his process reveals the complexity of the questions the works are posing: how may we handle these objects of awe-inspiring beauty\, at once a relic of colonialist thought and a legitimately rare and precious artifact of art history?  \nRaftery’s journey\, his perceptive contextualizations\, and his fastidiously composed scenic re-presentations at once grant us guidance\, and open the doors for us to step into these questions and through the thresholds of each ornamented space\, to discover the wonder on our own. \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/scenic-microcosms-wallpapered-rooms-painted-by-andrew-raftery/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20230710
DTEND;VALUE=DATE:20230910
DTSTAMP:20260502T144902
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SUMMARY:Emma Amos: Classical Legacies
DESCRIPTION:Emma Amos\nClassical Legacies\nJuly 10 – September 9\, 2023 \nRYAN LEE is pleased to announce Emma Amos: Classical Legacies\, an exhibition of three paintings\, six prints\, and one cycle of epic monoprints by Emma Amos. The fourth solo presentation of Amos’s work—and sixth overall—at the gallery\, the exhibition will focus on the classicist influence on Amos’s œuvre\, a fresh take on her substantial body of work. \nThe exhibition will feature works ranging from 1966 to 2001 that demonstrate Amos’s longstanding interest in the antiquities. Amos would visit Rome as a child with her family\, and her early exposure to Roman ruins and epics translated in her work\, in which she frequently explored themes of longevity and deep histories within shifting times. Across the works presented at RYAN LEE this summer\, Amos displays her deep interest in history\, longevity and memory. By implementing themes from Greek and Roman antiquity in her work\, Amos marries the wide and converging interests that informed her art for decades and reflected the breadth of her culture. Her incorporation of the ancient West in her work coopted the built-in pedigree connoted with these motifs\, which she claimed as her own by right. \nThis will be the first time that Amos’s landmark Odyssey prints will be exhibited to the public in twenty years. Valerie J. Mercer wrote in an essay accompanying Amos’s major 1995 exhibition Emma Amos: Paintings and Prints\, 1982-1992: “Because of the monumental scale of the prints\, Odyssey can take up the spaces of a whole room when it is shown. The series focused on 100 years of the history of the artist’s family in Atlanta\, from the period shortly after slavery up to the 1960s. It was inspired by the splendid collection of family photographs belonging to Amos’s parents and represents pride in her family and in their achievements.”  \nThe exhibition starts with Pompeii\, made in 1960: a pivotal year for Amos. This marks her departure from her hometown of Atlanta for New York City\, which is coincidentally the event that later capped her landmark\, 10-panel Odyssey (1988). Equipped with the etching skills she learned at the Central School of Art in London\, Pompeii exemplifies Amos’s early interest in rooting her works in ancient traditions.  \nThis interest resurfaces with her important Falling Figures paintings: a series that reverberates with anxiety\, which Amos described as a response to a sense of “the impending loss of history\, place\, and people” among African Americans. This important work is capped by the monumental Flying Circus\, in which Amos’s multi-toned figures are catapulted down a gesturally vivid background. Plummeting along with her are a wealth of Greek and Roman references: with the frightful loss of African American stories\, along goes the Temple Mount in Jerusalem\, the Coliseum\, and the Circus Maximus. The resulting composition is an energetic meditation on memory\, legends\, and dissipating histories. \nBy incorporating her own weaving and African fabric in her paintings referencing Greek and Roman antiquity\, Amos marries her converging interest in Black history and classical literature. In Way Away (1996)\, ancient Western symbolism becomes Black symbolism as well. Framed by the African fabrics that Amos frequently uses in her work\, she carves herself a place within the Western canon: a mixed-race\, Black minority within the Western world\, she is just as much an inheritor of Homer\, Hercules\, and Circe as any of her peers. \nInspired by Homer’s epic poem\, Odyssey serves as a counterbalance to Amos’s anxious Falling Figures series by unflinchingly inscribing her own family history in the ranks of the legendary. With this series of ten hand-painted monoprints\, the artist and her proud Georgian heritage is never to be forgotten. \nEmma Amos: Classical Legacies will be accompanied by a fully illustrated catalogue with essays by Michele Valerie Ronnick\, Distinguished Professor in the Department of Classical and Modern Languages\, Literatures\, and Cultures at Wayne State University; and Gabriella Shypula\, PhD Candidate in Art History and Criticism at Stony Brook University.  \n  \nEmma Amos (b. 1937 Atlanta\, GA – d. 2020 Bedford\, NH) was a pioneering artist\, educator\, and activist. A dynamic painter and masterful colorist\, her commitment to interrogating the art-historical status quo yielded a body of vibrant and intellectually rigorous work. Influenced by modern Western European art\, Abstract Expressionism\, the Civil Rights movement and feminism\, Amos was drawn to exploring the politics of culture and issues of racism\, sexism and ethnocentrism in her art. “It’s always been my contention\,” Amos once said\, “that for me\, a black woman artist\, to walk into the studio is a political act.” Amos was the youngest and only woman member of Spiral\, the historic African American collective founded in 1963\, as well as a member of the feminist collective and publication\, Heresies\, established in the 1980s.  \nAmos graduated from Antioch College in Ohio in 1958 and the Central School of Art in London in 1960. She subsequently moved to New York and became active in the downtown arts scene\, working alongside prominent Spiral artists such as Romare Bearden\, Hale Woodruff\, Norman Lewis\, Alvin Hollingsworth and Charles Alston. In 1965\, she earned her Masters in Arts from New York University and taught art at the Dalton School in New York. She is a former Professor and Chair in Visual Arts at the Mason Gross School of Art at Rutgers University where she taught for 28 years. \nAmos’s work is currently exhibited in It’s Pablo-matic: Picasso According to Hannah Gadbsy at the Brooklyn Museum\, NY\, and in 2021\, Emma Amos: Color Odyssey\, a major retrospective of Amos’s work\, traveled from the Georgia Museum of Art to the Munson-Williams-Proctor Arts Institute and Philadelphia Museum of Art. She has also been included in exhibitions at the Pinacoteca de São Paulo\, Brazil (2022); Modern Art Museum at Fort Worth\, TX (2022); Minneapolis Institute of Art\, MN (2019); National Portrait Gallery\, UK (2018); de Young Museum\, CA (2017); Whitney Museum of American Art (2017); British Museum (2017); Tate Modern\, UK (2017); and Musée du Quai Branly\, France (2016)\, among others. Her work is held in over 40 museum collections\, including the British Museum\, UK; Detroit Institute of Arts\, MI; Museo de las Artes\, Mexico; Metropolitan Museum of Art\, NY; Museum of Modern Art\, NY; National Gallery of Art\, DC; Whitney Museum of American Art\, NY; and Yale University Art Gallery\, CT\, among others. \n  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/emma-amos-classical-legacies/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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SUMMARY:Opening Reception for Martine Gutierrez | ANTI-ICON: APOKALYPSIS
DESCRIPTION:Martine Gutierrez\nANTI-ICON: APOKALYPSIS\nMay 18 – June 30\, 2023\nOpening reception: Thursday\, May 18\, 2023\, 6:00-8:00 pm \nStill a patriarchal language\, a determinative frame. Still a divisional boundary of womanhood\, a categorization of the icon\, a spiritual reality in mass production. The same face of currency made over and over again. What is an icon\, a cult image? Rather\, what is an image? What brings a symbol to power? Culture is history’s political influence\, a pendulum of domination. What is power without resistance? The historical moment\, and the figure that stands in opposition. Icon as fact\, a perceived understanding of truth in the world\, teaching us how to see. Image as instruction; see\, when an aspiration finds meaning it exceeds its boundaries\, it becomes momentous. Larger than life or death\, but rather the cycle between lives. Not a vision\, but the place we are at now\, the inevitable new\, the next civilization we are going to become. In refusal of deception\, an encounter with unobfuscated femininity is revealed. If the icon shows humanity’s spiritual ideal\, it is the anti-icon who refuses the delusion of man\, his inflated self-conception. For the icon makes real the image\, anti-icon must break through to reveal reality. What is a revelation? A proclamation of clarity\, a veneer stripped away\, a shattering. It feels like the world is ending\, because it did; it has before\, and it will again end. What is the world? In the progress of nihilism\, creation becomes resistance; a new image of what the world was all along.\n– Martine Gutierrez \nRYAN LEE is pleased to present ANTI-ICON: APOKALYPSIS\, a daring new body of work by artist Martine Gutierrez. The series continues her exploration of identity across the cultural landscapes of gender\, race and celebrity. In 17 new works\, Gutierrez has transformed herself into a multitude of idols. Costumed by the barest of essentials\, Gutierrez’s figure is the catalyst\, reflecting dystopian futurism upon the symbols of our past. Through each metamorphosis\, Gutierrez re-envisions a diverse canon of radical heroines who have achieved legendary cultural influence over thousands of years in both art history and pop culture. \nThe project’s cult following began in 2021 when it was commissioned by the Public Art Fund\, exhibited on bus shelters normally used for advertising. Only 10 images from the original series were chosen to circulate.  