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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
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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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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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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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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:20230216T180000
DTEND;TZID=America/Halifax:20230216T200000
DTSTAMP:20260807T105018
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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GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230216
DTEND;VALUE=DATE:20230326
DTSTAMP:20260807T105018
CREATED:20230123T193523Z
LAST-MODIFIED:20230123T193523Z
UID:101505-1676505600-1679788799@artinamericaguide.com
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:20260807T105018
CREATED:20221205T221536Z
LAST-MODIFIED:20221205T221536Z
UID:100799-1672876800-1676159999@artinamericaguide.com
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:20260807T105018
CREATED:20220922T113428Z
LAST-MODIFIED:20221001T211115Z
UID:98785-1667059200-1667066400@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/09/GMI-18-25-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;TZID=America/Halifax:20221029T160000
DTEND;TZID=America/Halifax:20221029T180000
DTSTAMP:20260807T105018
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:20260807T105018
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:20260807T105018
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:20260807T105018
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2022/08/Yellow-Mimosa-March-4-2022.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:20220908T200000
DTSTAMP:20260807T105018
CREATED:20220808T165740Z
LAST-MODIFIED:20220808T165740Z
UID:95484-1662660000-1662667200@artinamericaguide.com
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:20260807T105018
CREATED:20220711T201714Z
LAST-MODIFIED:20220711T201714Z
UID:94725-1657735200-1657744200@artinamericaguide.com
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:20260807T105018
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
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220506
DTEND;VALUE=DATE:20220626
DTSTAMP:20260807T105018
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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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220310
DTEND;VALUE=DATE:20220311
DTSTAMP:20260807T105018
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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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220108
DTEND;VALUE=DATE:20220313
DTSTAMP:20260807T105018
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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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211111
DTEND;VALUE=DATE:20211224
DTSTAMP:20260807T105018
CREATED:20211110T234402Z
LAST-MODIFIED:20211203T181145Z
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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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ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200910
DTEND;VALUE=DATE:20201025
DTSTAMP:20260807T105018
CREATED:20200915T190451Z
LAST-MODIFIED:20200915T190451Z
UID:74137-1599696000-1603583999@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2020/08/Will-You-Forget-Me-scaled.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200109
DTEND;VALUE=DATE:20200308
DTSTAMP:20260807T105018
CREATED:20191212T183618Z
LAST-MODIFIED:20191212T183618Z
UID:62338-1578528000-1583625599@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/12/WINTER_2018_largefile.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190905T100000
DTEND;TZID=America/Halifax:20191012T180000
DTSTAMP:20260807T105018
CREATED:20190807T174805Z
LAST-MODIFIED:20190807T174805Z
UID:58836-1567677600-1570903200@artinamericaguide.com
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
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2019/08/Empty-Promised-Land.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20190905T100000
DTEND;TZID=America/New_York:20191012T180000
DTSTAMP:20260807T105018
CREATED:20190807T173822Z
LAST-MODIFIED:20190807T173822Z
UID:58834-1567677600-1570903200@artinamericaguide.com
SUMMARY:Sangbin IM: AI/IM
