CURRENT EXHIBITIONS:

Main Gallery & Project Space:

REMARKABLE PRECISION | Photorealism & Beyond

Exhibition Dates: 3 July - 20 August 2026

Opening Reception: First Friday, 3 July | 6-9pm 
Mid-Exhibition Reception:  First Friday, 7 August | 6-9pm

A group exhibition featuring some of the leading figures in Photorealism and those who have a close affinity to the movement. This exhibition is in collaboration with the Louis K. Meisel Gallery and curated by John Brunelli, Director of Anthony Brunelli Fine Arts. Works by Roberto Bernardi, Anthony Brunelli, Hilo Chen, Daniel Cuervo, Ester Curini, John DeAndrea, Randy Dudley, Bruce Evans, Robert Gniewek, Cheryl Kelley, Bertrand Meniel, Sharon Moody, Johannes Muller-Franken, Robert Neffson, Tom Pfannerstill, Randall Rosenthal, Hisaya Taira, Daniel K. Tennant, Bernardo Torrens, Andrew Valko, Doug Webb.

Additional works from our gallery artists will be on display in our second floor viewing room.

artsy online exclusive

the working land

August 20 – September 10, 2026

THE WORKING LAND A group exhibition exploring farm work, animals, and the rural landscape. Featuring works by Ester Curini, Tom Pfannerstill, Ray Kleinlein, Scott Prior, Richard Heisler, Angelo Ippolito, Joseph Q. Daily, NFN Kalyan, and Linda Sokolowski.

Anthony Brunelli Fine Arts is pleased to announce The Working Land, an exhibition opening on August 15, 2026 and running until September 3, 2026. The show brings together group of paintings, sculpture and collage works that turn a close eye to the rhythms of agricultural life, the animals that inhabit it, the labor that sustains it, and the landscapes that hold it all together.

Across 21 works, the exhibition moves between quiet observation and physical immediacy: the bend of a body over a furrow, the stillness of livestock at rest, the sweep of open fields under changing light. Rather than romanticizing rural life, the work considers farming as it actually is: demanding, seasonal, and deeply tied to place.

The exhibition spans multiple media, reflecting the range of ways contemporary artists engage with agricultural subject matter, from the tactile immediacy of sculpture and collage to the sustained attention of paint on canvas.

UPCOMING EXHIBITION:

Main Gallery & Project Space:

Lore / Na Chainkua Reindorf

Exhibition Dates: 4 September - 21 November 2026

Opening Reception: Friday, 4 September | 6-9pm 
Mid-Exhibition Reception:  Friday, 2 October | 6-9pm Closing Reception: Friday, 6 November 2026 | 6-9PM

(above image): Lair, 2026, pigment, acrylic dispersion, pencil on linen, 48 x 72 in. (121.92 x 182.88 cm)

Anthony Brunelli Fine Arts is pleased to present the exhibition LORE, by Na Chainkua Reindorf, taking place from Sept. 4 - November 21 in Binghamton, NY. LORE is Reindorf’s fourth solo show exploring the speculative mythological characters she calls Mawu Nyonu (meaning “God is a woman” in the Ewe language). She presents paintings of these seven spirit beings immersed in different environments that reveal—and also conceal—aspects of their qualities and personalities. As these beings transmit messages to earthly realms and make themselves visible to us, they take the abstracted shape of the artist, for they have no corporal body of their own.

The LORE show is a back-to-the-beginning prequel that gives glimpses of the Mawu Nyonu origins. Veiled by slinky netting, split by boudoir screening, luxuriating in a thorny forest, bouncing bubbles from cosmic atmospheres, the enchanting Mawu Nyonu entice us to “discover” them, and yet are also discoverers of their worlds and wonders. Equipped with octopian tentacles, twinned craniums, botanical powers, and boundless beauty, these Skins are not just a subject to gaze upon, but a force to worship—that beckon us to find the forces within ourselves.

Looser, lighter, and more fluid than her earlier series, the paintings in LORE make use of acrylic dispersion, fabric imprint textures, Swarovski crystals, and a variety of natural, synthetic, matte and reflective pigments. The collection breaks free from the geometric configurations Reindorf is known for, and responds to the qualities of the paint with a jazz-like improvisation. The show also includes her new “kola nut shell” pieces—pared down silhouettes and collages of kola nut shells as inhabitable, engulfing anatomies that swallow and seduce human bodies. Here, the human body becomes secondary to the organic architecture, which brings forth life and opens channels to the gods.

