Katharine Bradford at Canada New York

Katherine Bradford’s new ‘Mother Paintings’ at Canada New York depict women caring for sick family members, offering the comfort of a lap and waiting for a school bus, but her signature abstract style upends traditional representations of moms.  By avoiding identifying details, she creates symbolic characters and instead directs our focus to the vivid fields of color that make up what might otherwise be mundane scenes.  Here, in ‘Mother Joins the Circus – Second Version,’ a mom is taken away, inducted into a new aspect of life by mysterious characters who literally turn things upside down.  (On view at Canada Gallery through May 15th).

Katherine Bradford, Mother Joins the Circus – Second Version, acrylic on canvas, 60 x 72 inches, 2021.

Tajh Rust in ‘Vernacular Interior’ at Hales Gallery

Tajh Rust’s portrait of a mom and her daughter embracing on the kitchen floor has a counterpart in a second family picture in which the mother meets our gaze while cradling her child’s head.  The comparison reveals how easy it is to make eye contact with the child vs her assured mother as they occupy private space in a tender moment.  Nevertheless, the girl’s eye becomes the focal point of the painting, highlighting the power of her keen observation.  (On view in ‘Vernacular Interior’ at Hales Gallery in Chelsea through July 20th).

Tajh Rust, Idowu I, oil on PVC, 182.9 x 121.9 cm, 2019.

Sage Sohier at Foley Gallery

Photographer Sage Sohier looks ambushed by her former-model mother and her sister, who make Sohier up with gusto in this family portrait. Our sympathy is tempered by mom’s and sis’s smiles, but as Sohier stages beauty treatments and time at home in her mother’s company, viewers are prompted to consider the role of beauty and appearances in Sohier’s life and our own. (On view at Foley Gallery on the Lower East Side through Jan 7th).

Sage Sohier, Mum and Laine making me up, Washington D.C., archival pigment print, 28h x 33.75w, 2004.

Gary Hume at Matthew Marks Gallery

Three leaves drift down towards the earth in glossy, saturated tones that evoke candy more than autumn colors. Part of an exhibition that considers Gary Hume’s aging mother’s fading memory, the artist’s signature fields of saturated color here suggest absence but not darkness. (At Matthew Marks Gallery in Chelsea through Dec 22nd).

Gary Hume, Three Leaves, enamel paint on paper mounted in artist’s frame, 75 x 55 ¾ inches, 2016 – 17.

Maria Berrio in ‘All That Glitters’ at Rachel Uffner Gallery

Like a group of goddesses on Mount Olympus, Maria Berrio’s trio of milky-skinned mothers and their infants appear to lounge above the mortal realm in this collage by the New York-based Columbian artist. Accompanied by a menagerie of animals and framed by the constellations, Berrio exaults the mothers’ nurturing role. (On view on the Lower East Side in ‘All That Glitters’ at Rachel Uffner Gallery through August 2nd).

Maria Berrio, Nativity, Japanese paper on canvas, 48 x 60 inches, 2014.