In response to societal censors\, Gutierrez had the nude forms veiled thus further interrogating the public restrictions placed on the female body in the United States. The larger-than-life portraits were encountered by pedestrians on their daily commutes\, reproduced in 300 locations throughout New York\, Chicago\, and Boston. \nThis summer\, Gutierrez will reveal ANTI-ICON: APOKALYPSIS in three distinct selections set to preview across three venues: RYAN LEE Gallery\, New York; Fraenkel Gallery\, San Francisco; and Josh Lilley\, London. The three-gallery exhibition will be accompanied by a new artist book\, published by RYAN LEE\, entitled APOKALYPSIS. The full collection of 17 portraits will be presented in its entirety for the first time in a traveling museum show\, organized by Polygon Gallery\, Vancouver slated for 2024. \nGutierrez is the sole performer in the series\, portraying all 17 groundbreaking figures: Aphrodite\, ancient Greek goddess of love\, desire and beauty\, identified by the Romans as ‘Venus’; Ardhanarishvara\, composite male-female figure of the Hindu god Shiva together with his consort Parvati; Atargatis\, Syrian mother goddess of fertility and the moon; Cleopatra\, Egyptian ruler famed for her influence on Roman politics; Queen Elizabeth I\, England’s second female monarch when the country asserted itself as a major power in politics\, commerce and the arts in the 16th century; Gabriel\, angel in the Abrahamic religions believed by many to be able to take on any physical form; Helen of Troy\, Greek beauty seen as the cause of the Trojan war; Joan of Arc\, sainted heroine of France\, revered as a holy person for her faithfulness and bravery in battle\, burned at the stake by the church; Judith The Slayer\, courageous biblical widow who used her charm to save her people from an Assyrian general; Lady Godiva\, bold noblewoman from the Medieval period who fought for justice for everyday people; Our Lady of Guadalupe\, Mesoamerican Catholic title of Mary\, who appeared to the Indigenous man Juan Diego and imprinted herself on his cloak as proof of her visitation; Mary Magdalene\, ‘Magdalene’ means tower\, as she is an early tower of the Christian faith\, cited in the four canonical gospels as a follower and companion of Jesus Christ\, a witness to his crucifixion and resurrection; The Virgin Mary\, a young Jewish virgin from Nazareth\, chosen by God to conceive Jesus through the Holy Spirit; La Madonna\, Italian for ‘Lady\, Virgin Mary’\, central figure of Christianity\, celebrated as the ‘Virgin Queen’ in processions of Semana Santa\, throughout Spain and Latin America; Hua Mulan\, famed warrior of Chinese folklore who disguised herself as a man to fight in battle; Sacagawea\, Shoshone interpreter and guide of the expedition to discover routes through pre-colonial America\, journaled by Lewis and Clark; Queen of Sheba\, Ethiopian queen\, known for her wit\, power and wealth\, her romance with King Solomon is documented in the Kebra Nagast. \nMartine Gutierrez (b. 1989 Berkeley\, CA) is a transdisciplinary artist\, performing\, writing\, composing and directing elaborate narrative scenes to subvert pop-cultural tropes in the exploration of identity—both personally and collectively intersectional to race\, gender\, class and nationality. Her amass of media—ranging from billboards to episodic films\, music videos and renowned magazine\, Indigenous Woman—produce the very conduits of advertising that sell the identities she disassembles. Challenging binaries through the blurring of their borders\, Gutierrez insists that gender\, like all things\, is entangled—and argues against the linear framework of oppositional thinking. These complicated intersections are innate to Gutierrez’s own multicultural upbringing. Her malleable\, ever-evolving self-image catalogs the confluence of seemingly disparate modes\, conveying limitless potential for reinvention and reinterpretation. \nGutierrez received her BFA from the Rhode Island School of Design in 2012. She is also a published musician and has produced several commercial videos. Gutierrez lives and works in New York\, NY. \nHer work has been the focus of solo exhibitions at the Whitney Museum of American Art (2022); Philbrook Museum of Art\, OK (2022); Contemporary Art Museum St. Louis\, MO (2022); Museum of Contemporary Photography at Columbia College\, IL (2021); Rockwell Museum\, NY (2020); Australian Centre for Photography\, Australia (2020); Modern Art Museum of Fort Worth\, TX (2019); and CAM Raleigh\, NC (2016)\, among others. She has been included in group exhibitions at the Eretz Israel Museum\, Israel (2022); Vincent Price Art Museum\, CA (2022); Museum of Sex\, NY (2021); Colegio de San Ildefonso\, Mexico (2021); OÖ Kulturquartier\, Austria (2021); POLYGON Gallery\, Canada (2021); Huis Marseille Museum voor Fotografie\, The Netherlands (2021); Sprengel Museum\, Hannover\, Germany (2021); McNay Art Museum\, TX (2021); Minneapolis Institute of Art\, MN (2021); Wadsworth  Atheneum  Museum  of Art\, CT (2019); New Museum\, NY (2018); and Museum  of  Contemporary Art\, GA (2017)\, among others. Her work has been acquired by the Cantor Arts Center\, Stanford University\, CA; Huis Marseille Museum voor Fotografie\, The Netherlands; McNay Art Museum\, TX; Milwaukee Art Museum\, WI; Modern Art Museum of Fort Worth\, TX; Museum of Contemporary Art San Diego\, CA; Museum of Modern Art\, NY; New Britain Museum of American Art\, CT; Rockwell Museum\, NY; and the Whitney Museum of American Art\, NY\, among others.  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/opening-reception-for-martine-gutierrez-anti-icon-apokalypsis/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230518T180000
DTEND;TZID=America/Halifax:20230518T200000
DTSTAMP:20260502T144902
CREATED:20230420T161159Z
LAST-MODIFIED:20230420T161159Z
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SUMMARY:Opening Reception for Masako Miki: Empathy Lab
DESCRIPTION:Masako Miki\nEmpaty Lab\nMay 18 – June 30\, 2023\nOpening reception: Thursday\, May 18\, 2023\, 6:00-8:00 pm \nRYAN LEE is pleased to announce Empathy Lab\, the first major exhibition of a debut body of work by Bay Area-based Japanese contemporary artist Masako Miki. The landmark solo show proudly introduces new works to her Shapeshifters series\, which roots its expressions in the animistic polytheism of Shinto traditions. Conceiving of the gallery as a home\, Miki constructs various spaces for casual connection and contemplation\, from an engawa deck to an open garden-scape dotted with deity-inspired bronze and felt creatures\, objects\, and forms\, alongside vibrant drawings that convey the outside world.  \nEmpathy Lab ignites the artist’s common theme of questioning how tradition and folklore offer grounds for exploring bicultural identity. In her characters—whose designs are rooted in deep histories of animistic mythology—sacredness is implied\, regardless of diversity in form\, texture\, surface or material make-up. “Normalcy” is supplanted by a divine plurality of identity\, significant and celebrated in each unique sense of selfhood.  \nIn their exaltation\, some of the characters are literally uplifted. Inspired by the engawa element characteristic of Japanese architecture—a transitional wood-deck bridging residential interior and exterior spaces—Miki elevates a portion of the gallery to invite and welcome interaction with the art\, and perhaps most importantly with one another.   \nHolistically responding to the gallery’s layout\, she envisioned tokonoma spaces too\, another architectural element common in Japanese housing. This area showcases Miki’s Shapeshifters in a deliberately homey\, communal setting inspired by the everyday engagement that passersby may have with friends and neighbors\, or even with houses of deities (shrines) in Japan. “This casual socialization can lead to meaningful connections\, and shared experience is the first step to building communities\,” says Miki. In Shinto folklore\, “there are a myriad of gods in this universe\, yet they can only fulfill their duties as a collective. I resonate these ideas in my work as a reminder of how we endeavor our challenges together.” \nThe exhibition\, as such\, offers more than just its physical experience—it suggests multiple vibrant entry points into exploring the junctures of tradition and modernity\, and the cultural marriages that they often signal. The cast bronze pieces express the “synthesis of combining two finishes of century-old patina with the modern invention of automotive paint\,” which is an extremely complex color application process; while the similarly involved process of creating the felt characters utilizes wool\, activating multitudes of design phases before reaching final form. \nThis presentation of new works is ultimately about reclaiming the power of myth-making. We are told and we succumb to stories that punctuate our shared histories with painful and unresolved tensions.“Our lives are filled with mythologies\, manipulated ideologies\, and fear-driven narratives that deepen chasms among us\,” says Miki. Her work proposes resolution through creative and communal agency\, exhibiting through her characters and environments the optimistic reality of the power of imagination to drive the future. “I am convinced that we need new mythologies to question old myths. We can update the myths.” \nMasako Miki (b. 1974 Osaka\, Japan) is a multimedia artist whose work ranges installation and large-scale sculpture\, printmaking\, watercolor and felting. A native of Japan\, she now lives and works in Berkeley\, CA. Her work frequently explores the idea of synthesis—manipulating contradicting spatial elements to suggest a disoriented context and space. The artist bases her narrative on her own experiences of becoming bicultural in the United States at the age of eighteen. Strongly influenced by craft and folk art of different cultures\, she remains close to her ancestral traditions\, frequently considering motifs and ideologies that arise from her association with Buddhism\, Shintoism\, and traditional Japanese folklore. The artist’s practice is further rooted in the belief that art can foster social contexts in which contemporary and universally relevant mythologies and social narratives can be generated—replacing or fixing harmful misconceptions and mythologies of the past that have previously sparked social injustices.  \nMiki has been included in solo and group exhibitions at the ICA San Jose\, CA (2022); Katonah Museum of Art\, NY (2022); Marin Museum of Contemporary Art\, CA (2022); Berkeley Art Museum and Pacific Film Archive\, CA (2019); and de Young  Museum\, CA (2016)\, among others. Her large-scale sculptures were recently commissioned as a permanent installation at the Uber Technologies headquarters in Mission Bay\, San Francisco. Her work is included in the collections of The Byrd Hoffman Water Mill Foundation\, NY and the Berkeley Art Museum and Pacific Film Archive\, CA. She received her MFA from San Jose State University. \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/opening-reception-for-masako-miki-empathy-lab/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2023/04/Hyakki-Yagho-Night-Parade-of-One-Hundred-Demons-Following-Plaster-Wall-Shapeshifter-and-a-Cat-Who-Lived-a-Million-Years-MMI-23-19-RL-1.jpg
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DTSTART;VALUE=DATE:20230518
DTEND;VALUE=DATE:20230701
DTSTAMP:20260502T144902
CREATED:20230420T161159Z
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SUMMARY:Martine Gutierrez | ANTI-ICON: APOKALYPSIS
DESCRIPTION:Martine Gutierrez\nANTI-ICON: APOKALYPSIS\nMay 18 – June 30\, 2023\nOpening reception: Thursday\, May 18\, 2023\, 6:00-8:00 pm \nStill a patriarchal language\, a determinative frame. Still a divisional boundary of womanhood\, a categorization of the icon\, a spiritual reality in mass production. The same face of currency made over and over again. What is an icon\, a cult image? Rather\, what is an image? What brings a symbol to power? Culture is history’s political influence\, a pendulum of domination. What is power without resistance? The historical moment\, and the figure that stands in opposition. Icon as fact\, a perceived understanding of truth in the world\, teaching us how to see. Image as instruction; see\, when an aspiration finds meaning it exceeds its boundaries\, it becomes momentous. Larger than life or death\, but rather the cycle between lives. Not a vision\, but the place we are at now\, the inevitable new\, the next civilization we are going to become. In refusal of deception\, an encounter with unobfuscated femininity is revealed. If the icon shows humanity’s spiritual ideal\, it is the anti-icon who refuses the delusion of man\, his inflated self-conception. For the icon makes real the image\, anti-icon must break through to reveal reality. What is a revelation? A proclamation of clarity\, a veneer stripped away\, a shattering. It feels like the world is ending\, because it did; it has before\, and it will again end. What is the world? In the progress of nihilism\, creation becomes resistance; a new image of what the world was all along.\n– Martine Gutierrez \nRYAN LEE is pleased to present ANTI-ICON: APOKALYPSIS\, a daring new body of work by artist Martine Gutierrez. The series continues her exploration of identity across the cultural landscapes of gender\, race and celebrity. In 17 new works\, Gutierrez has transformed herself into a multitude of idols. Costumed by the barest of essentials\, Gutierrez’s figure is the catalyst\, reflecting dystopian futurism upon the symbols of our past. Through each metamorphosis\, Gutierrez re-envisions a diverse canon of radical heroines who have achieved legendary cultural influence over thousands of years in both art history and pop culture. \nThe project’s cult following began in 2021 when it was commissioned by the Public Art Fund\, exhibited on bus shelters normally used for advertising. Only 10 images from the original series were chosen to circulate.  