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EXPO CHGO ONLINE: Miles McEnery Gallery

Past viewing_room
8 April – 12 April 2021
  • EXPO CHGO ONLINE

    8 - 12 April 2021
  • MILES MCENERY GALLERY PRESENTS EXPO CHICAGO ONLINE


    WHITNEY BEDFORD, TOMORY DODGE, INKA ESSENHIGH, SHANNON FINLEY, BEVERLY FISHMAN, PIA FRIES, RICO GATSON, DAVID HUFFMAN, WARREN ISENSEE, RAFFI KALENDERIAN, TOM LADUKE, MARKUS LINNENBRINK, HEATHER GWEN MARTIN, DOUGLAS MELINI, JASON MIDDLEBROOK, MICHAEL REAFSNYDER, DANIEL RICH, PATRICK WILSON, GUY YANAI AND LIAT YOSSIFOR

  • 'Whitney Bedford’s landscapes and oceanic vistas were emotional, elusive, uncommon, sometimes based in story, or sweetly teetering on the verge...

    Whitney Bedford, Veduta (Avery/Tree), 2020

    "Whitney Bedford’s landscapes and oceanic vistas were emotional, elusive, uncommon, sometimes based in story, or sweetly teetering on the verge of collapse. Her relationship to the paintings—and by extension ours—was both dualistic and deeply personal. Precisely drawn renderings anchored her compositions in place with specificity, while gestural, diffuse atmospherics strutted across the armature."

    - Shana Nys Dambrot in Artillery Magazine

  • 'A host of textures and colors created with a variety of tools overlap one another as they fight for attention....

    Tomory Dodge, Lush Thicket, 2021

    "A host of textures and colors created with a variety of tools overlap one another as they fight for attention. The canvas buzzes with excitement as forms evolve and emerge from one another, much like an uneven quilt whose lines fall off their grid and now have a mind of their own. The myriad of visual languages push and pull to create a number of paintings within paintings. This handcrafted aspect is important to Dodge as he is opposed to mechanical processes and embraces the imperfections of the human hand. Whether it’s inconsistent lines, textures or patterns, it’s what he does next that saves the work and makes it interesting."

    - G. James Daichendt on Tomory Dodge in The San Diego Union Tribune

  • 'In American painter Inka Essenhigh’s fantastical world, the goblinesque creatures and their environments seem to be lit from within, whether...

    Inka Essenhigh, Blue Spruce and Waning Crescent Moon, 2021

    "In American painter Inka Essenhigh’s fantastical world, the goblinesque creatures and their environments seem to be lit from within, whether cast in the cool light of the predawn morning or in the deep burnt orange of a Chinese restaurant. With nods to Surrealism and animation, Essenhigh’s landscapes are populated by characters from folklore and mythology, in some cases existing only as faceless shadows. At a time where the real world is filled with screaming headlines and endless stressors, Essenhigh’s magic garden offers a lovely, transporting respite."

    - Caroline Goldstein in ArtNet News

  • 'Just as its witty title suggests, Over Simulation indicates an alternate reality, a simulacrum of some real-world structure, perhaps. Experimental...

    Shannon Finley, Over Simulation, 2021

    "Just as its witty title suggests, Over Simulation indicates an alternate reality, a simulacrum of some real-world structure, perhaps. Experimental buildings by the architects Peter Eisenman or Steven Holl come to mind. But Over Simulation also seems to offer a transcendental space. On some level, it could function like a restorative crystal, with meditative properties, and even bear the purported healing potential of certain crystals like labradorite."

    - David Ebony in "Shannon Finley's Hypnagogic Brainscapes" 

  • 'The ability of Fishman’s work to draw in, encompass, and swallow the viewer proves the most redemptive feature of her...

    Beverly Fishman, Untitled (Bipolar, Parkinson's, Pain, Gerd), 2020

    "The ability of Fishman’s work to draw in, encompass, and swallow the viewer proves the most redemptive feature of her self-inflicted dilemma. Most of the forms she uses have some kind of passage or gateway built in, either literally in the form of an aperture in their surface, or a color change that suggests the fundamental distinction between exterior and interior spaces."

    -  William Corwin in The Brooklyn Rail

  • 'The paintings are structured alike to architecture, I would say, and the white field in between is a prop, or...