DESCRIPTION:Sangbin IM \nAI/IM  \nSeptember 5- October 12\, 2019 \nOpening reception Thursday\, September 5\, 6-8pm \nRYAN LEE is pleased to announce AI/IM\, an exhibition of new work by Sangbin IM. IM is known for his dynamic composite photographs\, each meticulously composed from a combination of hundreds of IM’s own photographs and paintings. The resulting works are hyper-realistic utopian fantasies that reimagine well-known places for an increasingly technocratic future. IM’s photographic process has always relied on both the artist’s hand and digital tools\, but it is the relationship between the artist and technology that is at the center of this new body of work. As an artist constantly searching for ways to optimize his extremely labor-intensive process\, IM uses Photoshop’s Photomerge function to synthesize hundreds of images into a single composition. For the artist\, this task is painstaking\, exhausting\, and fraught with fear of failure. The computer\, free of such emotional baggage\, simply completes the task it is given. The work in this exhibition is the product of the partnership between artificial intelligence and human consciousness—in particular the subjective consciousness of the artist. The exhibition’s title\, AI/IM\, reiterates this: “AI” refers to machine learning and “IM” is both the artist’s last name and an abbreviation for “I am\,” the signifier of human subjectivity in the Cartesian sense. In this series IM combines hundred of photographs of well-known cities and landmarks taken during his travels—Athens\, Manhattan\, Notre Dame Cathedral\, the Shitennoji Temple—into panoramic scenes whose irregular edges push beyond the traditional rectangular picture plane. IM photographs his subjects from different angles\, over the course of hours or sometimes days; his photographs are not random\, but he begins without a vision of the finished product. Next he inputs the images into Photoshop and allows the program to auto-splice them together\, creating various compositions that IM then tweaks. In this series IM has also retained the jagged\, computer-generated borders of the images\, which give literal shape to the works’ mechanical-organic hybrid nature. IM considers the computer-generated image as a “draft\,” and views his role as “a director who actively improves them” IM finds “errors or weaknesses that are included in the draft and artistically modify them in an attempt to articulate the entire scene in the best way possible.” \nWhile IM—with the human capacity for consciousness coupled with extensive artistic training—maintains his role as “director\,” the inevitability of his own emotional response is a constant challenge. As he explains it\, his struggle is internal: “This is a situation where my intelligence could be likened to a computer operating system (OS)\, my consciousness is like a virus that has invaded that system.” For IM\, not only does this technology help to modulate his psyche\, it also helps to guard against the wear and tear on his fingers and eyes from years of such meticulous work. IM believes that humanity has always relied upon the technology of its time\, and these photographs reveal the multiple creative dimensions that produced them. IM’s stunning multiverses\, familiar yet fantastic\, are the product of the symbiosis between man and machine\, between AI and IM. \nSangbin IM (b. 1976 Seoul\, Korea) received his MFA in painting and printmaking at Yale University as a Fulbright scholar and currently teaches at Sungshin University in Seoul. His work has been the subject of notable group exhibitions\, including the Artrium Museum\, Vitoria-Gasteiz; Gyeonggi Museum of Modern Art\, Ansan City; Jule Collins Smith Museum of Fine Art\, Auburn; Museo Amalia Lacroze de Fortabat\, Buenos Aires; National Museum of Modern and Contemporary Art\, Seoul; Royal Academy of Arts\, London; Seoul Museum of Art\, Seoul; and Sungkok Art Museum\, Seoul. His work is also included in major public collections\, including the Artrium Museum\, Vitoria-Gasteiz; Gyeonggi Museum of Modern Art\, Ansan City; National Museum of Contemporary Art\, Gwacheon; North Carolina Museum of Art\, Raleigh; and Seoul Museum of Art\, Seoul. IM lives and works in New York\, NY and Seoul\, Korea. \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/sangbin-im-ai-im/
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:20190619T180000
DTEND;TZID=America/Halifax:20190619T200000
DTSTAMP:20260807T105018
CREATED:20190513T163328Z
LAST-MODIFIED:20190513T163328Z
UID:53100-1560967200-1560974400@artinamericaguide.com
SUMMARY:Anne-Karin Furunes : Together but Apart
