-
ANNOTATIONS & IMPROVISATIONS
9 December 2021 - 29 January 2022 -
Curated by KRISTEN BECKER
SANFORD BIGGERS, WILLIE COLE, RICO GATSON, HARMONY HAMMOND, MAREN HASSINGER, STEVE LOCKE, ANNA MARIA MAIOLINO, DONALD MOFFETT, RONNY QUEVEDO, ZILIA SÁNCHEZ, DIANE SIMPSON, DYANI WHITE HAWK, and ZARINA.
-
NEW YORK, NY - MILES McENERY GALLERY is pleased to announce Annotations & Improvisations, a group exhibition curated by New York-based curator Kristen Becker. This exhibition opens on 9 December 2021 at 525 West 22nd Street and will remain on view through 29 January 2022.
-
-
-
Sanford BiggersThe Charlatan, 2020Antique quilt, assorted textiles73 x 67 1/2 x 3 inches
185.4 x 171.5 x 7.6 cm -
Willie ColeDomestic Shield XVII, 2021Iron scorches on canvas with resin, chalk and wax mounted on wood54 x 16 3/4 inches
137.2 x 42.5 cm -
Rico GatsonUntitled (Sunrise/Sunset LG-II), 2021Acrylic paint on wood36 x 48 inches
91.4 x 121.9 cm -
Harmony HammondCrimson Chenille, 2019Oil and mixed media on canvas70 x 56 inches
177.8 x 142.2 cm
-
Maren HassingerUntitled Vessel (Red), 2021Stretch polyester fabric on steel armature69 x 61 inches
175.3 x 154.9 cm
diameter -
Steve LockeHomage to the Auction Block #100-hudson, 2021Acrylic on panel16 x 16 inches
40.6 x 40.6 cm -
Steve LockeHomage to the Auction Block #45, 2020Acrylic gouache on panel16 x 16 inches
40.6 x 40.6 cm -
Steve LockeHomage to the Auction Block #72, 2020Acrylic gouache on panel24 x 24 inches
61 x 61 cm
-
-
"The artists included in Annotations & Improvisations are bonded by their shared role as consummate seekers. In addition to an innate versatility, the artists in the exhibition are also unified in their exploration of abstraction, making me consider whether this chosen mode of expression (often maligned for creating distance from the viewer) actually allows for elevated approachability and accessibility, generating surprising connections and opening up associationsthat result in inspired conversations well after the viewing experience has passed. These artists embrace their own myriad history and draw the viewer in with a familiar form— the seemingly modernist template in Steve Locke’s Homage to the Auction Block works, the pulsating bands of color in Rico Gatson’s cosmic Untitled (Sunrise/Sunset LG-II), and the traditional sewing patterns giving shape to Ronny Quevedo’s cuerpo y alma (body and soul)—but what could easily be presented as cold formalism is actually rich and multivalent work, full of significance both public and private."
- Kristen Becker
-
-
Anna Maria MaiolinoUntitled, from the Desenhos Objetos (Drawing Objects) series, 1976/2012Thread on paper in wooden box22 x 22 x 3 7/8 inches
55.9 x 55.9 x 9.8 cm -
Donald MoffettLot 033020 (the gusher), 2020Oil, cotton, aluminum, rabbit skin glue, poly vinyl acetate on linen30 3/8 x 24 1/8 inches
77.2 x 61.3 cm -
Ronny Quevedocuerpo y alma, 2021Gold leaf, wax, gold leaf and pattern paper on paper100 x 22 inches
48.3 x 238.8 cm -
Ronny Quevedointi-killa, 2021Metal leaf on carbon paper26 1/4 x 18 inches
66.7 x 45.7 cm
-
Zilia SánchezConcepto I, 2000 / 2019Bronze, paint24 x 5 x 6 5/8 inches
61 x 12.7 x 16.8 cm -
Diane SimpsonKabuto, 1991Aluminum, stain and acrylic on MDF, steel tacks, silk cord43 x 21 x 11 inches
109.2 x 53.3 x 27.9 cm -
Dyani White HawkAll That Glitters, 2014Acrylic, gold leaf, and antique ledger paper on canvas42 x 42 inches
106.7 x 106.7 cm -
ZarinaUntitled, 2017Collage with strips of Indian handmade paper stained with Sumi ink on Arches Cover buff paper30 x 8 3/4 inches
76.2 x 22.2 cm
-
-
"Many of these artists forge a connection through everyday materials, like clothing and textiles. Sanford Biggers engages with turn-of-the-century quilts, but then upends them by adding modern textiles and refashioning them before presenting them as wall sculptures. Harmony Hammond employs previously undervalued sewing practices to create a tactile, almost flesh like work in Crimson Chenille. Willie Cole acknowledges the labor of his mother and other relatives who worked as housekeepers, using the scorched iron as a tool and a template on the canvas. And Dyani White Hawk’s All That Glitters outlines the form of a moccasin built up by ledger paper, a medium loaded with ethical and historical complications. Entry points for these works come alongside very personal narratives, helping to broach the painful truths of systemic erasure, whether through enslavement, forced removal, rewritten histories, or the common dismissal of any work associated with the feminine."- Kristen Becker
-
-