In response to societal censors\, Gutierrez had the nude forms veiled thus further interrogating the public restrictions placed on the female body in the United States. The larger-than-life portraits were encountered by pedestrians on their daily commutes\, reproduced in 300 locations throughout New York\, Chicago\, and Boston.  \nThis summer\, Gutierrez will reveal ANTI-ICON: APOKALYPSIS in three distinct selections set to preview across three venues: RYAN LEE Gallery\, New York; Fraenkel Gallery\, San Francisco; and Josh Lilley\, London. The three-gallery exhibition will be accompanied by a new artist book\, published by RYAN LEE\, entitled APOKALYPSIS. The full collection of 17 portraits will be presented in its entirety for the first time in a traveling museum show\, organized by Polygon Gallery\, Vancouver slated for 2024. \nGutierrez is the sole performer in the series\, portraying all 17 groundbreaking figures: Aphrodite\, ancient Greek goddess of love\, desire and beauty\, identified by the Romans as ‘Venus’; Ardhanarishvara\, composite male-female figure of the Hindu god Shiva together with his consort Parvati; Atargatis\, Syrian mother goddess of fertility and the moon; Cleopatra\, Egyptian ruler famed for her influence on Roman politics; Queen Elizabeth I\, England’s second female monarch when the country asserted itself as a major power in politics\, commerce and the arts in the 16th century; Gabriel\, angel in the Abrahamic religions believed by many to be able to take on any physical form; Helen of Troy\, Greek beauty seen as the cause of the Trojan war; Joan of Arc\, sainted heroine of France\, revered as a holy person for her faithfulness and bravery in battle\, burned at the stake by the church; Judith The Slayer\, courageous biblical widow who used her charm to save her people from an Assyrian general; Lady Godiva\, bold noblewoman from the Medieval period who fought for justice for everyday people; Our Lady of Guadalupe\, Mesoamerican Catholic title of Mary\, who appeared to the Indigenous man Juan Diego and imprinted herself on his cloak as proof of her visitation; Mary Magdalene\, ‘Magdalene’ means tower\, as she is an early tower of the Christian faith\, cited in the four canonical gospels as a follower and companion of Jesus Christ\, a witness to his crucifixion and resurrection; The Virgin Mary\, a young Jewish virgin from Nazareth\, chosen by God to conceive Jesus through the Holy Spirit; La Madonna\, Italian for ‘Lady\, Virgin Mary’\, central figure of Christianity\, celebrated as the ‘Virgin Queen’ in processions of Semana Santa\, throughout Spain and Latin America; Hua Mulan\, famed warrior of Chinese folklore who disguised herself as a man to fight in battle; Sacagawea\, Shoshone interpreter and guide of the expedition to discover routes through pre-colonial America\, journaled by Lewis and Clark; Queen of Sheba\, Ethiopian queen\, known for her wit\, power and wealth\, her romance with King Solomon is documented in the Kebra Nagast. \nMartine Gutierrez (b. 1989 Berkeley\, CA) is a transdisciplinary artist\, performing\, writing\, composing and directing elaborate narrative scenes to subvert pop-cultural tropes in the exploration of identity—both personally and collectively intersectional to race\, gender\, class and nationality. Her amass of media—ranging from billboards to episodic films\, music videos and renowned magazine\, Indigenous Woman—produce the very conduits of advertising that sell the identities she disassembles. Challenging binaries through the blurring of their borders\, Gutierrez insists that gender\, like all things\, is entangled—and argues against the linear framework of oppositional thinking. These complicated intersections are innate to Gutierrez’s own multicultural upbringing. Her malleable\, ever-evolving self-image catalogs the confluence of seemingly disparate modes\, conveying limitless potential for reinvention and reinterpretation. \nGutierrez received her BFA from the Rhode Island School of Design in 2012. She is also a published musician and has produced several commercial videos. Gutierrez lives and works in New York\, NY. \nHer work has been the focus of solo exhibitions at the Whitney Museum of American Art (2022); Philbrook Museum of Art\, OK (2022); Contemporary Art Museum St. Louis\, MO (2022); Museum of Contemporary Photography at Columbia College\, IL (2021); Rockwell Museum\, NY (2020); Australian Centre for Photography\, Australia (2020); Modern Art Museum of Fort Worth\, TX (2019); and CAM Raleigh\, NC (2016)\, among others. She has been included in group exhibitions at the Eretz Israel Museum\, Israel (2022); Vincent Price Art Museum\, CA (2022); Museum of Sex\, NY (2021); Colegio de San Ildefonso\, Mexico (2021); OÖ Kulturquartier\, Austria (2021); POLYGON Gallery\, Canada (2021); Huis Marseille Museum voor Fotografie\, The Netherlands (2021); Sprengel Museum\, Hannover\, Germany (2021); McNay Art Museum\, TX (2021); Minneapolis Institute of Art\, MN (2021); Wadsworth  Atheneum  Museum  of Art\, CT (2019); New Museum\, NY (2018); and Museum  of  Contemporary Art\, GA (2017)\, among others. Her work has been acquired by the Cantor Arts Center\, Stanford University\, CA; Huis Marseille Museum voor Fotografie\, The Netherlands; McNay Art Museum\, TX; Milwaukee Art Museum\, WI; Modern Art Museum of Fort Worth\, TX; Museum of Contemporary Art San Diego\, CA; Museum of Modern Art\, NY; New Britain Museum of American Art\, CT; Rockwell Museum\, NY; and the Whitney Museum of American Art\, NY\, among others.  \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/martine-gutierrez-anti-icon-apokalypsis/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20230518
DTEND;VALUE=DATE:20230701
DTSTAMP:20260502T144902
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SUMMARY:Masako Miki: Empathy Lab
DESCRIPTION:Masako Miki\nEmpathy Lab\nMay 18 – June 30\, 2023\nOpening reception: Thursday\, May 18\, 2023\, 6:00-8:00 pm \nRYAN LEE is pleased to announce Empathy Lab\, the first major exhibition of a debut body of work by Bay Area-based Japanese contemporary artist Masako Miki. The landmark solo show proudly introduces new works to her Shapeshifters series\, which roots its expressions in the animistic polytheism of Shinto traditions. Conceiving of the gallery as a home\, Miki constructs various spaces for casual connection and contemplation\, from an engawa deck to an open garden-scape dotted with deity-inspired bronze and felt creatures\, objects\, and forms\, alongside vibrant drawings that convey the outside world. \nEmpathy Lab ignites the artist’s common theme of questioning how tradition and folklore offer grounds for exploring bicultural identity. In her characters—whose designs are rooted in deep histories of animistic mythology—sacredness is implied\, regardless of diversity in form\, texture\, surface or material make-up. “Normalcy” is supplanted by a divine plurality of identity\, significant and celebrated in each unique sense of selfhood. \nIn their exaltation\, some of the characters are literally uplifted. Inspired by the engawa element characteristic of Japanese architecture—a transitional wood-deck bridging residential interior and exterior spaces—Miki elevates a portion of the gallery to invite and welcome interaction with the art\, and perhaps most importantly with one another. \nHolistically responding to the gallery’s layout\, she envisioned tokonoma spaces too\, another architectural element common in Japanese housing. This area showcases Miki’s Shapeshifters in a deliberately homey\, communal setting inspired by the everyday engagement that passersby may have with friends and neighbors\, or even with houses of deities (shrines) in Japan. “This casual socialization can lead to meaningful connections\, and shared experience is the first step to building communities\,” says Miki. In Shinto folklore\, “there are a myriad of gods in this universe\, yet they can only fulfill their duties as a collective. I resonate these ideas in my work as a reminder of how we endeavor our challenges together.” \nThe exhibition\, as such\, offers more than just its physical experience—it suggests multiple vibrant entry points into exploring the junctures of tradition and modernity\, and the cultural marriages that they often signal. The cast bronze pieces express the “synthesis of combining two finishes of century-old patina with the modern invention of automotive paint\,” which is an extremely complex color application process; while the similarly involved process of creating the felt characters utilizes wool\, activating multitudes of design phases before reaching final form. \nThis presentation of new works is ultimately about reclaiming the power of myth-making. We are told and we succumb to stories that punctuate our shared histories with painful and unresolved tensions.“Our lives are filled with mythologies\, manipulated ideologies\, and fear-driven narratives that deepen chasms among us\,” says Miki. Her work proposes resolution through creative and communal agency\, exhibiting through her characters and environments the optimistic reality of the power of imagination to drive the future. “I am convinced that we need new mythologies to question old myths. We can update the myths.” \nMasako Miki (b. 1973 Osaka\, Japan) is a multimedia artist whose work ranges installation and large-scale sculpture\, printmaking\, watercolor and felting. A native of Japan\, she now lives and works in Berkeley\, CA. Her work frequently explores the idea of synthesis—manipulating contradicting spatial elements to suggest a disoriented context and space. The artist bases her narrative on her own experiences of becoming bicultural in the United States at the age of eighteen. Strongly influenced by craft and folk art of different cultures\, she remains close to her ancestral traditions\, frequently considering motifs and ideologies that arise from her association with Buddhism\, Shintoism\, and traditional Japanese folklore. The artist’s practice is further rooted in the belief that art can foster social contexts in which contemporary and universally relevant mythologies and social narratives can be generated—replacing or fixing harmful misconceptions and mythologies of the past that have previously sparked social injustices. \nMiki has been included in solo and group exhibitions at the ICA San Jose\, CA (2022); Katonah Museum of Art\, NY (2022); Marin Museum of Contemporary Art\, CA (2022); Berkeley Art Museum and Pacific Film Archive\, CA (2019); and de Young  Museum\, CA (2016)\, among others. Her large-scale sculptures were recently commissioned as a permanent installation at the Uber Technologies headquarters in Mission Bay\, San Francisco. Her work is included in the collections of The Byrd Hoffman Water Mill Foundation\, NY and the Berkeley Art Museum and Pacific Film Archive\, CA. She received her MFA from San Jose State University. \nAbout RYAN LEE\nCelebrating emerging and established artists and estates\, RYAN LEE takes a multi-generational approach to its programming\, presenting innovative and scholarly exhibitions across all spectrums of art practices\, including painting\, photography\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work consistently transcends political\, cultural\, material\, or technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black and Asian American\, as well as queer narratives in the twentieth and twenty first centuries. Founded in 2013 by Mary Ryan and Jeffrey Lee\, the gallery is led by partners of different generations and backgrounds with over six decades of combined experiences informing its unique approach.
