Madrid-based painter Jeronimo Elespe’s tiny oil on aluminum paintings seem to be dematerializing before our eyes, as in this hazy view of a working artist titled ‘The Short Painter.’ Elespe works at night, capturing shimmering light and ghostly blue lines that speak of mysterious possibilities. (At Eleven Rivington’s 195 Chrystie location on the Lower East Side through June 14th).
Jeronimo Elespe, The Short Painter, oil on aluminum, 2011-13.
Does greater technology result in greater progress? Machines and giant-sized virtual humans tower over futuristic cities in Washington D.C.-based painter Benjamin Edwards’ provocative new series ‘System,’ ominously answering in the negative and suggesting that chaos will overtake us. (At Kravets/Wehby Gallery through May 11th).
Benjamin Edwards, Toy, acrylic on canvas, 2012.
Andrew Kuo makes geometric abstraction emote in a series of paintings that map his feelings and experiences as blocks of color. This painting documents the breakup of a seven year relationship; the key to the large yellow patch reads ‘Everything has changed! (Except everything actually worth changing.)” It’s bookmatched with the thought in grey, “All I want is to be like how I was before.” (At Chelsea’s Marlborough Gallery through May 4th).
Andrew Kuo, I Forget (on 12/12/12), acrylic and carbon transfer on panel and laminated paper, 2012.
Israel-born, New York based artist Guy Ben-Ari makes his New York exhibition debut with a show that speaks to our access and remove from contemporary events. Here, hands hold a tablet showing an act of self-immolation caught on camera and witnessed by mostly passive spectators which include the tablet owner and finally, us. (At Scaramouche Gallery through April 28th)
Guy Ben-Ari, An Act of Protest Viewed Through a Tablet Device, oil on panel, 2013.
Wayne Gonzales’s past paintings of crowds looked like they were made from surveillance camera footage zeroing in on particular individuals who appear in multiple paintings. Here, in a crowded California parking lot, a recurring SUV turns from being an everyday car to a suspicious vehicle by virtue of being depicted repeatedly from different angles. (At Paula Cooper Gallery’s 534 West 21st Street location through April 27th).
Wayne Gonzalez, Untitled, acrylic on canvas, 2012.
