Exhibitions

  • Raising Women’s Voices

    Ceres Gallery Annual Member Exhibition

    Raising Women’s Voices is the premier annual exhibition at Ceres Gallery and a cornerstone of our mission to champion the collective power of women artists. We see this showcase as a vital act of cultural preservation, ensuring that women’s perspectives remain central to the contemporary art dialogue.

    This annual exhibition continues to draw from a sophisticated community of artists across the United States and abroad, highlighting an extraordinary range of artistic mastery and conceptual depth that spans traditional oil painting, sculpture, drawing, and printmaking alongside experimental digital installations, photography, and mixed-media textiles. 

    Thematically, the collection is as diverse as the artists themselves, moving beyond a single aesthetic to explore urgent, multifaceted viewpoints including socio-political activism that challenges existing power structures, artistic responses to environmental justice and the climate crisis, and deep investigations into personal identity and the hidden histories of women. By weaving together these varied topics, the exhibit creates a powerful, multifaceted narrative that honors the complexity of the female experience in the twenty-first century.

    Read the exhibit’s digital catalog on Bloomberg Connects here.

    Click on the image below to go to the Ceres Gallery Bloomberg Exhibition page, where you can browse details of the featured artworks and read personal artist statements to gain insights into the artists’ creative processes through their own words. You can also listen to short audio profiles with segments on the backgrounds and inspirations of our participating artists.

    Exhibition Dates: June 23 – July 18, 2026

    Opening Reception: June 25, 2026, 6:00 PM – 8:00 PM

    Gallery Hours: Tuesday – Saturday, 12:00 PM – 6:00 PM

    Location: 547 West 27th St, Suite 201, New York, NY 10001

  • Raising Women’s Voices

    FOR IMMEDIATE RELEASE

    Ceres Gallery Announces Its 2026 Annual Member Exhibition: “Raising Women’s Voices” with opening reception on June 25, 2026

    NEW YORK, NY — From June 23 to July 18, 2026, Ceres Gallery is proud to present “Raising Women’s Voices,” its premier, annual group exhibition and a cornerstone of the gallery’s mission to champion the collective power of its membership.

    As an all-women organization, Ceres Gallery views this highly anticipated yearly showcase as a vital act of cultural preservation, ensuring that women’s perspectives remain at the forefront of the contemporary art dialogue.

    The 2026 annual exhibition draws from a sophisticated community of artists across the United States and abroad, highlighting an extraordinary range of artistic mastery and conceptual depth that spans traditional oil painting, sculpture, drawing, and printmaking alongside experimental digital installations, photography, and mixed-media textiles.

    Thematically, the collection is as diverse as the artists themselves, moving beyond a single aesthetic to explore urgent, multifaceted viewpoints including socio-political activism that challenges existing power structures, artistic responses to environmental justice and the climate crisis, and deep investigations into personal identity and the hidden histories of women.

    By weaving together these varied narratives and abstract reflections on the human condition, the exhibit creates a powerful, multifaceted experience that honors the complexity of women’s lives and reinforces the gallery’s long-standing belief that art serves as an essential social service with the power to educate, enhance, and enrich the world.

    Founded in 1984 as a program of the New York Feminist Art Institute (NYFAI), Ceres Gallery is a feminist, not-for-profit, alternative gallery dedicated to the promotion of contemporary women in the arts, providing exhibition space that enhances public awareness and helps remediate women’s limited access to commercial galleries while serving as a supportive base for a diversity of artistic and political views.

    Exhibition Dates: June 23 – July 18, 2026

    Opening Reception: June 25, 2026, 6:00 PM – 8:00 PM

    Gallery Hours: Tuesday – Saturday, 12:00 PM – 6:00 PM

    Location: 547 West 27th St, Suite 201, New York, NY 10001

    Women’s Work
    Collage With Threaded Needle
    Mary Alice Orito

    Contact: Stefany Benson, Director
    Phone: 212-947-6100
    Website: www.ceresgallery.org

  • Liz Ndoye & Jo-Ann Brody-Exhibition

    Liz Ndoye & Jo-Ann Brody-Exhibition

    May 26 – June 20, 2026

    Solo/Duo 3 – Culture and Stance

    Reception:
    Thursday, May 28, 6-8PM

    Ceres Gallery presents Solo/Duo 3 – Culture and Stance, the third collaboration between sculptor Jo‑Ann Brody and mixed media/fiber artist Liz Ndoye. Both artists work figuratively, each bringing a distinct yet complementary approach: Brody explores stance and gesture, while Ndoye creates a fictional cultural world through her dolls.

