RYAN LEE

RYAN LEE Follow us on instagram RYAN LEE was established in 2013 by Mary Ryan and Jeffrey Lee.

Located in the Chelsea district of Manhattan, the gallery is home to a dynamic roster of international contemporary artists working in a diverse array of media. Representing both established and emerging artists, RYAN LEE is committed to showing innovative and pioneering exhibitions that represent the spectrum of contemporary art practices, and will also be a platform for many artists’ first New York exhibitions.

Vivian BrowneVivian (Self-portrait) c. 1972Oil on canvasBrowne had been an active force duringthe movements of the 196...
04/19/2019

Vivian Browne
Vivian (Self-portrait) c. 1972
Oil on canvas

Browne had been an active force during
the movements of the 1960s and 1970s, serving on the executive committee of the
Emergency Cultural Coalition (BECC) and participating in the editorial collective that
produced a special issue of the feminist journal Heresies, which grappled with within the


represented by

Opening May 16 – June 15, 2019George MiyasakiAbstract Expressionist California: Paintings and Lithographs, 1955-61RYAN L...
04/15/2019

Opening May 16 – June 15, 2019
George Miyasaki
Abstract Expressionist California:
Paintings and Lithographs, 1955-61

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.

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 inflected brand of . Drawing inspiration from nature, particularly the western , 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 ex*****on of harmony and dissonance is also characteristic of Terrain #2 (1961) and Horizon #2 (1958), both of which demonstrate Miyasaki’s gestural application of controlled color.

The apex of the abstract expressionist movement in the United States during the immediate postwar years corresponded with a period of intense discrimination against , particularly those of Japanese descent. As a result, while the influence of 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.

Screening today!More press on Mariam Ghani's documentary What We Left Unfinished The SFFILM Festival’s Eastern Front Lo...
04/14/2019

Screening today!
More press on Mariam Ghani's documentary What We Left Unfinished

The SFFILM Festival’s Eastern Front
Local color and outlandish international flickers at this year’s festival.
By Kelly Vance

"The most intriguing item in BAMPFA's portion of the festival is Mariam Ghani's What We Left Unfinished, the previously untold story of what happened to the writers, directors, actors, and technicians in the national film industry of after its 1978 Communist revolution. Ordered to produce movies for the betterment of society, they came up with message-laden spy flicks, drug-smuggler actioners, and romances that ruffled the feathers of seemingly everyone in the country, notably the gun-toting mujahideen rebels. The doc highlights five that went uncompleted in the wake of almost continuous strife — the Russian invasion, the rise of the Taliban, and increasing antagonism directed toward film people from conservative tribal warlords who considered showbiz a haven for unbelievers, charlatans, and prostitutes. And you thought doing business in was rough. The production horror stories are hilarious, and one character is a dead ringer for John Belushi. Generous clips from the abandoned projects demonstrate the taste in cinematic entertainment: direct, unsubtle, didactic, and almost universally violent. A capsule history of a fascinating but dangerous period in a perennially divided nation. It screens at BAMPFA on April 14."

Great work and special thanks to

Emma Amos All I Know of Wonder, 2008Oil on linen with bordersAmos questions and reframes the and imagesof throug...
04/11/2019

Emma Amos
All I Know of Wonder, 2008
Oil on linen with borders

Amos questions and reframes the and images
of through themes of movement, fragmentation, and tension.

Special Thanks to Studio

"All the Girls Came Out to Celebrate Ethan James Green's First Monograph"By These days, Ethan James Green shoots covers ...
04/10/2019

"All the Girls Came Out to Celebrate Ethan James Green's First Monograph"
By

These days, Ethan James Green shoots covers for Italian Vogue and Vanity Fair, but the roots of his practice remain entwined with a community of friends and collaborators that puts the "gag" in "gaggle". So it's no surprise that on Friday night everyone from artist Martine Gutierrez (who performed at the Times Square EDITION party) to photographer Micol Sabbadini to model, artist, and activist Richie Shazam showed up to celebrate Green's new black-and-white monograph, appropriately titled Young New York.

Special thanks to and .tv
Photographed by

Christopher CookSoliloquy, 2004Graphite, oil and resin on coated paperIn the mid-nineties, three extended visits to ...
04/08/2019

Christopher Cook
Soliloquy, 2004
Graphite, oil and resin on coated paper

In the mid-nineties, three extended visits to led to a rethink of his work, from which the process emerged whilst working in a in , Cornwall. An early was a prizewinner at John Moores XXI.

The eighth floor of the , as David Breslin, the Director of the Collection, sees it, is “a place for surprises.” . . . T...
04/06/2019

The eighth floor of the , as David Breslin, the Director of the Collection, sees it, is “a place for surprises.” . . .
The Frankenthaler, mentioned earlier, faces these works from the other side of the room, with Thompson’s “Triumph of Bacchus” on the left and, on the right, simmering “Baby” (1966), in which a flatly painted young woman in round sunglasses is depicted against an abstracted, hotly colored backdrop. There is also a pair of legs, each painted a different shade of brown, on the upper right. These mysterious forms, together with the yellow, , blue, and green shapes surrounding them, could easily be read, as in the WalkingStick, as a painting-within-a-painting. This wall pulls off the trickiest conceit of the show, which is that, in the right context, color can rule as the sole baseline. With their similar palettes, the three paintings work as a team despite their divergent styles and imagery, and even enlist the Albers on an adjacent wall, whose colors blend enticingly with the Amos, as a fellow traveler. Link to full article by

Special thanks to and . The exhibition is on view March 29 through August 2019
https://whitney.org/exhibitions/spilling-over
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Emma Amos (b. 1938), Baby, 1966. Oil on canvas, 46 1/2 × 51 in. (118.1 × 129.5 cm). Whitney Museum of American Art, New York; purchased jointly by the Whitney Museum of American Art, with funds from the Painting and Sculpture Committee; and The Studio Museum in Harlem, museum purchase with funds provided by Ann Tenenbaum and Thomas H. Lee T.2018.33a-b. © Emma Amos; courtesy of the artist and RYAN LEE Gallery, New York

Oranges on Branches, August 22, 2002Charcoal and flock on paperThe forms that makes use of visualize the interconnec...
04/06/2019


Oranges on Branches, August 22, 2002
Charcoal and flock on paper

The forms that makes use of visualize the interconnectedness across the
and artificial realms.

works on view till May 11, 2019 at

(1935, Kalopa, HI – 2013, Berkeley, CA) was an and active in the San Francisco Bay Area art scene during the mid-t...
04/05/2019

(1935, Kalopa, HI – 2013, Berkeley, CA) was an and 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
a breakthrough that sought to re-examine the profound influence of on in the United States.

Represented by and special thanks

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