URL:https://artinamericaguide.com/event/masako-miki-empathy-lab/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20230330
DTEND;VALUE=DATE:20230514
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SUMMARY:Tim Braden: El Universal
DESCRIPTION:Tim Braden\nEl Universal\nMarch 30 – May 13\, 2023\nOpening reception: Thursday\, March 30\, 2023\, 6:00-8:00 pm \n  \n\n\n\nRYAN LEE is pleased to announce El Universal\, the gallery’s fourth solo show of paintings by British artist Tim Braden. Inspired by travel – an idea of it\, a critique of it\, others’ and his own – Braden’s scenes evoke his characteristic style\, wavering between the dreamily figurative and the purely abstract. \nTwo iconic artists’ sojourns in Mexico served as particular inspiration for this series: the first was Robert Smithson’s experience at Palenque\, the site of ancient Mayan ruins in Chiapas\, during which he was ironically more fascinated with its urban surrounds. The second was Josef and Anni Albers’ visits\, particularly throughout the 1950s\, to various pre-Columbian sites of artistic\, architectural\, and archaeological import\, and their teaching and artwork that resulted. \n“What do we expect when we go off in search of inspiration or discovery?” asks Braden. “Surprise? Disappointment?” His paintings transport us through several vantage points rendered abstract once the memories reached the canvas at his London studio. In Blue Mountain Bus (Tehuacan)\, “incidental views of figures half-seen from a passing bus are rebuilt into landscape studies;” and El Universal is a slice-of-life perspective on a woman reading at a bistro table\, its gently placed details conjuring a quotidian nostalgia. \nDespite the untainted poeticism of these travel paintings\, Braden is in fact inspired by what he deems “the failures” of expedition. For example\, Smithson’s wayward interest\, in 1969\, in Palenque’s neighboring civic spaces\, which he found to be in their own curious senses of ruin; or\, four decades prior\, Henri Matisse’s unexpected creative preference for the vitality of America over the so-called “lethargy” of his original destination\, Tahiti. \nThe multiplicities of enthusiasm experienced by traveling artists and tourists alike may range from critical to celebratory. It is from both ends of this spectrum of response that Braden pulls inspiration\, enjoying the irony that\, though wholly related to the country\, “Most of the work was made before I had even been to Mexico\,” he says. “The trip itself became an exercise in matching expectations.” \nThe Albers\, whose influential trips Braden in part credits to his own expectations\, documented immense deference to the styles\, culture and experiences of Mexico. Spurred on by a fascination for their intimacy with the country and its impact on them\, Braden dedicated part of the pandemic lockdown to researching and painting it. Rendered in a vast set of colors\, Anni in Mexico 2 is directly based on a black-and-white photograph that Josef had taken of her at the steps of the Oaxacan archaeological site Monte Albán. Other works\, Braden says\, are “large abstract paintings infected by the colours and shapes from archaeology and textile books\,” illustrating Mexico’s allure through rich renditions of its landscapes\, artistic inheritances\, history\, and people. \nThe Albers\, from the 1930s through the 60s\, carried their Mexico field visits into their artwork and into the classroom at Black Mountain College in Asheville\, North Carolina\, where they both taught. Invested in their presence and impact there\, Braden’s Lake Eden depicts the campus’s dining building\, while other works in this series are based on photographs of its students. \nFrom the Carolinas to Chichén Itzá\, Braden’s paintings reinterpret not only sites and spaces\, but also the looking-at those sites and spaces. They carry us through firsthand and secondhand time and place\, creating a layer of experiences that resist their pin-pointed provenance in favor of open-ended\, universally resonant portrayals. \n\n\n\n\n  \nTim Braden (b. 1975 Perth\, Scotland) is a British artist whose practice centers on a deep exploration of looking and what that means\, shifting between abstract and figurative painting to explore how one mode operates within the other. He works in both painting and sculpture\, incorporating various different techniques and materials across media. In these experimentations with different types of paint\, support\, and application to explore subtle shifts in space\, mood and tone\, Braden’s work is ultimately drawn from a close reading of his environment and an attempt to depict the act of looking at things. He is continuously looking and re-evaluating his own work in progress to align these observations\, and he often combines patches of color and light to produce scenes that recall both the specificity of personal experience and nostalgia for another time and place. \nIn 2018\, Art/Books published Looking and Painting\, a fully illustrated monograph on Braden. The book featured work created over the past decade\, including many never-before-seen paintings and new texts by Jennifer Higgie (editor of Frieze magazine)\, Christopher Bedford (director of the Baltimore Museum of Art) and Dominic Molon (contemporary art curator at RISD). \nBraden received his MA from Ruskin School of Fine Art at Oxford University and attended Rijksakademie van Beeldende Kunsten in Amsterdam. Braden has exhibited at Baibakov Art Projects\, Moscow; Gemeentemuseum\, The Hague; the Goethe Institute\, New York; Hamburger Bahnhof\, Museum für Gegenwart\, Berlin; Kunstnernes Hus\, Oslo; Museum Van Loon\, Amsterdam; Van Gogh Museum\, Amsterdam. His work is featured in the collections of Ashmolean Museum\, UK; Nederlandse Bank\, Amsterdam; Pembroke College\, UK; Walsall Museum and Art Gallery\, UK; and Zabludowicz Collection\, UK. He lives and works in London\, UK. \n  \n\n\n\n\nAbout RYAN LEE\nFounded in 2013 by Mary Ryan and Jeffrey Lee\, RYAN LEE has established itself as a welcoming place of discovery and dialogue for art ranging from postwar to contemporary. Led by two partners of different generations and backgrounds with over six decades of combined experience\, RYAN LEE is committed to presenting innovative and unexpected exhibitions across all spectrums of art practices\, including painting\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work is inherently experimental and pushes political\, cultural\, material\, and technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black\, and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries.
URL:https://artinamericaguide.com/event/tim-braden-el-universal/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230216T180000
DTEND;TZID=America/Halifax:20230216T200000
DTSTAMP:20260502T144902
CREATED:20230123T193240Z
LAST-MODIFIED:20230123T193240Z
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SUMMARY:Opening Reception | Camille Billops: Mirror\, Mirror
DESCRIPTION:Camille Billops\nMirror\, Mirror\nFebruary 16 – March 25\, 2023\nOpening reception: February 16\, 2023\, 6:00-8:00 pm \nRYAN LEE is pleased to announce Mirror\, Mirror\, a solo exhibition of works by the multidisciplinary artist\, filmmaker\, and activist Camille Billops. Featuring a series of ceramic mirrors\, etchings\, and drawings\, this is the first significant solo presentation of Billops’s later work. \nInfused with experiences of travels abroad\, including globally informed artistic practices\, Billops first began forging space for her art and activism in the 1960s in New York. A pioneering member of the emerging black artists movement\, her work and activism were entwined\, engaging with civil rights alongside exclusionary systems of the art industry at large.  Throughout her life\, her artwork drew from these themes\, from the ever-presence of racism to gender dynamics\, black culture\, and personal narrative and history. \n “All my work is about the celebration of family\, my private stories and personal vision\,” shared Billops in a 1985 interview published in ISSUE\, A Journal for Artists. Referencing the Kaohsiung drawings – originally made in Kaohsiung\, Taiwan\, three of which are featured in this exhibition – she shares that the characters are in fact her and her husband\, James V. Hatch\, after a “magnificent fight.” \nBillops was not only comfortable turning the intimate outward\, she was strategic about it\, using exposé as a tactic to confront the follies and failures of life\, and resolutely unafraid to include her own. For a 2012 show\, Billops had commented that her art is “about ‘victory over obscurity and ignorance\, and confirmation of herself.’” In this sense\, we are able to grasp a fuller picture of the artist\, whose activism and committed preservation of black arts and culture is as large a part of her legacy and impact as her work is. Her output\, holistically\, is perseverance – at once personal and collective. \nBillops’s sense of self-confirmation through self-portraiture\, refrained in the Kaohsiung drawings\, is inherent to the nature of her later mirror series. Begun in the early 2000s and completed in 2011\, these metaphorically reflective works are likewise literal presentations of the viewer\, placing us squarely within the contexts of the frame. \n In some\, the mirrors’ ceramic-frame illustrations are figurative\, as in Untitled (Checkered) (2003)\, where cartoonish characters engage in a mock-Americana tableau evoking a realm of behaviors from suspicious to blithe. In White Woman with US Flags (2011)\, the denotation may be more literal\, but the style breaks molds with its looseness of form\, as variously proportioned pieces of ceramic dance across the frame. The artwork is detailed with American flags placed amidst the other ceramic pieces\, each painted with a shadowy fist raised in silhouette against the stripes. \nAlso included are her Mondo Negro series of lithographs. This presentation of works\, shown together for the first time\, honors Billops’s canonical output as an artist-activist. In five variations\, Billops portrays in bold\, slanting lines\, characters and snakes at times falling and at times burning in abstracted landscapes portraying a “black world.”  The series continues to bring her perceptive artwork into conversation not only with its own multimedia contexts\, but also with those broader contexts that are presciently resonant within them. 