    Liz Ndoye. Trauma-Doll-I. Uniball-Pen – 12X8 inches

    Liz Ndoye continues her love affair with her doll “creatures” – soft, fabric, humanoid figures that she makes and installs in tandem with her large canvases and drawings in order to depict aspects of their doll culture and existence. In this, her latest show at Ceres, she will attempt to convey and share her passion for and joyous communion with her doll creations. She will make dolls, paint and draw them, and create installations that celebrate their healing, happy qualities.

    View More of the work of Liz Ndoye here.

    Jo-Ann Brody Papier mache, mulberry papers, glue, varnish
    9 x 6 x 9 inched, 6 panels

    Brody’s sculptures rely on minimal cues that evoke the human figure, women, through distortion, elongation and exaggeration. Heads are mere punctuation. Working entirely in papier‑mâché with powdered pulp and colored mulberry paper, she creates expressive forms that read as lines in space. This exhibition also marks her return to the book form with two new works, Eyes and Dog Walk Mornings.

    View More of the work of Jo-Ann Brody here.

  • Marilyn Banner-Exhibition

    April 28 – May 23, 2026

    THROUGHLINES 

    Reception:
    Thursday, April 30, 6-8pm

    Double Vision, Graphite, conte, charcoal on white kraft paper, 24 x 18″, 2026

    Double Vision, Graphite, conte, charcoal on white kraft paper, 24 x 19″, 2026
    Marilyn Banner’s recent drawings suggest and further develop the throughlines found in her earlier work: darkness, body, nature, guardians, and spirit. Strong and energetic drawings suggest monstrous animal-like creatures, red eyes staring out, protecting the surrounding space. Quieter drawings of African masks, statues, and branches suggest ritual, and secret connections. 
    
    Though the work suggests ancient myth and distant memory, it is contemporary in Banner’s mind. The times are turbulent; there is strong feeling in and around us. Like the angry goddesses of myth and legend, we today are challenged to hold our ground, protect the good and ward off what is evil.

    View additional work by Marilyn Banner here.

  • Mary Alice Orito-Exhibition

    April 28 – May 23, 2026

    bits-n-pieces  

    Reception:
    Thursday, April 30, 6-8pm

    Torn paper and string. 9 1/2″ x 11 1/2″

    Mary Alice Orito’s art and design practice includes mixed media, collage and a background of clothing and costume design in NYC’s garment industry, music videos, and TV costume design. She is a graduate of Parsons School of Design and New York University School of Social Work. Parallel to her art practice of over 20 years, she had a decades old private psychotherapy practice.

    Aware of the waste in all our lives, Orito began saving the cut black construction paper she used in the last few years. This exhibition ‘bits-n-pieces’ at Ceres Gallery focuses on the cut pieces of prior exhibitions.  

    View additional work by Mary Alice Orito here.

  • Tania Kravath-Exhibition

    April 28 – May 23, 2026

    Tending Hope  

    Reception:
    Thursday, April 30, 5-8pm

    Travelers, Paint/ mixed media on paper

    Tania Kravath’s work is tied to social and political narratives and she has a keen awareness of the fragility of this moment in time.Throughout the many chapters in her art making, Kravath returns to the female form and the theme of women as vessels of knowledge and nurturers of seeds.

    Recent collages and paper sculptures honor our ancestors’ perseverance, the grief experienced from inevitable change and loss, and the emotional connections that nurture, sustain and cultivate hope.

    View additional work by Tania Kravath here.

  • Susan Grabel-Exhibition

    March 31 – April 25, 2026

    Lost My Husband / Can’t Lose My Country 

    Receptions:
    Thursday, April 2, 6-8pm
    Saturday, April 4, 3-5pm
    Saturday, April 25, 3-5pm

    Sanctuary Portrait #24,  cast paper, molded cardboard, and mixed media installation

    Following the death of her husband of fifty-four years, George Rappaport, in May 2024, the artist’s work has undergone a profound transformation. The cast paper and molded cardboard portraits first shown in her exhibition, Reflections, have evolved into meditations on loss and grief. Faces hide,fragment, protrude, or recede, reflecting the disorientation and instability inherent in mourning.

    This personal reckoning is intertwined with the artist’s anger and anguish over what she sees as the ongoing assault on the nation—its institutions and its Constitution—by the current administration. Using Photoshop collages, flyers, and images drawn from public resistance and protest, she constructs visual backdrops that mirror a broader collective unrest. These layered environments situate private loss within a larger landscape of national fracture, where individual grief and public disquiet converge.

    Susan Grabel grew up in Brooklyn, NY and is currently based on Staten Island. Grabel completed her studies at Brooklyn College and the Brooklyn Museum Art School in 1963 and 1964.. Her debut solo show occurred in 1969 at Pace College Gallery in New York City. Since the 1970s, Grabel has been involved with fusing both feminist and social issues into her sculpted forms. Throughout the 1970s and 1980s she was active in the Soho figurative co-op gallery movement. She has exhibited her work at galleries and museums across the country and currently shows at Ceres Gallery. Her work is included in many museum and private collections.