    Pia Fries, pylon LU, 2020

    "The paintings are structured alike to architecture, I would say, and the white field in between is a prop, or serves a supporting function. It is a link between one element and an element of support... It also constitutes a moment to rest, to contemplate, to involve the recipient, and to reflect his or her thoughts." 

    - Pia Fries

  • 'The door is Rico Gatson’s chosen canvas. The bright, flat colorful abstractions seen in a series of new paintings meet...

    Rico Gatson, Untitled (Bluesologists After Gil Scott), 2021

     

    "The door is Rico Gatson’s chosen canvas. The bright, flat colorful abstractions seen in a series of new paintings meet the resistance of the prefabricated, ready-made object. It allows Gatson to ground his painting practice, conceptually in his training in sculpture and symbolically in what the artist calls “notions of accessibility." His hypnotic play with the spectrum of color conjures the politics of independence, liberation, and peace of the 1960s and '70s in a graphic language that emanates in lines, circles, triangles, and rectangles that form stars, fires, diamonds, and rainbows."

    - Antwuan Sargent in "Rico Gatson: Spiritual Abstraction" 

  • 'The artist has crafted a new formal language, and has reinvigorated nonobjective painting—engendering a new set of potentialities for formalist...

    David Huffman, Sublimation, 2020

    "The artist has crafted a new formal language, and has reinvigorated nonobjective painting—engendering a new set of potentialities for formalist abstraction."

    - Derek Conrad Murray, PhD, on David Huffman

  • 'Still committed to repetition and tight organization, Isensee deploys his wavering forms to divide the canvas into quadrants. And here...

    Warren Isensee, Flower Child, 2021

     

    "Still committed to repetition and tight organization, Isensee deploys his wavering forms to divide the canvas into quadrants. And here is where his current works get interesting. Since the irregular shapes neither completely fill the quadrants nor perfectly abut their adjacent, mirroring forms, there are ample leftover spaces that the artist fills with almond-shaped and eye-like units, lozenges, boomerangs, and teardrops. This use of interstitial space enables Isensee to juxtapose two or more sets of colors to distinguish the larger concentric groupings from the smaller insets, and the smaller groupings from each other."

    - John Yau in Hyperallergic

  • 'In my life, I have these moments, often during some mundane activity, where I have a profound revelation about something,...

    Raffi Kalenderian, Christine Minas, 2021

    "In my life, I have these moments, often during some mundane activity, where I have a profound revelation about something, maybe something about the nature of a certain friendship, or about realizing I may not have the life I envisioned when I was younger. I consider these to be “super moments,” a reckoning of some sort, and I think painting is a great way to try and capture a moment like this."

    - Raffi Kalenderian in "Feel the Love" by Glenn Adamson

  • 'When I first saw a Tom LaDuke painting, I was shocked. Shocked on so many levels: genuinely floored, breath taken...

    Tom LaDuke, The Blow That Hurts The Ones That Don't, 2021

    "When I first saw a Tom LaDuke painting, I was shocked. Shocked on so many levels: genuinely floored, breath taken away. It was something I had never seen before, and it was astonishing to be in the presence of a painting that was unlike any other. I was not sure what I was looking at. It was seductive and extreme and complicated; it was a new weirdness, with a committed narrative, or anti-narrative, lurking deep down. I remember feeling a great joy in its other-language-ness—its range of voices, in all their inflections, shouts, subtleties, and whispers."

    - Benjamin Weissman in "Pluralizing the Act of Looking"

  • 'The artist rarely uses brushes, and the closest thing to a stylus in his studio is a round bit used...

    Markus Linnenbrink, IWOKEUPINAMERICA, 2021

    "The artist rarely uses brushes, and the closest thing to a stylus in his studio is a round bit used to create his drills, the second process he’s known for. For these, he repurposes accumulated layers of puddled epoxy from drip paintings that have hardened into a single substrate... He then carves discs into the stratified epoxy at various spots so that the ground is pocked with ringed holes. In this way, the once obscured layers are revealed to a mesmerizing effect."

    - Cat Kron on Markus Linnenbrink in "Trust Fall"

  • 'Martin has spoken about her painterly process as an endurance test, wherein touch, strength, and control push against the limits...