DESCRIPTION:Opening Reception: Wednesday\, June 19\, 6-8  \nRYAN LEE is pleased to announce Together but Apart\, an exhibition of new work by Anne-Karin Furunes. The exhibition will shed light on the increasingly urgent threat of climate change\, particularly as the inhabitants of Fennoscandia\, the Sápmi people\, experience it. Together but Apart includes a selection of portraits\, landscapes\, and monumental paintings rendered in Furunes’s signature technique of perforated painted canvas.  \nFurunes’ imagery is drawn from photographs housed at the Polar Archive at the Norwegian Polar Institute in Tromsö as well as the Sophus Tromholt Collection at the University of Bergen Library—a world-famous archive of nineteenth-century images of the Sápmi people taken during the first scientific expedition to study the Northern Lights. Though her paintings appear photographic\, they are created entirely by hand through a process of meticulous perforation that mimics the looks of halftone printing. Furunes begins with a monochrome canvas. She then translates the photographic image to canvas by creating a constellation of perforated holes in varying sizes that allow for the passage of variable amounts of light. She alters each image to suit her vision\, sometimes modifying the tone\, perspective\, and framing. Like photography\, Furunes generates permanent images via the effects of light on a surface\, though here the light remains unfixed and in constant dialogue with the surrounding environment.  \nTogether but Apart calls attention to the imminent perils of unchecked climate change—a threat that refuses to slow its pace to match that of the acceptance of climate science worldwide. The large scale of the works—each is at least 5 x 5 feet—amplifies this urgent message. They recall efforts to recover a vintage image that\, with each attempt at reproduction\, become more fugitive. While the holes in their surfaces are physical indications of disappearance and loss\, the images are enlivened by the fluctuation of the changing light. Furunes introduces color in a series of images of the melting Calfing Glacier\, based on photographs taken over the last fifteen years. Continuing her manual replication of the printing process\, she creates stencils of perforations that she uses to hand-paint layers of cyan\, magenta\, and yellow dots on top of the monochrome canvas before adding the perforated holes. Depending on the position of the viewer and the quality of the light\, Furunes’ images become increasingly abstract.  \nThe exhibition also seeks to redress centuries of mistreatment of the Sápmi people\, who have lived in the polar region since prehistoric times. Like many native populations across the globe\, the Sápmi were devastated by settler colonialism—disenfranchised\, robbed of their land\, language\, and their religion\, and were required to attend boarding schools that would “re-educate” them in order to force assimilation into Norwegian society. Sápmi culture and identity was systematically suppressed and erased until protest movements began in the late 1970s. Now\, the Sápmi people\, who have lived harmoniously in the Arctic for centuries\, are facing the threat of climate change. As Furunes explains\, “the time has come to listen to what they can tell and teach us. Up to now we have made them to listen to us.” Furunes’ images\, such as Portrait of Mikkel Josefson Neckele (2019) portray named Sápmi individuals—a significant feature in her efforts to restore the humanity of these “ethnographic” subjects. Her use of gray scale and  \nsimulation of the halftone style paradoxically enhance the presence of these long-absent figures.  \nAs they oscillate between appearance and disappearance\, Furunes’ paintings both restore the history and humanity of the Sápmi people\, and evoke the fragility of the natural environment in which they live. The paintings halt\, for a moment\, the insidious processes that threaten the Sápmi and ultimately us all\, preserving a culture that is dissolving into memory nearly as rapidly as the planet’s evaporating glaciers.  \nAnne-Karin Furunes (b. 1961\, Ørland\, Norway) is a leading artist of Scandinavia in painting and public commissions. Since 1992\, Furunes has developed a signature technique of perforating canvas or metal that considers photographic and digital elements of space\, light and material. The punctured holes in her canvases mimic the halftone process\, most popularly used in periodicals\, though Furunes does not employ a computer to create the image but composes it 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\, departing from the original she deliberately adjusts color\, cropping\, light and perspective. This method of removing in order to reveal complements Furunes’ research-based practice that frequently focuses on forgotten histories and people\, transforming archival photographs into portraits that emphasize an individual’s experience.  \nTrained as an artist and architect\, Furunes received her degree from the Trondheim Academy of Fine Art in Norway. Her work has been the subject of important solo shows at Kimen Cultural Centre at Stjørdal Kunstforening; Palazzo Fortuny\, Venice; Millesgården\, Stockholm; Västerås Konstmuseum\, Sweden; Trondheim Kunstmuseum\, Norway; and the University of Wyoming Art Museum\, US. Large-scale commissions of her work have been realized at Oslo’s Barcode Project\, Deutsche Bank\, Sydney; St. Olavs Hospital\, Trondheim\, the Trondheim Airport\, and The National Theatre Station\, Oslo\, among others. She is represented in prominent public collections worldwide including Kiasma Museum of Contemporary Art\, Helsinki; Kistefos Museum\, Norway; Museum of Arts and Design\, New York; Museum of Art\, Trondheim; National Museum Beijing; and National Museum of Contemporary Art\, Oslo. Furunes lives and works in Stjørdal\, Norway.  \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/anne-karin-furunes-together-but-apart/
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/2019/05/Portrait-of-Mikkel-Josefsen-Neckela-2019-high-res-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:20190619T100000
DTEND;TZID=America/Halifax:20190809T180000
DTSTAMP:20260807T105018
CREATED:20190513T163357Z
LAST-MODIFIED:20190513T163357Z
UID:53098-1560938400-1565373600@artinamericaguide.com
SUMMARY:Anne-Karin Furunes : Together but Apart
DESCRIPTION:Anne-Karin Furunes  \nTogether but Apart  \nJune 19 – August 9\, 2019  \nOpening Reception: Wednesday\, June 19\, 6-8  \nRYAN LEE is pleased to announce Together but Apart\, an exhibition of new work by Anne-Karin Furunes. The exhibition will shed light on the increasingly urgent threat of climate change\, particularly as the inhabitants of Fennoscandia\, the Sápmi people\, experience it. Together but Apart includes a selection of portraits\, landscapes\, and monumental paintings rendered in Furunes’s signature technique of perforated painted canvas.  \nFurunes’ imagery is drawn from photographs housed at the Polar Archive at the Norwegian Polar Institute in Tromsö as well as the Sophus Tromholt Collection at the University of Bergen Library—a world-famous archive of nineteenth-century images of the Sápmi people taken during the first scientific expedition to study the Northern Lights. Though her paintings appear photographic\, they are created entirely by hand through a process of meticulous perforation that mimics the looks of halftone printing. Furunes begins with a monochrome canvas. She then translates the photographic image to canvas by creating a constellation of perforated holes in varying sizes that allow for the passage of variable amounts of light. She alters each image to suit her vision\, sometimes modifying the tone\, perspective\, and framing. Like photography\, Furunes generates permanent images via the effects of light on a surface\, though here the light remains unfixed and in constant dialogue with the surrounding environment.  \nTogether but Apart calls attention to the imminent perils of unchecked climate change—a threat that refuses to slow its pace to match that of the acceptance of climate science worldwide. The large scale of the works—each is at least 5 x 5 feet—amplifies this urgent message. They recall efforts to recover a vintage image that\, with each attempt at reproduction\, become more fugitive. While the holes in their surfaces are physical indications of disappearance and loss\, the images are enlivened by the fluctuation of the changing light. Furunes introduces color in a series of images of the melting Calfing Glacier\, based on photographs taken over the last fifteen years. Continuing her manual replication of the printing process\, she creates stencils of perforations that she uses to hand-paint layers of cyan\, magenta\, and yellow dots on top of the monochrome canvas before adding the perforated holes. Depending on the position of the viewer and the quality of the light\, Furunes’ images become increasingly abstract.  \nThe exhibition also seeks to redress centuries of mistreatment of the Sápmi people\, who have lived in the polar region since prehistoric times. Like many native populations across the globe\, the Sápmi were devastated by settler colonialism—disenfranchised\, robbed of their land\, language\, and their religion\, and were required to attend boarding schools that would “re-educate” them in order to force assimilation into Norwegian society. Sápmi culture and identity was systematically suppressed and erased until protest movements began in the late 1970s. Now\, the Sápmi people\, who have lived harmoniously in the Arctic for centuries\, are facing the threat of climate change. As Furunes explains\, “the time has come to listen to what they can tell and teach us. Up to now we have made them to listen to us.” Furunes’ images\, such as Portrait of Mikkel Josefson Neckele (2019) portray named Sápmi individuals—a significant feature in her efforts to restore the humanity of these “ethnographic” subjects. Her use of gray scale and  \nsimulation of the halftone style paradoxically enhance the presence of these long-absent figures.  \nAs they oscillate between appearance and disappearance\, Furunes’ paintings both restore the history and humanity of the Sápmi people\, and evoke the fragility of the natural environment in which they live. The paintings halt\, for a moment\, the insidious processes that threaten the Sápmi and ultimately us all\, preserving a culture that is dissolving into memory nearly as rapidly as the planet’s evaporating glaciers.  \nAnne-Karin Furunes (b. 1961\, Ørland\, Norway) is a leading artist of Scandinavia in painting and public commissions. Since 1992\, Furunes has developed a signature technique of perforating canvas or metal that considers photographic and digital elements of space\, light and material. The punctured holes in her canvases mimic the halftone process\, most popularly used in periodicals\, though Furunes does not employ a computer to create the image but composes it 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\, departing from the original she deliberately adjusts color\, cropping\, light and perspective. This method of removing in order to reveal complements Furunes’ research-based practice that frequently focuses on forgotten histories and people\, transforming archival photographs into portraits that emphasize an individual’s experience.  \nTrained as an artist and architect\, Furunes received her degree from the Trondheim Academy of Fine Art in Norway. Her work has been the subject of important solo shows at Kimen Cultural Centre at Stjørdal Kunstforening; Palazzo Fortuny\, Venice; Millesgården\, Stockholm; Västerås Konstmuseum\, Sweden; Trondheim Kunstmuseum\, Norway; and the University of Wyoming Art Museum\, US. Large-scale commissions of her work have been realized at Oslo’s Barcode Project\, Deutsche Bank\, Sydney; St. Olavs Hospital\, Trondheim\, the Trondheim Airport\, and The National Theatre Station\, Oslo\, among others. She is represented in prominent public collections worldwide including Kiasma Museum of Contemporary Art\, Helsinki; Kistefos Museum\, Norway; Museum of Arts and Design\, New York; Museum of Art\, Trondheim; National Museum Beijing; and National Museum of Contemporary Art\, Oslo. Furunes lives and works in Stjørdal\, Norway.  \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/anne-karin-furunes-together-but-apart-2/
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/2019/05/Portrait-of-Mikkel-Josefsen-Neckela-2019-high-res.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190516T180000
DTEND;TZID=America/Halifax:20190516T200000
DTSTAMP:20260807T105018
CREATED:20190513T163259Z
LAST-MODIFIED:20190514T203450Z
UID:53102-1558029600-1558036800@artinamericaguide.com
SUMMARY:George Miyasaki : Abstract Expressionist California: Paintings and Lithographs\, 1955-61
DESCRIPTION:RYAN LEE is pleased to announce George Miyasaki (1935-2013)\, Abstract Expressionist California: Paintings and Lithographs\, 1955-1961. This is RYAN LEE’s first presentation of Miyasaki’s work since announcing the representation of his estate last December. The exhibition will feature a selection of Miyasaki’s acclaimed early abstractions\, many of which have never before been shown.  \nMiyasaki was born in rural Hawaii to Japanese parents and grew up under martial law during World War II. In 1953 he moved to Oakland\, California to study with Richard Diebenkorn and Nathan Oliveira at the California College of Arts & Crafts. Working in both painting and printmaking\, Miyasaki cultivated a Bay Area-inflected brand of abstract expressionism. Drawing inspiration from nature\, particularly the western landscape\, paintings like Coastline (1960) use a pale palette of gray-blues\, sea green\, rose\, and a few dabs of yellow to convey a foggy seascape with subdued hues that are tempered by its thickly painted surface. This balanced execution of harmony and dissonance is also characteristic of Terrain #2 (1958) and Horizon #2 (1959)\, both of which demonstrate Miyasaki’s gestural application of controlled color.  \nThe apex of the abstract expressionist movement in the United States during the immediate postwar years corresponded with a period of intense discrimination against Asian Americans\, particularly those of Japanese descent. As a result\, while the influence of Zen Buddhism and calligraphy were celebrated by many of the white male practitioners historically associated with the New York School\, acknowledgement of these concepts’ Asian origins were routinely denied. This omission was promulgated by the preeminent critic Clement Greenberg\, who falsely dismissed this interest in Asian culture as “cursory\,” further relegating Asian influence and Asian American artists like Miyasaki and contemporaries such as Ruth Asawa to the margins of twentieth-century art history. Despite his celebrated and sustained presence in the Bay Area art scene\, Miyasaki’s distance from New York and his continued exploration of abstraction amidst the burgeoning Bay Area figurative movement has slowed the pace of his national recognition. This presentation of Miyasaki’s work at RYAN LEE comes at a time when revisionist art history is at last widening the modernist canon to include the contributions of nonwhite artists\, and many Asian American artists for the first time.  \nGeorge Miyasaki (1935\, Kalopa\, HI – 2013\, Berkeley\, CA) was an American painter and printmaker active in the San Francisco Bay Area art scene during the mid-to-late twentieth century. In 2017\, Miyasaki was included in the important exhibition\, Abstract Expressionism: Looking East from the Far West curated by Theresa Papanikolas at the Honolulu Museum of Art\, a breakthrough exhibition that sought to re-examine the profound influence of Asian art on Abstract Expressionism in the United States. Miyasaki has been featured in over 30 solo and 300 group exhibitions\, and he has received numerous prestigious awards such as the Henry Ward Ranger Purchase Award (2001)\, National Academy of Design (1993\, 1995)\, Brooklyn Museum Purchase Award (1958\, 2001)\, National Endowment for the Arts Fellowship (1985\, 1980)\, and Guggenheim Fellowship (1963). Miyasaki’s work is held in the collections of the Art Institute  \nof Chicago; the British Museum\, London; the Brooklyn Museum; Herbert F. Johnson Museum of Art at Cornell University\, Ithaca; Honolulu Academy of Arts; James A. Michener Collection at the University of Texas\, Austin; Metropolitan Museum of Art\, New York; Museum of Fine Arts\, Boston; National Academy of Design\, New York; National Gallery\, Washington\, D.C.; Oakland Museum of California; Philadelphia Museum of Art; Portland Art Museum; San Diego Museum; San Francisco Art Commission; San Francisco Museum of Modern Art; Walker Art Center\, Minneapolis; Whitney Museum of American Art\, New York; and Worcester Museum of Art.  \nFor press inquiries\, please contact Daisy Fornengo at daisy@ryanleegallery.com or 212-397-0742.
URL:https://artinamericaguide.com/event/george-miyasaki-abstract-expressionist-california-paintings-and-lithographs-1955-61-2/
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/2019/05/George-Miyasaki-Untitled-1958-at-RYAN-LEE-Gallery_low-res.jpg
ORGANIZER;CN="RYAN LEE":MAILTO:info@ryanleegallery.com
GEO:40.7500935;-74.0036112
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190516
DTEND;VALUE=DATE:20190616
DTSTAMP:20260807T105018
CREATED:20190415T134112Z
LAST-MODIFIED:20190514T203356Z
UID:51128-1557964800-1560643199@artinamericaguide.com
SUMMARY:George Miyasaki | Abstract Expressionist California: Paintings and Lithographs\, 1955-61