    View additional work by Susan Grabel here.

  • Melanie Hickerson-Exhibition

    March 31 – April 25, 2026

    Miracles

    Receptions: 
    Thursday, April 2, 6-8pm

    Saturday, April 4, 3-5pm

    Let’s Go Back Attack, acrylic on linen with squiggles, 16×20″

    Melanie Hickerson is a painter whose work blends narrative, metaphor, and lived experience into richly colored, disciplined compositions. She earned her MFA from The University of Texas at Austin in 1985 and has exhibited extensively in New York and Texas, including long-time exhibitions at Ceres Gallery. Her recent series, Ribbon of Life and Homage to Miracles, explores ecological loss and interconnectedness through dream-like, surreal imagery. Hickerson’s work is held in the permanent collections of the University of Texas at San Antonio and Texas Lutheran University in Seguin. She lives and works in Austin, Texas.

    View additional work by Melanie Hickerson here.

  • Micaela de Vivero-Exhibition

    March 3 – 28, 2026

    Qhapaq Ñan

    Bundle, fibers, 20′ x 30′ x 20”
    Ceres Gallery is pleased to present Qhapaq Ñan.  Micaela de Vivero’s art is never simple, never unidimensional, never a finished thing, and never to be underestimated.  Your participation, in fact, is critical to the way in which its meaning grows and expands. Vivero asks us to think about how meaning is made across the vagaries of oceans, centuries, belief systems, colonial powers, materials, and even systems of communication. Vivero’s art is deeply informed by the strand of decolonial thought that suggests the only positive way to repair societies fundamentally damaged by colonialism is to ‘delink’ them from the colonial paradigm and to reassess pre-colonial culture on its own terms. Rather than simply negating the colonial matrices of power, decolonial thought is the essential frame for recognizing colonial social, political, cultural, and religious impositions as co-optation or subjugation strategies that alter targeted cultures, sometimes irrevocably; it accordingly concludes that repair is difficult, transcultural, and complex. These refrains are threaded, sometimes quite literally, throughout Vivero’s work, in this case in the form of Inkan khipus and tocapus. For this exhibition, Vivero has focused on two intricate Inkan forms of material communication, khipus and tocapus, as source material for her work.

    Both khipus and tocapus functioned in Inkan imperial culture to uphold and maintain the complex structures of power and order. Their deeply embedded visual codes depended wholly on specific bodies of very precise cultural and intellectual knowledge, and the recursive impact of those codes at very specific times, places, and in very particular contexts. The original meanings of these objects in their time and place can no longer be reconstructed. Very few survive, most were hidden, lost, or destroyed after colonization by the Spanish, but a few were transported to Europe where they gained new meaning as imperial trophies or treasures. There is one such treasure, the imperial tunic held by Dumbarton Oaks in Washington, DC, on which Vivero bases her tocapus, have been reclaimed today by Andean peoples in many forms of reproduction, along with a cluster of new national meanings.

    Micaela de Vivero’s installation is a subtle and sophisticated commentary on the life, the significance, and the power of images, objects, places, and on ways in which both dominant and subversive forms of visuality can correspond, can converse, and can create a productive new discourse, especially when they meet in diplomatic congress. Her art is as complex and ineffable as it and its khipus and tocapus are beautiful.
    Text by Joy Sperling

    View additional work by Micaela de Vivero here.

  • Jayne Bentley Gaskins-Exhibition

    Heartbeat of the City

    Multi-Sensory Fiber Art Exhibition

    March 3 – 28, 2026

    Arriving

    Heartbeat of the City: Multi-Sensory Fiber Art Exhibition by Jayne Bentley Gaskins is on view this month at Ceres Gallery. Gaskins’ work combines visual storytelling with integrated sounds to create a multi-sensory environment that echoes the rhythm of fast-paced metropolitan life.

    Gaskins contends that, “People are the lifeblood of cities, so it follows that the streets, sidewalks, subways, cars and taxis are the veins and arteries carrying them through the organism. The speed they travel, therefore, creates each city’s unique heartbeat.”

    Jayne Bentley Gaskins’ work has been exhibited in galleries and museums throughout the US, Europe, Asia, and Australia, and has earned numerous awards. Her art can be found in both private and museum collections and has been shown at the Xe Triennale Internationale des Mini-Textiles (France), Quilt National, and Fiber Art International. It has also been published in numerous art publications such as Exploring Art Quilts, Vol 2,where it appeared on the cover accompanied by a feature article.

    Gaskins holds a BFA in Graphic Design and an MBA with a concentration in Marketing and Management. She is also a Juried Artist Member in Studio Art Quilt Associates where she previously served on the board of directors.

    View additional work by Jayne Bentley Gaskins here.