CURRENTLY ON VIEW in New York, galleries are presenting solo exhibitions of artists Nathaniel Mary Quinn, Michaela Yearwood-Dan, McArthur Binion, Leonardo Drew, and Matthew Angelo Harrison. The shows feature all new paintings and sculpture and emerging artists Harrison and Yearwood-Dan are collaborating with Salon 94 and Marianne Boesky galleries, respectively, for the first time.
NATHANIEL MARY QUINN, “The Lesson of Cut-Rat Liquor,” 2021 (oil paint stick, oil pastel, soft pastel, gouache, and charcoal on linen canvas over wood panel, in two parts, Overall 36 x 72 inches / 91.4 x 182.9 cm). | © Nathaniel Mary Quinn, Photo by Rob McKeever
“Nathaniel Mary Quinn: Not Far From Home; Still Far Away” @ Gagosian, 900 Madison Avenue, New York, N.Y. | Sept. 17-Oct. 30, 2021
Brooklyn-based Nathaniel Mary Quinn is presenting new paintings and works on paper. His complex, composite portraits are accompanied by equally compelling titles such as “Pilcher and Jackson” (2021) and “The Lesson of Cut-Rate Liquor” (2021), describing works that pay homage to a pair of influential teachers and his alcoholic brother Eugene, respectively.
Installation view of Leonard Drew at Galerie Lelong, New York, N.Y. (Sept. 9-Oct. 23, 2021). Shown, from left, “Number 293,” 2021 (wood and paint); “Number 298,” 2021 (wood, plaster, and paint); and “Number 308,” 2021 (wood and paint). At right, “Number 306,” 2021 (wood, aluminum, sand, and paint). | Courtesy the artist and Galerie Lelong.
Leonardo Drew @ Galerie Lelong & Co., New York, N.Y. | Sept. 9-Oct. 23, 2021
At Galerie Lelong, Leonardo Drew, who lives and works in Brooklyn, is presenting new sculptures and a site specific installation composed of layered wood materials that have been treated and reimagined into a variety of shapes and forms. (Drew has a concurrent show of cast handmade paper pulp editions at Pace Prints in New York and “Leonardo Drew: Cycles, From the Collection of Jordan D. Schnitzer and His Family Foundation” is also on view at the Patricia & Phillip Frost Art Museum at Florida International University in Miami.)
MICHAELA YEARWOOD-DAN, “A conduit for joy,” 2021 (oil, acrylic, ink, gold leaf and swarovski crystals on canvas; Overall: 87 x 141 3/4 inches / 221 x 360 cm; Each Panel: 87 x 70 7/8 inches / 221 x 180 cm
“Michaela Yearwood-Dan: Be Gentle With Me” @ Marianne Boesky Gallery, 509 West 24 Street, New York, N.Y. | Sept. 9-Oct. 23, 2021
For London-based Michaela Yearwood-Dan‘s first solo exhibition at Marianne Boesky Gallery, new lyrical abstract paintings are on view. Reflecting on the past two years, her large-scale canvases are informed by the Black Lives Matter Movement, the COVID-19 pandemic, and queer liberation. Offering multiple entry points to read meaning into her paintings, Yearwood-Dan often punctuates her pictures by incorporating brief phrases, lines of poetry, or novel quips, and assigns telling titles such as “A conduit for joy,” “The only way is up,” and “Falling apart.”
Installation view of “Matthew Angelo Harrison: Ambidex,” Salon 94, New York, N.Y. (Sept. 14-Oct. 30, 2021). Shown, at front, from left, “Gemsbok Transpose,” 2021 (polyurethane resin, Gemsbok gazelle skull and aluminum stand with acrylic) and “Paternal Veil,” 2021 (wooden sculpture and polyurethane resin). | Courtesy the artist and Salon 94
“Matthew Angelo Harrison: Ambidex” @ Salon 94, East 89th Street, New York, N.Y. | Sept. 14-Oct. 30, 2021
For his first solo show at Salon 94, Matthew Angelo Harrison of Detroit is showcasing a series of new sculptures—wood masks, figurines, and bones encased in resin blocks. The works are loaded with symbolism, from references to the repatriation of looted colonial objects from European and American museums back to their African sites of origin to the parallel routes of the tourist-style objects and the Transatlantic slave trade.
MCARTHUR BINION, Detail of “Modern:Ancient:Brown,” 2021 (ink, oil paint stick, and paper on board, 72 x 96 inches / 182.88 x 243.84 cm. | © McArthur Binion, Courtesy the artist and Lehmann Maupin
“McArthur Binion: Modern:Ancient:Brown” @ Lehmann Maupin, West 24th Street, N.Y. | Sept. 9 – Oct. 23, 2021
McArthur Binion‘s latest exhibition at Lehmann Maupin features all new work that continues to push the meaning embedded in his autobiographical abstractions. Drawing on earlier series—conceptually, materially, and aesthetically—the presentation represents a culmination of his practice. CT
BOOKSHELF
Published earlier this year, “McArthur Binion: DNA” explores the artist’s DNA series, illustrates more than 80 of the paintings and works on paper, and “provides insight into the rigorous and experimental spirit that has defined the artist’s larger practice and illuminates his place within a critical history of abstraction in the 20th and 21st centuries.” The first monograph of Matthew Angelo Harrison is forthcoming in November, with contributions from Natalie Bell, Elena Filipovic, Jessica Bell Brown, Taylor Renee Aldridge, and DeForrest Brown Jr. Published in 2013, “Leonardo Drew” features text by Xandra Eden and Valerie Cassel Oliver (view PDF). Also consider “Existed: Leonardo Drew.”