Interestingly, the Mawu Nyonu do not guide us humans from an abstract distance—they wish to penetrate us and become one with us. As Reindorf says: “The funny thing is that I want to enter their world, and they want to enter our world—and to do so, they need to enter through us.” Through her art, therefore, the “Skins” (“Glanu”) illuminate aspects of themselves so that we will choose to invite them—and then they can possess us, empower us, and take terrestrial existence through us. 

Produced following a one-year research residency, the body of work in LORE connects Reindorf’s homegrown aesthetic awareness with transnational cultural influences. The series evokes the flattened yet multi dimensional space-times of Akan textiles, West African studio photography, and Japanese Ukiyo-e printmaking. It equally conjures the interdimensional consciousness and revelry common to African and diasporic masquerade, the bohemian Belle Époque, and Euro-American Surrealism.

Drawing on West African, Caribbean, and transatlantic philosophies of Vodun, Candomblé and Santería, and conceptually suggesting the zombies and aliens of horror and sci-fi genres, LORE explores the idea of spiritual possession in a radically expanded light. In other words: What if we wish to be possessed—what if we become heightened versions of ourselves through mergence with a more magnificent entity? In a digital era where people circulate as ambassadors and avatars for commercial entities, could we also act as ambassadors and avatars for cosmic entities?

To dig deeper: While Western modern societies have historically constructed the idea of possession in terms of either cold hard property or dark nefarious witchcraft, Indigenous practices and philosophies around possession are rooted in listening, gifting, collaboration, communion, and expansion. So why make people fear their direct access to the divine? Why make people distrust alternate states and consciousness? Why make people believe that the matter we see is all that there is, and that the lessons taught by institutions are all of truth? What if there is an out there . . . a beyond . . . with possibilities greater than we can imagine . . . if, as Reindorf says, we “let the paint just do what it does.”

Let the story begin…

– Curatorial writing by Robin Riskin (Robin Beth Inc.)

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“I see myself as a medium through which these images flow. The works come to me as messages, and I’m the person transcribing the messages. The Skins are giving me the information, and I am transmitting that information through the artworks. It’s coming from somewhere. These figures are giving me information through dreams, imaginations, visions— and that’s what I’m making into the work.”

– Na Chainkua Reindorf

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Artist's Biography:

Na Chainkua Reindorf (b. 1991, Ghana) is a multidisciplinary artist crafting a personal mythology through an alternate world. Drawing from West African folktales, Vodún religion, and Greek mythology, Reindorf’s work spans immersive installations, large-scale paintings and mixed media tapestries. Combining paint, pastels, paper, and textiles with ritualized objects like glass, raffia, beads and dyed threads, Reindorf constructs a visual lexicon that reimagines liberation through storytelling.

Reindorf holds an MFA from Cornell University and has gained international recognition for her innovative storytelling. In 2022, Reindorf was one of three artists selected to represent Ghana at the Venice Biennale. Her work has been exhibited globally at institutions including the Kindl Centre for Contemporary Art (Berlin), Frac MÉCA (Bordeaux, France), where she also received a residency grant, and Fondation H, (Antananarivo, Madagascar). Reindorf’s art is part of major collections including Fondation Berengo (Italy), Collezione Maramotti (Italy) and ANO Institution (Ghana).

Artist's Statement:

Over the past five years, I have been constructing a personal mythology set in an evolving alternate world that guides my art practice. Drawing from the rich history of West African folktales, Vodún religion and Greek mythology, I invented a pantheon of seven supernatural beings called “skins.” Each uniquely allegorical, self-assured and motivated to intercede on behalf of those who call to them, these skins offer unbounded possibilities for self-expression, acting as conduits of agency. I world-build through their perspectives, defining them through unique aesthetics and materials.

Acting as an interpreter, I translate each skin’s messages, desires and legends through immersive installations, large-scale paintings and mixed-media tapestries. These works invite viewers to physically and emotionally step into their world, depicted through prismatic and textured layers of mixed media: paint, pastels, paper, textiles, and ritualized objects like beads, dyed threads, and fringed raffia. These materials echo those used in ritual acts and shrine-building, creating tactile and sensory resonance. In these spaces, the boundaries between our realities dissolve, inviting touch contemplation and wonder. 

My intent is to propose alternate realities where freedom of self-expression is a given and not a radical act. I explore the tension between addressing real-world problems plaguing women–gender-based violence, objectification and shame–and seeking answers beyond our reality, as African folktales and belief systems have long done. I am drawn to the power of storytelling to bridge past, present and future, to offer wonder and hope while blurring the lines between real and surreal. This blurring acts as an instrument to infuse the mundane with the extraordinary while imagining liberatory possibilities.

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