DESCRIPTION:RYAN LEE is pleased to announce George Miyasaki (1935-2013)\, Abstract Expressionist California: Paintings and Lithographs\, 1955-1961. This is RYAN LEE’s first presentation of Miyasaki’s work since announcing the representation of his estate last December. The exhibition will feature a selection of Miyasaki’s acclaimed early abstractions\, many of which have never before been shown.  \nMiyasaki was born in rural Hawaii to Japanese parents and grew up under martial law during World War II. In 1953 he moved to Oakland\, California to study with Richard Diebenkorn and Nathan Oliveira at the California College of Arts & Crafts. Working in both painting and printmaking\, Miyasaki cultivated a Bay Area-inflected brand of abstract expressionism. Drawing inspiration from nature\, particularly the western landscape\, paintings like Coastline (1960) use a pale palette of gray-blues\, sea green\, rose\, and a few dabs of yellow to convey a foggy seascape with subdued hues that are tempered by its thickly painted surface. This balanced execution of harmony and dissonance is also characteristic of Terrain #2 (1958) and Horizon #2 (1959)\, both of which demonstrate Miyasaki’s gestural application of controlled color.  \nThe apex of the abstract expressionist movement in the United States during the immediate postwar years corresponded with a period of intense discrimination against Asian Americans\, particularly those of Japanese descent. As a result\, while the influence of Zen Buddhism and calligraphy were celebrated by many of the white male practitioners historically associated with the New York School\, acknowledgement of these concepts’ Asian origins were routinely denied. This omission was promulgated by the preeminent critic Clement Greenberg\, who falsely dismissed this interest in Asian culture as “cursory\,” further relegating Asian influence and Asian American artists like Miyasaki and contemporaries such as Ruth Asawa to the margins of twentieth-century art history. Despite his celebrated and sustained presence in the Bay Area art scene\, Miyasaki’s distance from New York and his continued exploration of abstraction amidst the burgeoning Bay Area figurative movement has slowed the pace of his national recognition. This presentation of Miyasaki’s work at RYAN LEE comes at a time when revisionist art history is at last widening the modernist canon to include the contributions of nonwhite artists\, and many Asian American artists for the first time.  \nGeorge Miyasaki (1935\, Kalopa\, HI – 2013\, Berkeley\, CA) was an American painter and printmaker active in the San Francisco Bay Area art scene during the mid-to-late twentieth century. In 2017\, Miyasaki was included in the important exhibition\, Abstract Expressionism: Looking East from the Far West curated by Theresa Papanikolas at the Honolulu Museum of Art\, a breakthrough exhibition that sought to re-examine the profound influence of Asian art on Abstract Expressionism in the United States. Miyasaki has been featured in over 30 solo and 300 group exhibitions\, and he has received numerous prestigious awards such as the Henry Ward Ranger Purchase Award (2001)\, National Academy of Design (1993\, 1995)\, Brooklyn Museum Purchase Award (1958\, 2001)\, National Endowment for the Arts Fellowship (1985\, 1980)\, and Guggenheim Fellowship (1963). Miyasaki’s work is held in the collections of the Art Institute  of Chicago; the British Museum\, London; the Brooklyn Museum; Herbert F. Johnson Museum of Art at Cornell University\, Ithaca; Honolulu Academy of Arts; James A. Michener Collection at the University of Texas\, Austin; Metropolitan Museum of Art\, New York; Museum of Fine Arts\, Boston; National Academy of Design\, New York; National Gallery\, Washington\, D.C.; Oakland Museum of California; Philadelphia Museum of Art; Portland Art Museum; San Diego Museum; San Francisco Art Commission; San Francisco Museum of Modern Art; Walker Art Center\, Minneapolis; Whitney Museum of American Art\, New York; and Worcester Museum of Art.
URL:https://artinamericaguide.com/event/george-miyasaki-abstract-expressionist-california-paintings-and-lithographs-1955-61/
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/2019/04/George-Miyasaki-Untitled-1958-at-RYAN-LEE-Gallery_low-res.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:20190404
DTEND;VALUE=DATE:20190512
DTSTAMP:20260807T105018
CREATED:20190415T134138Z
LAST-MODIFIED:20190415T134138Z
UID:51132-1554336000-1557619199@artinamericaguide.com
SUMMARY:Donald Sultan | Mimosa\, PAINTINGS AND DRAWINGS
DESCRIPTION:Donald Sultan Mimosa\, PAINTINGS AND DRAWINGS April 4 – May 11\, 2019 Reception: Thursday\, April 4\, 6-8 pm RYAN LEE is pleased to announce Donald Sultan: Mimosa\, PAINTINGS AND DRAWINGS\, an exhibition of new work by the acclaimed artist. Inspired by a gift of mimosa blossoms he received from a friend in the South of France\, Sultan began using the structure of the mimosa plant to continue his interrogation of the space between abstraction and representation\, the organic and the industrial\, as well as the history of modern art. The exhibition includes large-scale drawings and monumental paintings\, ranging from four to eight feet wide\, respectively. This is the first