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Solo Exhibitions:
April-June 2005 - Andrew Edlin Gallery
June 2003- Andrew Edlin Gallery, New York City
June 2002- Andrew Edlin Gallery, New York City
2001- Andrew Edlin Gallery, New York City
2000 - Lo Spazio Gallery, New York City
1999 - Amarin Cafe, Brooklyn, New York
1996-1997 - An Inner Journey:
Painting by Michael Ryan. Noyes Museum, Oceanville, New Jersey
1995 - Teahouse Gallery, The Open Center, New York
City
Group Exhibitions:
March 2005 - Scope Art Fair, NYC
January-February 2005 - Andrew Edlin Art Gallery, NYC
January 2005 - Outsider Art Fair, Puck Bldg, NYC
June-August 2004 - Andrew Edlin Art Gallery, NYC
March 2004 - Slides and Lecture - Jersey City Museum
January 2004 - The Elan, Miami Beach
January 2004 - Group Showing - Andrew Edlin Art Gallery, New York City
December 2003 - "On the Outskirts" - The Elan, Miami Beach
September 2003- Intuit Art Show, Chicago
January 24th 2003- Andrew Edlin Gallery, New York City
August 2002- Andrew Edlin Gallery, New York City
2002- Andrew Edlin Gallery, New York City
2001 - City Without Walls Presents: Visions & Re-Visions at Seton Hall University School of Law, Newark, New Jersey (Four
paintings are showing until August 9, 2001)
1998 - Selections from the Permanent Collecton, Noyes Museum, Oceanville,
New Jersey
1994 - PETTY SCHEMES & GRAND DESIGNS, 319 Grand Street Gallery, New York, New York
1993 -
City Without Walls Exhibit, One Newark Center, Newark, New Jersey
Public Collections:
Noyes Museum, Oceanville, New Jersey
Bibliography and Reviews:
New York Times Short Reviews, May 6-13, 2005
"Michael Ryan - Using his training in the art of decorative marbleizing, this self -taught painter
creates dreamy, primordial landscapes sparely populated by bizarrely abstracted animals and people. Together, the brushy
painting and the visionary imagery create a scary, feverish feeling." Edlin Gallery, 529 West 20th Street, (212) 206-9723.
Through June 4. (Johnson)
"No Future", R.C. Baker. Village Voice. April 26, 2005
"According to his dealer, Michael Ryan is "resigned to the Apocalypse." No surprise, since a number of his paintings
envision the end-times. In one two-by-four-foot landscape, Destroyers, a ghostly harpy glowers at a tornado roiling
the distant horizon. (Or perhaps it's a mushroom cloud, although humanity and its self-destructive urges are almost puny in
Ryan's realm of angels and demons.) His sole formal art training consisted of marbleizing classes, which accounts for the
amalgams of oil, dry pigment, and epoxy he builds up like layers of varnish on masonite, glass, and canvas grounds. Prophecy
glows hotly through a thin wash of pure magenta that swirls like desert dust around what could be the Dead Sea, the setting
for an ambiguous conclave of humans and a band of gibbering apparitions.
Closer to Edvard Munch's landscapes of despair than to Howard Finster's flatly painted biblical ravings, Ryan is the herald
of a future where fundamentalist fatalism dovetails with environmental Armageddon. Let's hope his North Pole isn't
prophetic: ice long since melted away, lowering sun turning the ocean to sulfur and tar, and only a crude cross enveloped
in a disintegrating halo to mark the passing of man and his gods."
Listed in "Art in America 2000 Guide".
"An Inner Journey. Paintings by Michael J. Ryan".
Noyes Museum Exhibition Catalog, 1996,Oceanville, New Jersey.
...His paintings, he says,"reflect poignant
memories and emotions experienced during a time spent working with the downtrodden." But the best part is that Mr. Ryan's
paintings match his statement. "Birth of a Criminal," a goblinlike fetus suspended in a black oval, pertains, the
artist says, to "the creation of a man for man's own destruction." It could be a comment on either abortion or
heredity, but either way, this eerie image, painted on a ground of sour yellow, wields a lot of power. The same goes for
the "The Cursed House," which stands alone, belching flames from every window. Mr. Ryan leaves no esthetic tracks,
which makes it hard to tell if his Expressionism is innate or learned. But is seems likely that if he continues in this manner
he will become an "outsider" to be reckoned with. - "What New Gallery Members Are Doing," Vivien Raynor,
The New York Times, September 19, 1993.
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