NEW YORK, NY.- The gallery presents its fourth exhibition of egg tempera paintings and works on paper by Sarah McEneaney. The exhibition comprises works completed over the last two years.

In keeping with her work produced during the last decade, the artist’s subject matter is drawn from her everyday life in Philadelphia and her extensive travels. McEneaney allows the viewer into her world, which is meticulously and keenly observed. Many of the works in this show were painted from locales as diverse and far flung as New Mexico, Jordan, France, Germany, and the United Arab Emirates.

Her work has been in many museum exhibitions throughout the United States and in Europe including over the last two years at the Delaware Art Museum, the Philadelphia Museum of Art, the Walton Arts Center, Art Museum, Rhode Island School of Design, and Kunstmuseum, Ahlen, Germany. McEneaney received a certificate from the Pennsylvania Academy of the Fine Arts and studied at Philadelphia College of the Arts.

McEneaney has had numerous solo gallery exhibitions both in New York and Philadelphia, where she has lived and worked for many years. Her work was the subject of a major retrospective at the Institute of Contemporary Art ICA at University of Pennsylvania in 2004. In 2012 the City of Philadelphia will unveil a commission by the artist, a composite landscape of Philadelphia’s parks, which will be installed in its new Youth Study Center.

Dwight Ripley (1908-1973)
Travel Posters and Language Panels
Dwight Ripley was a British born artist, whose work was the subject of five solo exhibitions at Tibor de Nagy starting in 1951. A polymath, Ripley was a serious botanist, the author of a volume of poetry, and spoke fifteen languages. However, it was for his artwork that he was most recognized. Six of his drawings were included in an exhibition at Peggy Guggenheim’s legendary gallery Art of This Century.

Ripley's "Travel Posters" and "Language Panels"-- two series of drawings made in 1962 and 1968, the last decade of his life -- combine inventive graphic clarity with allusive puns based on popular art forms. In his "Travel Posters," the enticing scenery has been configured from the scientific names of indigenous plants, but spun in a cursive web that suggests the wandering line of Surrealist or abstract art. In the "Language Panels," his etymologically-driven idea of the comic strip, the drawings have been divided into mysterious quadrants that imply narratives of both discovery and danger. Colorful, unusual, and pioneering in their steadfast insistence on colored pencil, the drawings are prescient of the epistemological savvy and environmental awareness that came to characterize the era we still recognize as our own.