exhibition of Sultan’s Mimosa paintings and the show will be accompanied by a catalogue. Sultan executed the paintings and drawings simultaneously\, and as a result they inform each other. Working out the density of charcoal and conte in the drawings first led Sultan to the paintings in which he uses roofing tar and enamel to create a richly textured surface. He continues his use of industrial materials\, such as Masonite and vinyl along with the tar and enamel\, to construct his paintings\, which in their scale\, heft\, and dimensionality\, are sculptural as well as architectural. Their exposed sides and edges reveal the process of their creation. Unlike prior series in which Sultan carved directly into the surface of the painting to generate his imagery\, in the Mimosas he builds up the surface through a series of layering techniques applied directly to the Masonite. In Mimosa June 14 2018\, a cascade of black and brown leaves washes across the eight-by-eight-foot Masonite surface. The range in depth and luminosity of the dark palette is the result of washing the tar with turpentine after its application—a technique Sultan borrowed from his groundbreaking Disaster paintings of the 1980s. Combining fluid gestural brushwork with the precision of stencils and decals\, Sultan creates a composition that is at once explosive and contained. Color plays an especially prominent role in these new works as exemplified by the lush green foliage in Mimosa With Orange and Green Oct 3 2018. In other paintings\, passages of light blue suggest the sundrenched skies of Southern France\, and Sultan’s mimosa blossoms range in color from dark blue\, to orange\, deep green\, and indigo. The circular forms that Sultan makes use of visualize the interconnectedness across the organic and artificial realms\, and link this new body of work to prior series\, such as the Morning Glories\, Buttons\, and Dominoes of the 1990s. The flattened discs have served as the center of a flower\, the holes in a button\, or in the case of the Mimosas\, an entire blossom. Sultan has said\, “the closer you work from reality the more abstract things can get.” In distilling the mimosa plant into the fundamental geometry of its leaves and blossoms\, it becomes something conceptual. It functions as a vehicle for the exploration of visual ideas— the “armature\,” as Sultan has called it\, for a “gestural thought of leaves in general.” \nDonald Sultan (b. 1951 Asheville\, NC) is an internationally recognized artist best known for elevating the still life tradition through the deconstruction of his subjects into basic forms as well as his use of industrial materials. He studied at the University of North Carolina\, Chapel Hill and later received his MFA from the School of the Art Institute\, Chicago. Sultan rose to prominence in the late 1970s as part of the “New Image” movement\, and his first solo exhibition was mounted in 1977 at Artists Space in New York. He has since exhibited worldwide in solo and group exhibitions\, including the Contemporary Arts Center\, Cincinnati; Corcoran Gallery of Art\, Washington\, DC; Gotlands KonstMuseum\, Sweden; Institute of Contemporary Art\, Tokyo; Los Angeles County Museum of Art; Memphis Brooks Museum\, Memphis; Museum of Modern Art\, New York; Musée d’art Contemporain\, Montreal; Nationalgalerie\, Berlin; Solomon R. Guggenheim Museum\, New York; and Whitney Museum of American Art\, New York. His work is included in the collections of the Art Institute of Chicago; British Museum\, London; Cincinnati Art Museum; Cleveland Art Museum; Dallas Museum of Fine Arts; Detroit Institute of Arts; Fogg Art Museum at Harvard University\, Cambridge; Hirshhorn Museum and Sculpture Garden\, Washington\, DC; Ludwig Museum\, Budapest; the Metropolitan Museum of Art\, New York; Museum of Contemporary Art\, Tokyo; Museum of Fine Arts\, Boston; Museum of Fine Arts\, Houston; Museum of Modern Art\, New York; National Gallery of Australia\, Canberra; Neuberger Museum at SUNY Purchase\, New York; San Francisco Museum of Modern Art; Singapore Museum of Art; the Solomon R. Guggenheim Museum\, New York; Tate Gallery\, London; and Walker Art Center\, Minneapolis. Sultan lives and works in New York City. For press inquiries\, please contact Rosalinda Gonzalez at rosalinda@ryanleegallery.com or (212)397-0742.
URL:https://artinamericaguide.com/event/donald-sultan-mimosa-paintings-and-drawings/
LOCATION:RYAN LEE\, 515 W 26th St\, 3rd Fl\, New York\, NY\, 10001\, United States
CATEGORIES:Exhibition
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