    Heather Gwen Martin, Span, 2020

    "Martin has spoken about her painterly process as an endurance test, wherein touch, strength, and control push against the limits of the physical. She has also confessed to consistently retracing her supple lines to arrive at the proper degree of roundness. The tangibility of these efforts places the Frank Stella and Ellsworth Kelly. The opposite of hard-edged abstraction—the late 1950s style that emphasized the impersonal arrangement of clean lines and contrasting hues—Martin’s approach to paint application proves to be as distinctive as her signature."

    - Christian Viveros-Fauné in "Walking the Tightrope: The Art of Heather Gwen Martin"

  • 'For some time now, I’ve thought of my paintings as transporters, signposts, and images that allow one to consider how...

    Douglas Melini, Untitled (Double L), 2020

    "For some time now, I’ve thought of my paintings as transporters, signposts, and images that allow one to consider how one sees things, helping one to get from one space to the next. The paintings reflect my interest in visual vibrations and how our body and mind respond to vibratory experiences. I believe that art can function as a decoder, providing insights into how the world looks; a way of connecting the dots, and really seeing things."

    - Douglas Melini

  • 'Today, with ten years of painting on wood under his belt, Middlebrook is often inspired by the jagged outer contours...

    Jason Middlebrook, A Thousand Years and Counting (Larix Decidua), 2021

    "Today, with ten years of painting on wood under his belt, Middlebrook is  often inspired by the jagged outer contours of each slab, expanding on their inherent qualities, and experimenting with hard-edge designs and blended colors that scale from light to dark. Meandering, concentric, and parallel lines give way to chevrons, triangles, and polygons in a labyrinth of colors that shimmer against the natural wood background. The resulting works are endlessly inventive, complex art objects that embrace both botany and geometry. They are at once paintings and sculptures with a large measure of admiration for abstract art and its various histories."

    - Mary-Kay Lombino in "Tracing Trees"

  • 'The liquid effect is bolstered by blobs and droplets pooling over the canvas. Viewers sense an onrushing of color that...

    Michael Reafsnyder, Blue Slide, 2020

    "The liquid effect is bolstered by blobs and droplets pooling over the canvas. Viewers sense an onrushing of color that swells toward them, yet that—as the vibrant bands collide with the apparent picture plane—stretches and spreads laterally toward zones of peripheral vision. The twofold visual effect is of a radiant display that is both impacted and dispersed."

    - Michael Schreyach on Michael Reafsnyder in "What Painting Can Do"

  • 'Architecture, as it is commonly understood, is designed and implemented to house the human and is itself the manifestation of...

    Daniel Rich, 909 3rd Ave, NYC, 2021

    "Architecture, as it is commonly understood, is designed and implemented to house the human and is itself the manifestation of our constructed realities and temporalities. When looking across the street into another skyscraper or apartment building, there are both darkened and lit rooms with shadows or people mulling about....Elements like these can make architecture almost comforting in its functional uniformity, so when such signs of life are missing, the result is in an unsettling subversion that upends and questions what we’ve come to expect of both architectural spaces and the organized linearity of time." 

    - Emily McDermott on Daniel Rich in “A New Temporal Understanding"

  • 'Planes of color—themselves often indescribable blends and inter-hues—interpenetrate and shift across one another, articulating the facture of the picture plane...

    Patrick Wilson, Pacific Gold, 2021

    "Planes of color—themselves often indescribable blends and inter-hues—interpenetrate and shift across one another, articulating the facture of the picture plane and the presence of, or at least the potential for, nether planes whose own relative depth keeps shifting. Some of these color planes, after all, physically advance off the canvas, built up out of so many layers of acrylic, while others, materially thinner, physically withdraw—the colors all the while playing a different, complementary game of advance-recede."

    - Peter Frank on Patrick Wilson in "Patrick Wilson: Plane as Day" 

  • 'There’s a compelling physicality to his canvases; each stroke of his brush leaves an irregular ridge of paint across the...

    Guy Yanai, Claire and Her Boyfriend, 2021

    "There’s a compelling physicality to his canvases; each stroke of his brush leaves an irregular ridge of paint across the top and bottom of the line, resulting in a canvas that feels deliberate, handmade, and intensely human. "Not every artist is able to develop a signature style, even over an entire career, but Guy has achieved a unique style that’s his alone. He can paint anything and you know it’s him. That’s very rare," says Benjamin Derouillon." 