URL:https://artinamericaguide.com/event/opening-reception-camille-billops-mirror-mirror/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230216
DTEND;VALUE=DATE:20230326
DTSTAMP:20260502T144902
CREATED:20230123T193523Z
LAST-MODIFIED:20230123T193523Z
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SUMMARY:Camille Billops: Mirror\, Mirror
DESCRIPTION:Camille Billops\nMirror\, Mirror\nFebruary 16 – March 25\, 2023\nOpening reception: February 16\, 2023\, 6:00-8:00 pm \nRYAN LEE is pleased to announce Mirror\, Mirror\, a solo exhibition of works by the multidisciplinary artist\, filmmaker\, and activist Camille Billops. Featuring a series of ceramic mirrors\, etchings\, and drawings\, this is the first significant solo presentation of Billops’s later work.  \nInfused with experiences of travels abroad\, including globally informed artistic practices\, Billops first began forging space for her art and activism in the 1960s in New York. A pioneering member of the emerging black artists movement\, her work and activism were entwined\, engaging with civil rights alongside exclusionary systems of the art industry at large.  Throughout her life\, her artwork drew from these themes\, from the ever-presence of racism to gender dynamics\, black culture\, and personal narrative and history. \n“All my work is about the celebration of family\, my private stories and personal vision\,” shared Billops in a 1985 interview published in ISSUE\, A Journal for Artists. Referencing the Kaohsiung drawings – originally made in Kaohsiung\, Taiwan\, three of which are featured in this exhibition – she shares that the characters are in fact her and her husband\, James V. Hatch\, after a “magnificent fight.” \nBillops was not only comfortable turning the intimate outward\, she was strategic about it\, using exposé as a tactic to confront the follies and failures of life\, and resolutely unafraid to include her own. For a 2012 show\, Billops had commented that her art is “about ‘victory over obscurity and ignorance\, and confirmation of herself.’” In this sense\, we are able to grasp a fuller picture of the artist\, whose activism and committed preservation of black arts and culture is as large a part of her legacy and impact as her work is. Her output\, holistically\, is perseverance – at once personal and collective. \nBillops’s sense of self-confirmation through self-portraiture\, refrained in the Kaohsiung drawings\, is inherent to the nature of her later mirror series. Begun in the early 2000s and completed in 2011\, these metaphorically reflective works are likewise literal presentations of the viewer\, placing us squarely within the contexts of the frame. \nIn some\, the mirrors’ ceramic-frame illustrations are figurative\, as in Untitled (Checkered) (2003)\, where cartoonish characters engage in a mock-Americana tableau evoking a realm of behaviors from suspicious to blithe. In White Woman with US Flags (2011)\, the denotation may be more literal\, but the style breaks molds with its looseness of form\, as variously proportioned pieces of ceramic dance across the frame. The artwork is detailed with American flags placed amidst the other ceramic pieces\, each painted with a shadowy fist raised in silhouette against the stripes. \nAlso included are her Mondo Negro series of lithographs. This presentation of works\, shown together for the first time\, honors Billops’s canonical output as an artist-activist. In five variations\, Billops portrays in bold\, slanting lines\, characters and snakes at times falling and at times burning in abstracted landscapes portraying a “black world.”  The series continues to bring her perceptive artwork into conversation not only with its own multimedia contexts\, but also with those broader contexts that are presciently resonant within them.  \n  \n  \nCamille Billops (b. 1933\, Los Angeles\, CA – d. 2019\, New York\, NY) was an influential artist and filmmaker whose staunch activism and profound belief in the power of memory and representation made her a pillar of the Black New York-based artist community from the 1960s until her death in 2019. As an artist\, Billops came into her own within the converging contexts of the 1960s civil rights movement and New York’s emerging Black artists movement. She has unapologetically drawn from her life experiences\, family histoy\, and community to carve out a space for her voice to be heard. Her work primarily touches upon themes of racism—which she considered ever present throughout society—gender dynamics\, Black culture\, and personal narrative. \nIn 2022\, Billops was included in the landmark group exhibition Just Above Midtown\, 1974 to the Present at the Museum of Modern Art\, NY\, a retrospective focusing on the historic Just Above Midtown gallery. Billops’s and her husband James Hatch’s documentary filmmaking is currently the subject of a major solo retrospective A String of Pearls: The Films of Camille Billops & James Hatch at the Brooklyn Academy of Music\, organized by Third World Newsreel. Billops’s work has also been featured in numerous solo and group exhibitions at Featherstone Center for the Arts\, PA (2022); Georgia Museum of Art\, GA (2019); Brooklyn Museum\, NY (2017); and Institute of Contemporary Art\, MA (2017)\, among other institutions. Billops’s work is in the collections of the Boston Museum of Fine Arts\, MA; Cleveland Museum of Art\, OH; Detroit Institute of Arts\, MI; Georgia Museum of Art\, GA;  Library of Congress\, DC; Minneapolis Institute of Art\, MN; Museum of Modern Art\, NY; Das Schubladenmuseum\, Bern; Studio Museum in Harlem\, NY; and Yale University Art Gallery\, CT\, among others.  \n  \n  \nAbout RYAN LEE\nFounded in 2013 by Mary Ryan and Jeffrey Lee\, RYAN LEE has established itself as a welcoming place of discovery and dialogue for art ranging from postwar to contemporary. Led by two partners of different generations and backgrounds with over six decades of combined experience\, RYAN LEE is committed to presenting innovative and unexpected exhibitions across all spectrums of art practices\, including painting\, video\, sculpture\, and performance. The gallery takes chances on a wide variety of boundary-pushing artists; their work is inherently experimental and pushes political\, cultural\, material\, and technical boundaries. In addition\, RYAN LEE has\, throughout its history\, demonstrated its long-standing interest and dedication to feminist\, Black\, and Asian American\, as well as queer narratives in the twentieth and twenty-first centuries.
URL:https://artinamericaguide.com/event/camille-billops-mirror-mirror/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230105
DTEND;VALUE=DATE:20230212
DTSTAMP:20260502T144902
CREATED:20221205T221536Z
LAST-MODIFIED:20221205T221536Z
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SUMMARY:Josh Dorman: Idyll ~ Idol
DESCRIPTION:RYAN LEE is pleased to announce Josh Dorman: Idyll ~ Idol  a solo exhibition of recent works which are an investigation of the artist’s longstanding interest in creating multi-layered and self-contained universes of antique collage material\, acrylic and resin. Dorman’s two new bodies of work\, the Being series and the Wallpaper series\, take a new approach to the allegorical world building for which he is known.  \nTo create his complex and visually rich paintings\, Dorman culls old textbooks\, maps\, diagrams\, and\, for the first time\, introduces antique wallpaper to his compositions. By starting off with a base of material from another time\, Dorman dislocates the physicality of his paintings from our contemporary era and creates an ethereal\, almost other-wordly dimension\, which often serve as allegories addressing contemporaneous issues. The initial collage of archival material — some over one hundred years old — gives the artist a visual noise to react to: “It’s like gathering a pile of stuff then excavating the image from within” the artist explains. Dorman’s delicate and time-intensive process involves successive layering of collage\, acrylic and ink\, at times pouring resin or sanding down his surfaces\, sealing in or obliterating the previous layers.  \nNeither portraits nor landscapes\, the paintings in Dorman’s recent Being series\, on view at RYAN LEE\, are subjects in and of themselves. With his endlessly intricate\, multi-layered compositions\, Dorman brings to “flesh” a being with each of his paintings. “Each Being looks back at us\, with many sets of eyes\, through the air of their own dreams\,” Dorman explains. “We feel their presence and wonder about our own. Each porous\, without boundary. Assembled of eyes and visions\, ears and sounds\, brains and minds\, teeth\, and voices. We are memories\, calculations\, histories\, cells\, roots\, beauty\, fear\, love\, and joy. The paintings are assembled\, found\, constructed\, and excavated\, evolving in layers over months and years.” \nThe paintings in Dorman’s Wallpaper series—which he refers to as Idylls—makes further use of this concept of dislocating time: using antique wallpaper from the 1930 to 1950s\, Dorman roots his Idylls in the false nostalgia conjured by sentimental\, idealized Americana landscape scenes. The wallpapers—which the paintings are simultaneously rooted in and a commentary upon  —offer “a strange vision of America\,” one that does not correspond with its historical past or daily realities. Indeed\, Dorman began incorporating these anachronistic visions of a genteel\, pastoral America during the pandemic\, in the midst of political strife\, racial tension and a mounting climate change crisis. The Idylls strive to find beauty\, peace\, and joy in darkly humorous illusions of/allusions to an imagined past. \nBoth series on view at the gallery represent a complete surrender to the artist’s internal world and vision. “All are completely discovered in the making\,” Dorman explains. “My goal was not to force or even will images into being but to layer\, labor\, and carve forms until the beings or the idyllic worlds earned their existence.”
