Pedro Reyes at Lisson Gallery

150 drawings of writers, artists, intellectuals and cultural leaders by Mexico City-based artist Pedro Reyes fill the expansive walls of Lisson Gallery’s 24th Street location.   These and large stone sculptures carved from Mexican volcanic stone are art as ‘sanctuary,’ explained Reyes in a recent interview, adding, “…These are the things we are fighting for.” (On view through April 15th).

Pedro Reyes, installation view at Lisson Gallery, Feb 2017, foreground: Amendment, volcanic stone, 32 ¼ x 54 3/8 x 19 ¼ inches, 2017.

Hannah van Bart at Marianne Boesky Gallery

Despite her assertive pose, Dutch painter Hannah van Bart’s enigmatic young lady appears to literally blend into the background as a shape-shifting wall the color of her dress manifests over her chest. (At Marianne Boesky Gallery through Feb 4th.)

Hannah van Bart, Untitled, oil on linen, 39 3/8 x 25 5/8 inches, 2016.
Hannah van Bart, Untitled, oil on linen, 39 3/8 x 25 5/8 inches, 2016.

Jim Torok at Pierogi

Sandwiched on the wall between two roughly lettered signs reading, ‘The End is Here’ and the enigmatic ‘You Are Pretty Good,’ Jim Torok’s photo-realist renderings of friends and acquaintances like ‘Jennifer’ bring the artist’s thoughts and his community together in the quiet of the gallery. (At Pierogi through Feb 12th).

Jim Torok, Jennifer, oil on panel, 9 x 7 inches, 2015.
Jim Torok, Jennifer, oil on panel, 9 x 7 inches, 2015.

Liz Glynn at Paula Cooper Gallery

Dramatic and monumental, Rodin’s 1890s sculpture of Balzac is a figure set apart. LA sculptor Liz Glynn changed the character’s remote quality during a 2-day performance/workshop at LACMA, during which she cast several of the museum’s Rodin bronzes and recombined them to striking effect. Here, a face from Rodin’s Burghers of Calais joins Balzac’s in a dual portrait that suggests strong emotion. (At Chelsea’s Paula Cooper Gallery through Feb 11th).

Liz Glynn, (detail) Untitled (after Balzac, with Burgher), bronze, 2014.
Liz Glynn, (detail) Untitled (after Balzac, with Burgher), bronze, 2014.

Max Beckmann at the Metropolitan Museum of Art

Don’t let the cat fool you. Despite her somber dress and downcast eyes, this actress – who was never identified in this 1926 portrait by Max Beckmann – isn’t relaxing with her pet so much as she seems poised to transform into a new role before our eyes. An intensely colored yellow wall and orange-upholstered chair in the background promise something electrifying as our bolt upright subject leans in towards us. (In ‘Max Beckmann in New York,’ at the Metropolitan Museum of Art through Feb 20th).

Max Beckmann, The Old Actress, oil on canvas, 1926.
Max Beckmann, The Old Actress, oil on canvas, 1926.