Ursula Morley Price at McKenzie Fine Art

From her home in a small French town, British octogenarian artist Ursula Morley Price continues to invent unique ceramic forms that evoke the beauty and order of the natural world. This white twist form, on view at McKenzie Fine Art on the Lower East Side, suggests delicate petals, a flexible spinal column, coral, machinery and more. (On view through Dec 22nd).

Ursula Morley Price, White Twist Form, stoneware, 7 ¼ inches high, 9 inches diameter, 2017. Photograph courtesy of McKenzie Fine Art, Inc.

Annie Pootoogook in ‘Akunnittinni; A Kinngait Family Portrait’ at the National Museum of the American Indian

The late Canadian Inuk artist Annie Pootoogook’s domestic scenes are sometimes tranquil, sometimes violent, but this portrait drawing of her grandmother, the artist Pitseolak Ashoona, radiates calm. (On view at the National Museum of the American Indian through Jan 8th).

Annie Pootoogook, A Portrait of Pitseolak, colored pencil and ink on paper, ’03 – ’04.

Yann Gerstberger at Lyles & King

Mounting material and hand-dyed mop head strands onto vinyl, French artist and Mexico City resident Yann Gerstberger makes bold, nearly abstract textiles that suggest tantalizing stories and histories. (At Lyles and King on the Lower East Side through July 28th).

Yann Gerstberger, Ataralla, cotton, natural dyes (grana cochinilla), synthetic dyes, vinyl banner, 113.375 x 94.5 inches, 2017.

Gehard Demetz at Jack Shainman Gallery

A devotional sculpture of Mary melds with the body of an anonymous girl in this provocative sculpture by northern Italian artist Gehard Demetz. Though each figure looks fragmented, the merger seems neither violent nor ecstatic (along the lines of Bernini’s Saint Teresa.) Instead, the girl is absorbed by the inner life shared with the saint. (At Jack Shainman Gallery through June 3rd).

Gehard Demetz, Miraculous Breath, lindenwood, 52 ½ x 12 1/8 x 14 inches, 2016.

Sean Scully at Cheim & Read Gallery

A stack of imposing, black steel frames by abstract painter Sean Scully fills the atrium-like space of Cheim & Read’s small side gallery – the first piece encountered when entering the show. By contrast, ‘Colored Stacked Frames,’ (seen here) in the furthest gallery radically alters the somber mood of the show, injecting vibrant color into Scully’s normally restrained palette. (In Chelsea through May 20th).

Sean Scully, Colored Stacked Frames, stainless steel with automotive paint, 10 x 8 x 8 feet, 2017.