URL:https://artinamericaguide.com/event/josh-dorman-idyll-idol/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221029T160000
DTEND;TZID=America/Halifax:20221029T180000
DTSTAMP:20260502T144902
CREATED:20220922T113428Z
LAST-MODIFIED:20221001T211115Z
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SUMMARY:George Miyasaki: Deep Space (1981-1989) Opening Reception
DESCRIPTION:RYAN LEE is pleased to announce George Miyasaki: Deep Space (1981-1989)\, an exhibition of\nMiyasaki’s paintings produced in the 1980s. This was a highly successful decade for the artist\nduring which he exhibited widely throughout the West Coast. The five paintings and two works on\npaper on view at the gallery reflect the artist’s mature artistic style\, in which he uses thickly built-up\nsurfaces and collaged papers to achieve weighty yet contemplative compositions that effortlessly\ncapture the delicate and structured.
URL:https://artinamericaguide.com/event/george-miyasaki-deep-space-1981-1989-opening-reception/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20221029T160000
DTEND;TZID=America/Halifax:20221029T180000
DTSTAMP:20260502T144902
CREATED:20220922T112915Z
LAST-MODIFIED:20221001T211054Z
UID:98789-1667059200-1667066400@artinamericaguide.com
SUMMARY:George Nelson Preston: Afro Atlantica Opening Reception
DESCRIPTION: RYAN LEE Gallery is pleased to present Afro Atlantica: The Aqueous Continent\, a presentation of works by George Nelson Preston. The five paintings and one work on paper on view are reflections on the Middle Passage. These recent works\, made between 2016 and 2022\, continue to explore Preston’s longstanding interest in the power of memory\, the emotional context of historical trauma\, and the complicated inheritance of the African diaspora and “our double consciousness” throughout the Americas as well as Preston’s own family legacy. 
URL:https://artinamericaguide.com/event/afro-atlantica-the-aqueous-continent/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/09/GNP-22-05-RL-1.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221029
DTEND;VALUE=DATE:20221127
DTSTAMP:20260502T144902
CREATED:20220922T112915Z
LAST-MODIFIED:20220922T152257Z
UID:98787-1667001600-1669507199@artinamericaguide.com
SUMMARY:George Nelson Preston: Afro Atlantica
DESCRIPTION: RYAN LEE Gallery is pleased to present Afro Atlantica: The Aqueous Continent\, a presentation of works by George Nelson Preston. The five paintings and one work on paper on view are reflections on the Middle Passage. These recent works\, made between 2016 and 2022\, continue to explore Preston’s longstanding interest in the power of memory\, the emotional context of historical trauma\, and the complicated inheritance of the African diaspora and “our double consciousness” throughout the Americas as well as Preston’s own family legacy. 
URL:https://artinamericaguide.com/event/george-nelson-preston-afro-atlantica-the-aqueous-continent/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/09/GNP-22-05-RL.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221029
DTEND;VALUE=DATE:20221224
DTSTAMP:20260502T144902
CREATED:20220922T112915Z
LAST-MODIFIED:20220922T112915Z
UID:98783-1667001600-1671839999@artinamericaguide.com
SUMMARY:George Miyasaki: Deep Space (1981-1989)
DESCRIPTION:RYAN LEE is pleased to announce George Miyasaki: Deep Space (1981-1989)\, an exhibition of\nMiyasaki’s paintings produced in the 1980s. This was a highly successful decade for the artist\nduring which he exhibited widely throughout the West Coast. The five paintings and two works on\npaper on view at the gallery reflect the artist’s mature artistic style\, in which he uses thickly built-up\nsurfaces and collaged papers to achieve weighty yet contemplative compositions that effortlessly\ncapture the delicate and structured.
URL:https://artinamericaguide.com/event/george-miyasaki-deep-space-1981-1989/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/09/GMI-18-25-RL.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220908T180000
DTEND;TZID=America/Halifax:20221022T180000
DTSTAMP:20260502T144902
CREATED:20220808T165740Z
LAST-MODIFIED:20220808T165740Z
UID:95482-1662660000-1666461600@artinamericaguide.com
SUMMARY:Donald Sultan: THE NATURE OF THINGS
DESCRIPTION:Donald Sultan: THE NATURE OF THINGS is an exhibition of new works by the acclaimed artist. The paintings and drawings included in this exhibition are a continuation of Sultan’s ongoing investigation of abstraction using the aesthetic structure of the mimosa plant. Inspired by the mimosas found in the French Riviera\, the Mimosa paintings at the heart of Sultan’s fifth exhibition at the gallery make innovative use of new materials and formats. Known for his use of industrial materials in his pursuit of the beautiful and delicate\, Sultan introduces cement for the first time to capture the botanical elements of these works.
URL:https://artinamericaguide.com/event/donald-sultan-the-nature-of-things-2/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220908T180000
DTEND;TZID=America/Halifax:20220908T200000
DTSTAMP:20260502T144902
CREATED:20220808T165740Z
LAST-MODIFIED:20220808T165740Z
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SUMMARY:Donald Sultan: THE NATURE OF THINGS
DESCRIPTION:Opening reception for Donald Sultan: THE NATURE OF THINGS\, an exhibition of new works by the acclaimed artist. The eight paintings and four drawings included in this exhibition are a continuation of Sultan’s ongoing investigation of abstraction using the aesthetic structure of the mimosa plant. The Mimosa series debuted at RYAN LEE in 2019. The exhibition will be accompanied by a catalogue with an essay by Thomas Loughman. 
URL:https://artinamericaguide.com/event/donald-sultan-the-nature-of-things/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/Yellow-Mimosa-March-4-2022-1.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20220713T180000
DTEND;TZID=America/Halifax:20220713T203000
DTSTAMP:20260502T144902
CREATED:20220711T201714Z
LAST-MODIFIED:20220711T201714Z
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SUMMARY:ritual being opening reception
DESCRIPTION:In her first curatorial project\, Martine Gutierrez brings together work by nineteen young artists working in a variety of mediums to explore the state and fate of humanity. A forward-looking exploration of the zeitgeist\, ritual being reconsiders commonly held images of what the future looks like. Futurist daydreams of flying cars and glass cities are no more. Instead\, the artists selected by Gutierrez envision a “post-modern\, post-monogamous\, post-gender\, post-script\, post-colonial\, post-traumatic\, post-depressive\, post-apocalyptic” world that is far grittier and down to earth than the ones predicted by 1980s science fiction imaginings. \n  \nThe show\, which will include a sculpture and an accompanying presentation in RLWindow by Gutierrez\, will play with the politics of identity and the uncertain fate of our planet. The exhibition will include work by both established and emerging artists\, including Sebastian Silva\, Mexican Jihad\, Andy K-B\, Sam Sae Jin Chun\, Christopher Udemezue\, Heesoo Kwon\, Martine Gutierrez\, Manal Kara\, Charlie Mai\, Pedro Emanuel\, Emma Safir\, Stewart Uoo\, and Avion Pearce\, Wang Shui\, among others. Reflecting on climate change\, gender\, race\, identity\, sexuality\, technology\, faith\, and conflict\, the show will ask visitors to question everything about our current moment.
URL:https://artinamericaguide.com/event/ritual-being-opening-reception/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/07/Pedro-Emanuel.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=RYAN LEE 515 W 26th St 3rd Fl New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=515 W 26th St\, 3rd Fl:geo:-74.0036112,40.7500935
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220713
DTEND;VALUE=DATE:20220814
DTSTAMP:20260502T144902
CREATED:20220711T135237Z
LAST-MODIFIED:20220711T201253Z
UID:94631-1657670400-1660435199@artinamericaguide.com
SUMMARY:ritual being
DESCRIPTION:In her first curatorial project\, Martine Gutierrez brings together work by nineteen young artists working in a variety of mediums to explore the state and fate of humanity. A forward-looking exploration of the zeitgeist\, ritual being reconsiders commonly held images of what the future looks like. Futurist daydreams of flying cars and glass cities are no more. Instead\, the artists selected by Gutierrez envision a “post-modern\, post-monogamous\, post-gender\, post-script\, post-colonial\, post-traumatic\, post-depressive\, post-apocalyptic” world that is far grittier and down to earth than the ones predicted by 1980s science fiction imaginings. \nThe show\, which will include a sculpture and an accompanying presentation in RLWindow by Gutierrez\, will play with the politics of identity and the uncertain fate of our planet. The exhibition will include work by both established and emerging artists\, including Sebastian Silva\, Mexican Jihad\, Andy K-B\, Sam Sae Jin Chun\, Christopher Udemezue\, Heesoo Kwon\, Martine Gutierrez\, Manal Kara\, Charlie Mai\, Pedro Emanuel\, Emma Safir\, Stewart Uoo\, and Avion Pearce\, Wang Shui\, among others. Reflecting on climate change\, gender\, race\, identity\, sexuality\, technology\, faith\, and conflict\, the show will ask visitors to question everything about our current moment.
