Even if you’re tired of Zoom meetings, you’ll be tempted to join Mongolian artist Uuriintuya Dagvasambuu’s online gathering in this painting at Sapar Contemporary, part of her New York solo show debut. Featuring a woman in traditional dress, flower stalks composed of tiny humans an undersea woman with her pet dog and more, each painted video frame is an introduction to a fascinating earthly or mystical world. (On view in Tribeca through April 30th.)
Though she lives in New York, Lisa Sanditz’ attention is on the country, with a new series of paintings that consider food production and sculptures inspired by Arizona cactus farms. Here, fanciful rainbow cacti in muted colors face off through Styrofoam cups like those that farmers use to protect cactus branches from cold. (At Chelsea’s CRG Gallery through March 15th).
Lisa Sanditz, Rainbow, glazed ceramic, planters, cinderblocks, plywood, rocks, 20 x 22 ½ x 8 inches, 2014.
This portrait of Marillyn A. Hewson, Chairman, President and Chief Executive Officer of Lockheed Martin Corporation by Scottish artist Michael Fullerton comes with a wall text briefly summarizing positions she’s held at the company. Political commentary seems inevitable but apart from a hint in the title of this conventional-looking portrait, ‘The Mistress,’ is up to our interpretation. (At Greene Naftali Gallery through Feb 8th).
Michael Fullerton, The Mistress, oil on linen, 2014.
Part of an exhibition by British artist Sarah Morris inspired by Rio de Janeiro, this graphically slick painting evokes the iPhone’s sliding on/off switches, an active game board or abstracted commuters moving rapidly through the city grid, all of which make for an urban landscape painting that evokes a city on the move. (At Petzel Gallery through Dec 21st).
Sarah Morris, Hybrid Solar Eclipse (Rio), household gloss paint on canvas, 2013.
In this conceptual artwork from 1990, New York artist Elaine Reichek pairs a source photo of a Native American teepee with her own knitted version of it, picturing a marginalized culture with a marginalized craft. Does the homey feel of knitted objects connect with the feelings conjured by this home? Reichek’s unassuming objects ask complicated questions. (At Zach Feuer Gallery through Dec 21st).
Elaine Reichek, Painted Blackfoot, knitted wool yarn and oil on gelatin silver print, 1990.