    - Catherine Hong in Galerie Magazine

  • 'Each painting is many different compositions that were erased during the process. The hardest part of the process is searching...

    Liat Yossifor, Wide Grey, 2020

    "Each painting is many different compositions that were erased during the process. The hardest part of the process is searching for a moment of interest between the pictorial and the sculptural. It’s like looking for the painting’s own visual logic, one work at a time."

    - Liat Yossifor

  • Beverly Fishman, Untitled (Bipolar, Parkinson's, Pain, Gerd), 2020 (detail) (Larger version of this image opens in a popup).
    Warren Isensee, Flower Child, 2021 (detail) (Larger version of this image opens in a popup).
    Whitney Bedford, Veduta Avery Tree, 2020 (detail) (Larger version of this image opens in a popup).
    Pia Fries, pylon LU, 2020 (detail) (Larger version of this image opens in a popup).
    Inka Essenhigh, Blue Spruce And Waning Crescent Moon, 2021 (detail) (Larger version of this image opens in a popup).
    Michael Reafsnyder, Blue Slide, 2020 (detail) (Larger version of this image opens in a popup).
    Shannon Finley, Over Simulation, 2021 (detail) (Larger version of this image opens in a popup).
    David Huffman, Sublimation, 2020 (detail) (Larger version of this image opens in a popup).
    Guy Yanai, Claire and Her Boyfriend, 2021 (detail) (Larger version of this image opens in a popup).
    Jason Middlebrook, A Thousand Years and Counting (Larix Decidua), 2021 (detail) (Larger version of this image opens in a popup).
    Raffi Kalenderian, Christine Minas, 2021 (detail) (Larger version of this image opens in a popup).
    Douglas Melini, Untitled (Tree Painting, Full Spectrum/Purple), 2019 (detail) (Larger version of this image opens in a popup).
    Tomory Dodge, Lush Thicket, 2021 (detail) (Larger version of this image opens in a popup).

    Beverly Fishman, Untitled (Bipolar, Parkinson's, Pain, Gerd), 2020 (detail)