URL:https://artinamericaguide.com/event/ritual-being/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/07/Pedro_Emanuel1.jpg
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GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220506
DTEND;VALUE=DATE:20220626
DTSTAMP:20260502T144902
CREATED:20220426T192235Z
LAST-MODIFIED:20220426T192235Z
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SUMMARY:Vivian Browne: Africa Series 1971-1974
DESCRIPTION:RYAN LEE is pleased to announce Vivian Browne: Africa Series 1971-1974. The exhibition will include eight paintings and five works on paper from the Africa Series\, a major body of abstract works by the prominent painter Vivian Browne. This pivotal body of work in Browne’s career followed a highly influential trip to West Africa in 1971. This will be the first time these works have been exhibited together since 1974. The exhibition will be accompanied by a fully illustrated catalogue with an essay by Dr. Leslie King Hammond\, who cites Vivian Browne’s Africa Series as an important example of the overlooked nature of Black American artists’ vast contributions to the development and establishment of modernist American aesthetics\, as well as the omission of African influence from the mainstream art historical narrative in the United States. This will be Browne’s second solo exhibition and third overall at the gallery. \nAccording to Dr. King Hammond\, “Browne was a woman of her time and yet\, in many ways— ahead of her time\, with an inquisitive eye on the state of humanity.” Placed in the context of the post-civil rights 1970s\, the uncompromisingly abstract African works stood at odds with prevailing ideas of what Black art “should” look like or stand for. “During the Civil Rights Era\, one had to paint Black themes\, Black people\, Black ideas\, I didn’t\,” Browne explained. “I was painting my kind of protest\, but it didn’t look like Black art…” Browne’s unflinching commitment to her artistic vision set her apart from popular contemporary “Black” aesthetics. A passionate civil rights and feminist activist and professor of Black art history at Rutgers University\, Browne’s artistic and political principles and curiosity in the world blend into her work\, reflecting her unique and authentic vision. \nThe vividly colored African paintings capture Browne’s experience of visiting an ancestral land that remains somewhat foreign to her as an African American person. Her stay on the African continent was an artistic breakthrough\, and the powerful works she created upon her return to the United States marked a decisive shift to abstraction in her practice. Previously a more figurative artist\, her Africa Series respond to the emotional responses she experienced during her voyages. “The expression was an abstract idea—not an abstract of a particular thing\, but an abstract of a particular feeling\, of a particular surrounding and an experience\,” Browne explained. “The colors were much more heightened; the use of pattern was there because that was pervading everything that I saw or reacted to in Africa.” \nPunctuated by the ubiquitous patterning Browne witnessed during her voyages to Nigeria\, Benin\, and Ghana\, the paintings included in RYAN LEE’s exhibition range in scale and levels of abstraction. The explosion of intersecting patterns and abstracted tiles of color dominate the composition of the large-scale painting\, Diversities (1973)\, and reference an effusion of sounds and patterning that Browne was exposed to in Africa. In contrast\, The Gathering (1973) incorporates faces and animals\, as well as references to masks and genitalia. \nThis fall\, Browne’s works will be included in the Museum of Modern Art’s exhibition\, Just Above Midtown: 1974 to the Present. Browne was included in the inaugural exhibition of this landmark gallery alongside prominent artists such as David Hammons and Camille Billops\, among others.
URL:https://artinamericaguide.com/event/vivian-browne-africa-series-1971-1974/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20220310
DTEND;VALUE=DATE:20220311
DTSTAMP:20260502T144902
CREATED:20220314T130831Z
LAST-MODIFIED:20220314T130831Z
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SUMMARY:Angiola Gatti: Momenti di Luce
DESCRIPTION:RYAN LEE is pleased to announce Momenti di Luce\, an exhibition of new work by Turin-based artist Angiola Gatti\, her third with the gallery. In Momenti di Luce\, Gatti continues to work in trademark medium of ballpoint pen on canvas\, producing works in direct proportion to her own body. Each mark is a translation of her corporeal expression\, corresponding to her height and the length of her reach. The resulting compositions reveal changes in the speed\, pressure\, and gesture of Gatti’s hand\, generating images that range from spare and ethereal to dense and brooding. Though the artist works on unstretched canvas\, the final compositions are presented stretched. \nThe works in Momenti di Luce are influenced by the changing qualities of light in various forms: the shifting light in Gatti’s studio\, natural light on her many walks through the city\, or memories of sublime light experienced during her travels. It also references flashes of light in the creative process\, moments in which “something unexpected happens and there is a shift of energy\, a change in my mind and hand\, a kind of happiness\,” says Gatti. In one of her works on view\, layers of blue ink in varying tones appear pulled to the upper right quadrant of the canvas\, like a cloud propelled by the wind. Meticulously placed patches of pink punctuate the composition\, and the addition of an explosive smudge of red and green oil stick just left of center enhances a sense of depth. \nGatti’s exploration of light extends as well to sparks of emotion between people\, such as love\, and also reflects a sense of existential clarity. At the same time\, it suggests its complement: darkness and the void. Deep pockets of blue-black are carefully interspersed in a sea of blue\, indigo\, purple\, and soft reds\, bleeding to the edges of the canvas in Untitled (Senza titolo). This meditative composition insinuates the tensions that underlie Gatti’s process\, as she negotiates line and color\, dynamism and stillness\, positive and negative space—blurring the boundary between painting and drawing.
URL:https://artinamericaguide.com/event/angiola-gatti-momenti-di-luce/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220108
DTEND;VALUE=DATE:20220313
DTSTAMP:20260502T144902
CREATED:20211215T185309Z
LAST-MODIFIED:20220120T190904Z
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SUMMARY:Stephanie Syjuco: Latent Images
DESCRIPTION:RYAN LEE is pleased to announce Latent Images\, an exhibition of new work by Oakland- based artist Stephanie Syjuco. Drawing on Syjuco’s recent research at the archives of the Smithsonian National Museum of American History\, Latent Images examines the memory of the American empire as preserved and perpetuated through the lens of its own archive. The work is a counterpart to Syjuco’s previous work\, which served as decolonizing interventions into the same archive’s early 20th-century depictions of the Philippines. The exhibition includes a selection of large-scale photographs\, an installation of photographs displayed on an interconnected series of raised platforms\, and small color checker images referencing her Chromakey series which investigate race and color in America. \nSyjuco’s use of photography in this body of work reiterates the constructed nature of the archival narrative: she photographs archival material (existing photographs\, documents\, ephemera)\, enlarges and prints them in segmented tiles 8 1/2 x 11-inch office printing paper that she then physically reassembles in her studio before rephotographing them to achieve her final composition. Visible in the final object is the tape that the artist used to put back together the various segments of the original photo—thus lending the work a trompe l’oeil quality. The reconstructed images are finally printed as high resolution\, large-scale digital inkjet prints. This “piecing together\,” as Syjuco describes it\, points to the mediating gaze of both photography and the archive. Better America Slide (2021) illustrates Syjuco’s exploration of “the archive itself as an imperfect carrier of information.” The image depicts Syjuco’s gloved fingers holding a badly damaged slide inscribed with text that identifies it as part of the “Better American Lecture service\,” a mass-produced teaching program used in the 1920s and 1930s. The process of producing a high-quality reproduction of an illegible slide’s snapshot draws attention to what is lost in translation as images and histories are reproduced across time. \nIn KKK Image (2021)\, Syjuco presents a composition that initially resembles a cubist collage\, but is in fact an arrangement of the back sides of documents belonging to an Ohio chapter of the Ku Klux Klan in the 1950s. By reversing the records of this hate group\, which are found in various locations throughout the Smithsonian’s archives of American History\, Syjuco is both denying the legibility of white supremacist propaganda while also demonstrating how deeply embedded it is in the fabric of American national history. \nIn the center of the main gallery\, Platform Installation (2021) reinterprets the psychological and physical experience of archival research. Syjuco layers historical material along with contemporaneous elements into an intentional arrangement that recalls the process of discovery and active reconstruction of the historical narrative. \nAlso on view in the RL Window will be Block Out the Sun (2021)\, a video showing a series of images of Syjuco’s hand covering the faces of Filipinx individuals brought to the United States for exhibition as part of the 1906 World’s Fair. Syjuco’s action disrupts the colonial gaze\, suspending the repetitious cycle of exploitation and consumption. \n\n\nImage:\nInstallation view of Stephanie Syjuco: Latent Images at RYAN LEE Gallery\nCourtesy of Ryan Lee Gallery
URL:https://artinamericaguide.com/event/stephanie-syjuco-latent-images/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20211111
DTEND;VALUE=DATE:20211224
DTSTAMP:20260502T144902
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SUMMARY:Gideon Rubin: The Sun Also Rises
DESCRIPTION:RYAN LEE is pleased to announce The Sun Also Rises\, the gallery’s first exhibition of work by the London-based painter\, Gideon Rubin. Rubin is known for painting faceless figures and ambiguous landscapes that are familiar yet fugitive. Using vintage and found photographs as the basis for his paintings\, Rubin reimagines the context surrounding these memory fragments\, drawing the viewer into recognizable scenes that refuse resolution and leave the narrative and its protagonists deliberately nebulous. \nThrough the application and erasure of paint\, Rubin says\, “details are lost\, but a new identity appears.” Rubin considers himself a portrait painter\, but his paintings are less about an individual sitter than his perception of the world. He turns his attention to pops of strategically placed color and points of contact: “I focus on the edges\, where colors\, shapes and tones touch each other\,” he says. In works such as Blue Jeans (2021) and White Shirt (2021) Rubin’s lone figures seem lost in moments of contemplation\, but the absence of facial features obscures access to definitive meaning. Rubin confesses that he enjoys cultivating this deliberate incompleteness; the resulting images are painterly snapshots of moments in time that appear both commonplace and particular. \nAll of the paintings in The Sun Also Rises were produced during the height of the pandemic in London\, and the landscape images in particular provided Rubin with “a comforting sense of escapism\,” he said. In Boat (2020) and Untitled (2021) Rubin’s solitary figures seem to stare out at the nature that surrounds them—the blue of a body of water\, and wild forest greenery\, respectively. Though each of these landscapes is abstracted—into loose layers of blue and energetic bursts of green—and neither reveals itself as a specific location\, they are meditations on the role of place in Rubin’s own practice. “Over the past year or two\, we all had to reflect on our relationship towards our environment – the landscape\, or lack thereof. This relationship\, between experience and the memory of it\, between painting a boat and going out on a boat\, became the backdrop to a very productive artistic isolation.”
