September 5 - October 31, 2014 Michael McEwan: Landscapes and Urban Views (First floor)

Light, in its myriad guises, is the essence of Michael McEwan’s art, descriptively and metaphorically. That light is subtly complemented by the structure and lines of houses, riverbeds, buildings and valleys, which unify and amplify the artist’s sophisticated compositions.

Light, if depicted with finesse, captures the temperature, time, and tones of day and night. Importantly, it also influences the mood of those who experience it. Its infinite nuances touch our psyches, despite the increasingly frenetic, technologically-driven world in which many of us live. Michael’s art strikes a chord within the viewer that is timeless, yet true to the moment.

Jim and I hope that you can join us to enjoy the artist’s exceptional landscapes and urban views in celebration of 30 years of exhibiting his finely honed art.

  The Painterly Landscape (Second floor)

The Painterly Landscape illuminates the diverse range of brushwork, color harmonies, mark-making, tonal arrangements, and forms that are evident in the work of these seven talented artists. Their art is unified by their interest in painting the landscape in a manner in which the manipulation of their media is as integral a part of their art as capturing the landscape at a moment in time.  

Jim and I hope you enjoy these unique visual expressions. We thank Sharon Weiss for her generous participation and support with the inclusion of three of her gallery artists in this venture.
October 3 - November 3, 2014

Parables and Politics & Elijah Pierce's Art

Elijah Pierce’s humane, knowledgeable, and instructive communication of an overwhelming need for a sense of true community and connection within all America and the world as a whole is apparent in these pungent visual comments. These philosophical and political carvings also demonstrate his aesthetic and narrative “range” as an artist.

(Michael McEwan: Landscapes and Urban Views and The Painterly Landscape will be on view in the upstairs galleries)

November 21 - December 31, 2014 Stephen Pentak: inComplete (First floor)

The strongest expectation for a masterful painting is that it be complete. Nothing can be added; nothing can be subtracted. Set against this canon is the concept of engagement or completion fulfilled by the observer or audience. In these paintings I am pushing just a bit harder at the boundary between these ideas. I stop short of those few more marks or defining elements that might afford easier access to the picture and ask the viewer to complete my thought (our thought). So, for example, a simple brushstroke suggests “here goes the branch, growing off on a diagonal”, though the trajectory is left for the viewer to complete.

Many of the marks of the painting are left somewhat detached from form. The instructions for the viewer could read: “some assembly required.” For all of this suggestion and inference, the paintings should be felt to be complete.
  Edmund Kuehn: The Abstractions (Second floor)

Edmund Kuehn: The Abstractions includes a suite of 20 works on paper in the media of ink, acrylic, casein, gouache, and collage from 1955 through 2005. The exhibition focuses on the diversity and unity within Kuehn’s abstract work over a 50 year period. His keen orchestration of line, color, form, and space combine with his unique personal sense of humor and wry visual commentary create a vital body of work, which speaks to us today as well as it did 60 years ago.

January 18 - February 13, 2015


The Visual Poetry of Winter
Barth . Gough . McEwan . Pentak . Riley

The Visual Poetry of Winter
highlights the accomplished landscapes of Eric Barth, Alan Gough, Michael McEwan, Stephen Pentak, and Neil Riley.  

Each artist lends his own distinctive aesthetic vocabulary to his works. Eric’s pastels have an ethereal, dreamy quality, which is punctuated by a subtle emotional intensity as a function of his scoring the surface with incisive lines. Alan’s clarity of pictorial design is complemented by his reductive, exquisitely rendered forms which lend a spare ascetic beauty to his landscapes. Michael’s animated brushwork and richly scumbled surfaces lend a vitality to his landscapes that capture the fresh briskness of a winter day. Stephen’s elemental and evocative landscapes are on the cusp of abstraction. They simultaneously have a sense of place and a more transcendent quality. Neil’s subtle tonal nuances are animated by his deft calligraphic mark-making, which enables the paintings to read abstractly and representationally.

    The Magic of Winter: Snow Scenes by Historic American Artists (Second floor)
March 27 - May 15, 2015 Lowell Tolstedt: Recent Works on Paper

Lowell Tolstedt’s fine drawings in the diverse media of silverpoint, goldpoint, graphite, and colored pencil will be featured in an exhibition which opens March 27 and closes May 15 at Keny Galleries. There will be 26 drawings included in the exhibition. He has been creating exceptional drawings for 50 years, from his years in graduate school at the University of Iowa to his many years of teaching drawing at the Columbus College of Art and Design and his current status as a professor emeritus. Lowell’s work has evolved over the years. He has expanded his range of subjects, media, tones, textures, color harmonies, and scale in his well-constructed, emblematic compositions. 


Lowell’s drawings are grounded in the rich tradition of the silverpoint, goldpoint, and graphite media created over centuries by such masters as Leonardo DaVinci, Raphael, Albrecht Durer, Rembrandt van Rijn, and Jean Ingres. His works are also informed by the precisely executed, yet abstractly designed, drawings of such 20th century masters as Charles Sheeler, Andrew Wyeth, and Edwin Dickinson. Also, his drawings have an iconic presence that has affinities with such late 20th century masters as Jim Dine, Wayne Thiebaud, Ellsworth Kelly (floral drawings), and Jasper Johns.


In summation, Lowell is able to achieve a rare distillation of the clear delineation of forms enveloped in light into a reductive, contemporary, iconic visual statement. His drawings have a timeless, resonant beauty that transcends his exemplary technique.

June 5 - July 1, 2015 Intimate Masterworks of Post-Impressionism (1905-1940): Baumann . E. Hopkins . Kloss . Peterson . Schille

Keny Galleries is pleased to announce Intimate Masterworks of Post-Impressionism (1905-1940): Baumann, E. Hopkins, Kloss, Peterson, Schille, and Peers. It will focus upon extraordinary, intimately-scaled works on paper by artists who significantly contributed to the vital Post-Impressionist movement in America with their deft, innovative, and resonant works on paper. Their diverse media included aquatint and drypoint, color woodcut, etching, gouache, pastel, watercolor, and woodblock. These talented artists were familiar with one another and often exhibited together in nationally juried museum exhibitions. Also, they were active in such key art centers as New York, Paris, Provincetown, Santa Fe, and Venice, as well as additional locales.

Exhibitions on view outside the gallery:

October 27 - December 5, 2014 French Connection: Midwestern Modernist Women (1900-1935)
at Capital University Schumacher Gallery

The show will be guest curated by James M. Keny and Tara R. Keny of Keny Galleries. This will be the first comprehensive show to focus on the extraordinary achievements of 10 Midwestern women who brilliantly contributed to the American Modernist aesthetic through their innovations and mastery of the paper media of watercolor, gouache and the color woodcut. This group of American artists was active and exhibited in pre-war Paris, frequented Gertrude Stein's Salons, and flourished in the American art colonies of Gloucester and Provincetown during World War I.

March 1 - April 5, 2015 Edmund Kuehn: A Retrospective
at Ohio Wesleyan University's Ross Art Museum

*Please note schedule is subject to change. 



© Copyright - Keny Galleries. All Rights Reserved.
Keny Galleries Website Designed and Maintained by C. H. Prebus