    • Whitney Bedford Veduta (Avery/Tree), 2020 Ink and oil on panel 24 3/8 x 31 1/2 inches 61.9 x 80 cm
      Whitney Bedford
      Veduta (Avery/Tree), 2020
      Ink and oil on panel
      24 3/8 x 31 1/2 inches
      61.9 x 80 cm
    • Tomory Dodge Lush Thicket, 2021 Oil on canvas 60 x 60 inches 152.4 x 152.4 cm
      Tomory Dodge
      Lush Thicket, 2021
      Oil on canvas
      60 x 60 inches
      152.4 x 152.4 cm
    • Inka Essenhigh Blue Spruce and Waning Crescent Moon, 2021 Enamel on canvas 40 1/4 x 30 1/8 inches 102.2 x 76.5 cm
      Inka Essenhigh
      Blue Spruce and Waning Crescent Moon, 2021
      Enamel on canvas
      40 1/4 x 30 1/8 inches
      102.2 x 76.5 cm
    • Shannon Finley Over Simulation, 2021 Acrylic on linen 78 3/4 x 63 inches 200 x 160 cm
      Shannon Finley
      Over Simulation, 2021
      Acrylic on linen
      78 3/4 x 63 inches
      200 x 160 cm
    • Beverly Fishman Untitled (Bipolar, Parkinson's, Pain, Gerd), 2020 Urethane paint on wood 56 1/4 x 105 3/4 inches 142.9 x 268.6 cm
      Beverly Fishman
      Untitled (Bipolar, Parkinson's, Pain, Gerd), 2020
      Urethane paint on wood
      56 1/4 x 105 3/4 inches
      142.9 x 268.6 cm
    • Pia Fries pylon LU, 2020 Oil and silkscreen on wood 67 x 47 1⁄2 inches 170.2 x 120.7 cm
      Pia Fries
      pylon LU, 2020
      Oil and silkscreen on wood
      67 x 47 1⁄2 inches
      170.2 x 120.7 cm
    • Rico Gatson Untitled (Bluesologists After Gil Scott), 2021 Acrylic paint on wood 36 x 80 inches 91.4 x 203.2 cm
      Rico Gatson
      Untitled (Bluesologists After Gil Scott), 2021
      Acrylic paint on wood
      36 x 80 inches
      91.4 x 203.2 cm
    • David Huffman Sublimation, 2020 Mixed media on wood panel 72 x 59 3/4 inches 182.9 x 151.8 cm
      David Huffman
      Sublimation, 2020
      Mixed media on wood panel
      72 x 59 3/4 inches
      182.9 x 151.8 cm
    • Warren Isensee Flower Child, 2021 Oil on canvas 25 1/4 x 25 inches 64.1 x 63.5 cm
      Warren Isensee
      Flower Child, 2021
      Oil on canvas
      25 1/4 x 25 inches
      64.1 x 63.5 cm
    • Raffi Kalenderian Christine Minas, 2021 Oil on canvas 48 x 36 inches 121.9 x 91.4 cm
      Raffi Kalenderian
      Christine Minas, 2021
      Oil on canvas
      48 x 36 inches
      121.9 x 91.4 cm
    • Tom LaDuke The Blow That Hurts The Ones That Don't, 2021 Acrylic on canvas over panel 51 1/2 x 75 inches 130.8 x 190.5 cm
      Tom LaDuke
      The Blow That Hurts The Ones That Don't, 2021
      Acrylic on canvas over panel
      51 1/2 x 75 inches
      130.8 x 190.5 cm
    • Markus Linnenbrink IWOKEUPINAMERICA, 2021 Epoxy resin and pigments on wood 36 x 96 inches 91.4 x 243.8 cm
      Markus Linnenbrink
      IWOKEUPINAMERICA, 2021
      Epoxy resin and pigments on wood
      36 x 96 inches
      91.4 x 243.8 cm
    • Heather Gwen Martin Span, 2020 Oil on linen 56 x 60 inches 142.2 x 152.4 cm
      Heather Gwen Martin
      Span, 2020
      Oil on linen
      56 x 60 inches
      142.2 x 152.4 cm
    • Douglas Melini Untitled (Tree Painting, Full Spectrum/Purple), 2019 Oil on linen and acrylic stain on reclaimed wood with artist frame 42 x 42 inches 106.7 x 106.7 cm
      Douglas Melini
      Untitled (Tree Painting, Full Spectrum/Purple), 2019
      Oil on linen and acrylic stain on reclaimed wood with artist frame
      42 x 42 inches
      106.7 x 106.7 cm
    • Jason Middlebrook A Thousand Years and Counting (Larix Decidua), 2021 Acrylic on oak 96 1/8 x 20 1/4 x 1 1/4 inches 244.2 x 51.4 x 3.2 cm
      Jason Middlebrook
      A Thousand Years and Counting (Larix Decidua), 2021
      Acrylic on oak
      96 1/8 x 20 1/4 x 1 1/4 inches
      244.2 x 51.4 x 3.2 cm
    • Michael Reafsnyder Blue Slide, 2020 Acrylic on linen 38 x 50 inches 96.5 x 127 cm
      Michael Reafsnyder
      Blue Slide, 2020
      Acrylic on linen
      38 x 50 inches
      96.5 x 127 cm
    • Daniel Rich 909 3rd Ave, NYC (Large Version), 2021 Acrylic on dibond 78 3/4 x 57 inches 200 x 144.78 cm
      Daniel Rich
      909 3rd Ave, NYC (Large Version), 2021
      Acrylic on dibond
      78 3/4 x 57 inches
      200 x 144.78 cm
    • Patrick Wilson Pacific Gold, 2021 Acrylic on canvas 28 x 42 inches 71.1 x 106.7 cm
      Patrick Wilson
      Pacific Gold, 2021
      Acrylic on canvas
      28 x 42 inches
      71.1 x 106.7 cm
    • Guy Yanai Claire and Her Boyfriend, 2021 Oil on canvas 63 x 74 3/4 inches 160 x 190 cm
      Guy Yanai
      Claire and Her Boyfriend, 2021
      Oil on canvas
      63 x 74 3/4 inches
      160 x 190 cm
    • Liat Yossifor Wide Grey, 2020 Oil on linen 81 x 78 inches 205.7 x 198.1 cm
      Liat Yossifor
      Wide Grey, 2020
      Oil on linen
      81 x 78 inches
      205.7 x 198.1 cm
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