URL:https://artinamericaguide.com/event/gideon-rubin-the-sun-also-rises/2021-11-11/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Event,Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200910
DTEND;VALUE=DATE:20201025
DTSTAMP:20260502T144902
CREATED:20200915T190451Z
LAST-MODIFIED:20200915T190451Z
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SUMMARY:Emma Amos: Falling Figures
DESCRIPTION:RYAN LEE is pleased to announce Falling Figures\, an exhibition of paintings by Emma Amos. This is the first exhibition to mine this motif in Amos’s work\, an exploration that began with her Falling Series (1988-1992) and continued into the twenty-first century. Amos was a celebrated artist and educator who began her career in New York in the 1960s. She was the only female member of the influential African American artist group Spiral\, alongside Romare Bearden\, Norman Lewis\, and Hale Woodruff. Amos\, whose work ranged from graphic\, to expressionist\, to figurative\, has always understood that\, as she put it\, “to put brush to canvas as a black artist was a political act.” \nThe falling figures that populate the canvases on view in this exhibition reverberate with anxiety\, which Amos described as a response to a sense of “the impending loss of history\, place\, and people” among African Americans. This fear of alienation from one’s personal history and thus identity is palpable in paintings such as Will You Forget Me? (1991) in which a plummeting Amos clings to a photograph of her mother\, India. The black-and-white photograph\, taken many years earlier\, seems to slow Amos’s descent\, as the stable\, elegant India calmly meets our gaze from her seated position. A different sort of anxiety permeates Targets (1989). The central image is of a young African-American couple\, gripping each other in a fearful embrace. Their eyes are wide and searching as they plunge into space\, flanked by a white rabbit and a bull’s-eye—two literal targets for sport. This image not only makes painfully clear the sense of helplessness that accompanies falling\, but also the very real threats that await the young couple on the ground below. The scenes in both Will You Forget Me? and Targets are set against boldly colored abstract backgrounds and are bordered by African cloth (including Kente\, Burkina Faso\, and Kanga). Amos\, who had a background in weaving and textile design\, often included fabric elements in her work\, and in these paintings the sumptuous and colorful cloth both grounds the images and reestablishes a connection to one aspect of Amos’s cultural roots. \nAmos intentionally painted her falling figures in a range of skin tones in order to combat the reductive notion of blackness being propagated by a white male-dominated New York art world. As she explained in a 1994 artist’s statement\, “I became especially concerned with the issues of freedom of expression in figurative imagery\, particularly the symbolic use of dark bodies. Researching the impact of race\, I found that white male artists are free to incorporate any image…. Much of this work continues to be seen as groundbreaking in its expression of the will to cross boundaries. When African-American artists cross boundaries\, we are often stopped at the border.” \nMany of these paintings have never been exhibited to the public before\, and are being exhibited here for the first time. Those that have already been shown before were last included in Amos’s 1993 solo exhibition Emma Amos: Paintings and Prints 1982-92\, curated by Thalia Gouma-Peterson for the College of Wooster Art Museum. This exhibition traveled to the Wayne Cener for the Arts in 1993\, the Southern Ohio Museum and Cultural Center in 1994\, and the Studio Museum in Harlem in 1995. It was accompanied by an exhibition catalogue with essays by Gouma-Peterson\, bell hooks\, and Valerie J. Mercer. Further\, Amos’s monumental tryptich The Overseer (1992) was included in Art in General’s 1994 exhibition Emma Amos: Changing the Subject; Paintings and Prints 1992-1994\, curated by Holy Block. This exhibition traveled to the Montclair Museum of Art in 1995\, and was accompanied by an exhibition catalogue with an essay by bell hooks
URL:https://artinamericaguide.com/event/emma-amos-falling-figures/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200109
DTEND;VALUE=DATE:20200308
DTSTAMP:20260502T144902
CREATED:20191212T183618Z
LAST-MODIFIED:20191212T183618Z
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SUMMARY:Sandy Skoglund: Winter
DESCRIPTION:RYAN LEE is pleased to announce Winter\, an exhibition of new work by the conceptual photographer Sandy Skoglund. Winter—ten years in the making—is a multifaceted project that includes sculpture\, installation\, and photography. Portions of Skoglund’s immersive tableau will be on view in the gallery\, along with its final photographic iteration. \nSkoglund describes Winter as “a study in perseverance and persistence\, an artificial landscape celebrating the beautiful and frightening qualities of the coldest season.” In the photographic image\, a man\, woman\, and child punctuate an icy blue scene. They are inside of an iceberg\, perhaps\, surrounded by its craggy walls. Standing pensive with hands in the pockets of their winter coats\, only the child\, a red-headed girl\, looks out toward the viewer. The trio is joined in this fantastical setting by a cluster of three snowflake-emblazoned owls and a female figure that seems to have frozen mid-slumber. The imagery evolved from Skoglund’s interest in similarity and difference among snowflakes. Her fascination with the appearance of correspondence versus the reality of difference extends from earlier investigations of the liminal territory between the natural and the artificial\, or order and chaos. Through her constructed imagery\, Skoglund explores the space between what the human eye and the camera can see. \nSince the late 1970s\, Skoglund has been celebrated for her panoramic installations—entire environments that she meticulously designs\, constructs\, and then re-visualizes photographically. Skoglund likens Winter to “a very slow shutter speed on a camera. Time stands still but also inches forward.” Relentlessly inventive\, Skoglund challenges herself to experiment with new creative technologies\, always in search of the medium best suited for her message. For Winter\, which was part of a larger project on the four seasons\, years of experimenting with various forms of clay modeling and 3D-printing led to the ultimate inclusion of digitally-cut metal snowflakes bearing ultraviolet cured ink\, and the computer-sculpted figure and owls. \nA selection of photographs from the 1970s and 1980s\, including Radioactive Cats (1980)\, will also be on view.
URL:https://artinamericaguide.com/event/sandy-skoglund-winter/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20190905T100000
DTEND;TZID=America/Halifax:20191012T180000
DTSTAMP:20260502T144902
CREATED:20190807T174805Z
LAST-MODIFIED:20190807T174805Z
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SUMMARY:Josh Dorman: Retrospective Futurology
DESCRIPTION:Josh Dorman \nRetrospective Futurology \nSeptember 5 – October 12\, 2019 \nOpening Reception: Thursday\, Sept. 5\, 6-8pm \nRYAN LEE is pleased to announce Retrospective Futurology\, an exhibition of new paintings by Josh Dorman. Known for the alternate realities and fantastical creatures he creates by combining antique found imagery with drawing and painting\, Dorman introduces an additional dimension into these new paintings through the use of poured resin. As the exhibition’s title suggests\, in this latest body of work Dorman continues his interrogation of human history\, weaving cautionary tales into his multivalent visions of a dystopian future. \nIn his new body of work\, Dorman cuts into the painting surface\, generating pockets and pools of space. Into these\, he layers collage and paint with multiple pours of liquid resin\, building reliquary-like time capsules and trapping imagery like insects in amber. His recurring emerald and crimson lagoons and sinkholes are seen simultaneously from above and below. Equal parts water and air\, they contain birds\, sea creatures and heaping piles of debris: defunct machines\, broken statuary\, gears\, cages\, cells\, and fungi. \nAllusions to issues like sea level rise\, species extinction\, war\, and human arrogance are ever-present and never heavy-handed. Form\, color and an Eastern-influenced landscape sensibility seize the eye first. The stories layer metaphorically and literally in ink\, acrylic\, resin and antique collage fragments: player piano scrolls\, topographic maps\, 1920’s patent pages\, dissected animals. With Dorman\, the closer you look\, the more you see. With panels ranging from 12 inches to 5 feet\, each painting contains worlds within worlds\, bringing to mind the twisted fantasies of Bosch and Breugel. \nThe iconic piece\, How this Will End\, is a speculative look into the future from deep in an imaginary past. Hybrid animals march up a vertical cliff side\, cuticle-sized fishermen haul in a colossal\, teeming net from a dark blue watery cavern\, a battle of buffoonish soldiers rages by an ancient city above; below\, symmetrically placed inch-deep black resin caves encase nightmarish visions. In the sky\, Turneresque clouds churn\, and a flock of birds swarms from the horizon. \nThough spurred by contemporaneous concerns\, Dorman’s paintings are temporal anomalies. They mine the past for some hint of future truth\, wary of human hubris while enticed by human ingenuity. Dorman’s amalgamations of whimsy and dread come together to produce a state he has referred to as ‘joyful apocalypse’\, and while Dorman is careful to avoid any overt or prescriptive morals or meaning\, his narratives are clear and always revelatory. As the novelist Michael Chabon described\, “each of Josh Dorman’s works\, like a dream\, is at once a window and a mirror\, opening onto a landscape of chimeras and strange juxtapositions\, never before seen yet instantly recognizable\, as familiar as the outlines of our own secret reflections.” \nJosh Dorman (b. 1966 Baltimore\, MD) is an American artist who recontextualizes antique images within fantastical drawn and painted worlds. Dorman sources collages\, engravings and diagrams culled from textbooks\, manuals and documents that were published prior to the widespread use of photography. He considers unfamiliar\, obsolete and cryptic systems to inform these choices and ultimately his process\, resulting in non-linear\, multi-layered narratives that explore the mythical landscape and notions of collapsed time\, altered boundaries and dream states. Dualities of chaos and order\, natural and manmade\, fluidity and restraint reoccur and create tension in his collaged universes. Essential to his oeuvre\, Dorman’s references to artists Paul Klee and Pieter Bruegel\, as well as to Sienese art and Chinese landscapes\, transcend history and time. \nDorman graduated Skidmore College in 1988 and received his MFA from Queens College in 1992. He has exhibited at Craft and Folk Art Museum\, CA; CUE Art Foundation\, NY; The Drawing Center\, NY; Katonah Museum\, NY; The National Academy Museum\, NY; Tang Museum\, NY; Trierenberg Corporate Kunsthalle\, AU; and Weatherspoon Art Museum\, NC. His work is included in permanent collections at the Butler Institute of American Art\, OH; International Collage Center\, PA; Minneapolis Institute of Art\, MN; Naples Museum\, FL; and Springfield Art Museum\, MO. Dorman is currently an artist in residence at the Skowhegan School of Painting & Sculpture\, ME. A solo exhibition of Dorman’s paintings from his series Portraits From the Memory Bridge will be on view at the Longview Museum of Fine Arts\, TX. He lives and works in New York\, NY. \nFor sales inquiries\, please contact Daisy Fornengo at daisy@ryanleegallery.com or 212-397-0742. For press inquiries\, please contact press@ryanleegallery.com.
URL:https://artinamericaguide.com/event/josh-dorman-retrospective-futurology/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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