4 - 7 SEPTEMBER 2025
JAVITS CENTER | NEW YORK, NY
BOOTH #417
4 - 7 SEPTEMBER 2025
JAVITS CENTER | NEW YORK, NY
KEVIN APPEL
WHITNEY BEDFORD
KADAR BROCK
TOMORY DODGE
BEVERLY FISHMAN
KAREL FUNK
RICO GATSON
JACOB HASHIMOTO
RAFFI KALENDERIAN
TOM LADUKE
MARKUS LINNENBRINK
DOUGLAS MELINI
MICHAEL REAFSNYDER
DANIEL RICH
ALEXANDER ROSS
JOHN SONSINI
PATRICK WILSON
“What appear at first glance to be large abstract paintings . . . are revealed on careful inspection to be Kevin Appel’s photos of Los Angeles construction sites. Blocks of concrete and profusions of rebar are almost entirely concealed by large translucent swaths of color and Ben-Day on dots. The effect recalls Roy Lichtenstein’s oeuvre, adding a cheerful pop sensibility to the city’s decaying urban landscape.”
- Sarah Cascone in Artnet News
KEVIN APPEL
Aggregate 15 (Night Mass), 2025
KEVIN APPEL
Oil and acrylic on canvas over panel
Aggregate 15 (Night Mass), 2025
80 x 78 inches
203.2 x 198.1 cm (37666)
Oil and acrylic on canvas on panel
80 x 78 inches
203.2 x 198.1 cm (37666)
“The artist’s combination of ink and oil paint creates another dimension—a place in between bursts of paint that adds an explosive tension to the work. There, forces collide, raw energy flows and untamed emotions trigger a powerful release . . . Exploring the emotional potential of the landscape, Bedford’s work is about balancing extremes and celebrating contradictions.”
- Vasia Rigou in New City Art
Ink and oil on nylinen on panel
29 x 36 x 2 inches
73.7 x 91.4 x 5.1 cm (37871)
$ 30,000
, 2025
Ink and oil on nylinen on panel
29 x 36 inches
73.7 x 91.4 cm (37871)
WHITNEY BEDFORD
Veduta (Ryder Moonlit Cove), 2025
Veduta (Ryder Moonlit Cove), 2025 Ink and oil on nylinen on panel 24 x 30 inches
“The committed trajectory of Kadar Brock’s work traces its origins to a post-Cooper Union decision to un-stretch and scrape his early, numinous figurative paintings, coat them in layers of alcohol-based primer- sealer, then sand the canvases until they are soft, brittle, and chalky. Finally, he covers the surfaces again with rich oil paint. This process of labor repeats until the paintings are revealed as abstractions riddled with expressive holes and cracks, chaotic marks and flashes of color, on fine, fragile expanses.”
- Matt Jones in Aptly
doppelganger, roko’s basilisk, the 6th, hang in there, elmo the destroyer, fallen god, pink swedish landscape, 2017 - 2024
House paint, oil, and spray paint on canvas
60 x 48 1/4 inches
152.4 x 122.6 cm (38031)
“In Dodge’s work, various phases of a painting’s development emerge onto the stage at the same time in a fierce display. They are by turns finely nuanced, intricately interlaced, or violently opposed to each other . . . In each painting, Dodge is on a different journey, always steering the self-referentiality of abstraction, turning it so far that it becomes an existential experience that goes beyond painting.”
- Hans Rudolf Reust in Artforum
TOMORY DODGE
TOMORY DODGE
Libra, 2025
Libra, 2025
Oil on canvas
Oil on canvas
35 x 30 inches
35 x 30 inches
88.9 x 76.2 cm (37964)
88.9 x 76.2 cm (37964)
Libra, 2025
Oil on canvas
$ 25,000
35 x 30 inches
$ 25,000
88.9 x 76.2 cm (37964)
Morning Glory, 2025
Morning Glory, 2025
Oil on canvas
Oil on canvas
60 x 48 inches
60 x 48 inches
152.4 x 121.9 cm (37962)
152.4 x 121.9 cm (37962)
$ 65,000
Summer 94, 2025 Oil on canvas 20 x 16 inches
50.8 x 40.6 cm (37988)
Summer 94, 2025
Oil on canvas
20 x 16 inches
50.8 x 40.6 cm (37988)
“Beverly Fishman has been thinking about the cure for what ails us for the last 40 years. Her candy-colored constructions exist somewhere between painting, sculpture and bad trip: uppers and downers pulsating in happy, fluorescent hues—a medicine cabinet stocked with remedies for being human . . . continuing her series of faceted, urethane-shellacked wood forms that protrude from the wall, are a workaround to figuration—about the body but never depicting it, geometric abstraction as a feint to talk about contemporary culture, and what we ingest to cope with it.”
-
Max Lakin in The New York Times
Equilibrium (C.,8), 2025
Urethane paint on wood
45 x 43 inches
114.3 x 109.2 cm (38106)
Polypharmacy: Agency, Ease, Serenity, Self Determination, 2025
Polypharmacy: Agency, Ease, Serenity, Self Determination, 2025
Urethane paint on wood
Urethane paint on wood
67 x 125 in
67 x 125 inches
170.2 x 317.5 cm (37583)
170.2 x 317.5 cm (37583) $ 125,000
“To artist Karel Funk, newly arrived in Manhattan from his native Winnipeg, Manitoba, in 2001, that proximity to strangers on a train proved overwhelming at first—then career changing . . . His paintings are firmly rooted in the history of portraiture, he says, acknowledging his debt to Renaissance masters such as Holbein and Bronzino, with their focus on precise detail and brushwork. And like those artists, he pays great attention to what his subjects wear, seeing the jackets and hoodies he provides them as modernday armor and shields.”
- Diane Solway in W Magazine
“These colorful, hard-edge compositions of stripes, circular forms, triangles, and other geometric shapes generate a pulsating energy generally emanating from the center. They are painted with acrylic on hollow-core wood doors, suggestive of portals to some other spatial and spiritual realm . . . Gatson uses the centrifugal motif metaphorically as an exalted power, in Arnheim’s terms, suggestive of a unifying force that could counter societal divisiveness and political strife.”
-
David Ebony in The Brooklyn Rail
Untitled (Megastar), 2025
Acrylic paint and glitter on wood
36 x 80 inches
Untitled (Megastar), 2025
91.4 x 203.2 cm (37980)
Acrylic paint and glitter on wood
36 x 80 inches
$ 40,000
91.4 x 203.2 cm (37980)
Untitled (Oracle), 2025
Acrylic paint on wood
42 x 42 inches
106.7 x 106.7 cm (37981)
Untitled (Oracle), 2025
Acrylic paint on wood
42 x 42 inches
$ 26,000
106.7 x 106.7 cm (37981)
“While Jacob Hashimoto is perhaps best known for his experimental, conceptually exploratory multidisciplinary practice, his recent work has reflected a new sense of cohesiveness and precision . . . the collection of kites are a metaphor for transformation, and a symbol of a collective whole comprised of seemingly uncountable parts . . . Leveraging the myriad formal tools and techniques he has mastered—from the digital to traditional—the artist concretely taps into the spiritual facets of lived reality, and is diving deeper with every show.”
- Artnet News
The Flight of Probability, 2025
Acrylic, bamboo, paper, wood, and dacron
60 x 48 inches
152.4 x 121.9 cm (37974)
“It would be a mistake to pigeonhole Kalenderian’s work as merely documenting the creative class. His paintings harness a provocative tension between figuration and abstraction that elevates them beyond content . . . Whether as individuals or societies, all that we create has the power to overwhelm or outlast us. We’re not as central as we’d care to imagine to any given scene—even one of our own creation—yet, still we leave a mark . . . These kaleidoscopic compositions manage to document and dream concurrently.”
- Mitchell Anderson in Frieze
Sid Reading Before the Moon Falls, 2025
Sid Reading (Before the Moon Falls), 2025
Oil on canvas
Oil on canvas
60 x 48 inches
60 x 48 inches
152.4 x 121.9 cm (37977)
152.4 x 121.9 cm (37977)
$ 40,000
“It is a quixotic quest that LaDuke embarks upon: trying to locate oneself in the quicksilver stream of being. These paintings have a profound impact on one’s psyche . . . our minds are engaged in the strange flux of interpreting a complex, shifting overlay of image fragments, experiencing the oscillation of the figure and the ground in a fluid state of consciousness . . . We exist in a kaleidoscope of moments, and in LaDuke’s paintings, he shows us a shimmering reflection of this evasive phantom we call self.”
- Gary Brewer in Whitehot Magazine
A Prism of Gates, 2025
Acrylic on canvas over panel
45 x 50 inches
101.6 x 101.6 cm (37982)
A Prism of Gates, 2025
Acrylic on canvas over panel
$ 55,000
45 x 50 inches
114.3 x 127 cm (37982)
“While the German artist’s color field works are distantly reminiscent of the striped canvases of Morris Louis and Gene Davis, his built-up surfaces have an exacting nature and insistent physical presence . . . The wall panels, made from layers of resin and bright pigment, could be described as austere minimalism intersecting with almost performative, process-oriented spontaneity . . . While Linnenbrink certainly looks back to formal antecedents, his unorthodox use of materials and combination of improvisation and control continues to broaden the definition of contemporary ‘painting.’”
- Derek Conrad Murray in Art in America
LETNIGHTCOMEONBELLSANDTHEDAY, 2025
Epoxy resin and pigments on wood
36 x 60 inches
LETNIGHTCOMEONBELLSANDTHEDAY, 2025
91.4 x 213.4 cm (37978)
Epoxy resin and pigments on wood
36 x 60 inches
$ 45,000
91.4 x 152.4 cm (37978)
Epoxy resin and pigments on wood
60 x 48 inches
152.4 x 121.9 cm (38026)
“Douglas Melini offers a way of perceiving natural form and beauty that enables us to remain attuned to our perceptual shortcuts, while sidestepping some of the hubris underlying any presumption that nature begins and ends at the limits of our own sensorial understanding.”
- Dan Cameron in Deep Surface
They Mostly Come Out At Night, 2025
They Mostly Come Out At Night, 2025
Oil on linen
Oil on linen
72 x 84 inches
72 x 84 inches
182.9 x 213.4 cm (37984)
182.9 x 213.4 cm (37984)
$ 45,000
“Reafsnyder creates his exuberant paintings using palette knives, his own hands, and found objects—intentionally avoiding brushes to heighten a sense of raw, physical immediacy . . . His works continually unfold, offering moments of delight, surprise, and sensual seduction, their delightful spontaneity translating not only in the artist’s energetic joy of making but also the viewer’s thrill of seeing—each painting a celebration of the boundless pleasure of being alive.”
- USA Today
Fill Station, 2025
Signed, titled, and dated (verso)
Fill Station, 2025
Acrylic on linen
46 x 40 inches
Acrylic on linen
46 x 40 inches
116.8 x 101.6 cm (37606)
116.8 x 101.6 cm (37606)
$ 25,000
“Rich uses color as language to convey excitement, relationships, mood, and a sense of place but also to inspire nostalgia . . . There’s an adventurous quality to Rich’s endeavors, ranging from Escher-esque perspective plays in the cityscapes, introducing uncertainty at every entry point to the sharply depicted cut-out-based fake interiors of a Thomas Demand composition.”
- Barbara A. MacAdam in The Brooklyn Rail
NYC Nocturne #1, 2025
Acrylic on dibond
72 x 50 inches
NYC Nocturne #1, 2025
182.9 x 127 cm (37975)
Acrylic on dibond
72 x 50 inches
182.9 x 127 cm (37975)
“Ross’s studio procedures are remarkably straightforward, and essentially old school. Swapping Cézanne’s apples or Morandi’s bottles for an array of morphologically related surfaces and shapes that in one painting may resemble a sea anemone or a greatly magnified mold . . . Ross models the generally small objects he scrutinizes in unctuous, jadecolored plasticine and then enlarges and frames them by photographic means . . . If these polarities serve as the basic parentheses within which Ross operates, his many allusions to other artists and to art-historical precedents subtly widen the scope of what may initially seem like a fairly modest project.”
- Robert Storr in ArtForum
50 x 54 inches
127 x 137.2 cm (37966)
$ 40,000
50 x 54 inches
127 x 137.2 cm (37966)
ALEXANDER ROSS
Clouding Orbigress, 2025
ALEXANDER ROSS
Oil on canvas
Clouding Orbigress, 2025
Oil on canvas
54 x 50 inches
54 x 50 inches
137.2 x 127 cm (37967)
137.2 x 127 cm (37967)
$ 40,000
“Sonsini’s portraits raise profound questions about identity—race, class, sexuality—while laying bare the cultural, economic and political underpinnings of the ways we see ourselves, especially as those visions take shape in relationship to others: people with different backgrounds, different upbringings, different dreams.”
- David Pagel in LA Times
Francisco & Oscar, 2024
Oil on canvas
72 x 60 inches
Francisco & Oscar , 2024
72 x 60 inches
182.9 x 152.4 cm (37976)
182.9 x 152.4 cm (37976)
“If you stop trying to make sense of Wilson’s paintings logically—and let them do their thing—the confusion you initially experience gives way to insights that just might be mindblowing . . . Wilson invites us to treat our own experiences in the same way he treats the colors and shapes in his paintings— to understand them differently by paying attention to nuance and letting them change.”
- David Pagel in LA Times
Kentucky Bourbon, 2025
37 x 41 inches
94 x 104.1 cm (37971)
$ 40,000
Kentucky Bourbon, 2025
Acrylic on canvas
37 x 41 inches
94 x 104.1 cm (37971)
Stunt Double, 2025
37 x 41 inches 94 x 104.1 cm (37972)
$ 40,000
Stunt Double, 2025
Acrylic on canvas
37 x 41 inches
94 x 104.1 cm (37972)
Booth #417
4 - 7 September 2025
Jacob K. Javits Convention Center
New York, NY
Miles McEnery Gallery
511 West 22nd Street New York, NY 10011
515 West 22nd Street New York, NY 10011
525 West 22nd Street New York, NY 10011
520 West 21st Street New York, NY 10011
tel +1 212 445 0051 www.milesmcenery.com
Publication © 2025 Miles McEnery Gallery
All rights reserved
Catalogue layout by Minu Chng, New York, NY
Photography by Dan Bradica, New York, NY
Cover: Tomory Dodge, Libra (detail), 2025
