Spencer Finch at James Cohan Gallery

This summer, Spencer Finch reread Emily Dickinson’s nearly 1,800 poems, inspiring new work that continues his fascination with the way that the poet deftly put into words her keen observations of the world around her.  Amid photos of Dickinson’s view from her desk and a collage of 19th century wallpaper patterns (including the one on her walls), Finch painted a leaf from life and repeated the rendering, folding his paper to replicate its trajectory as if falling to the ground. (On view at James Cohan Gallery on the Lower East Side through Dec 21st).

Spencer Finch, Falling Leaf (hickory), watercolor on paper, 32 x 16 inches, 2018.

Gareth Nyandoro at Van Doren Waxter Gallery

From behind a floating mass of car logos, a stoic figure represents the services of Mhofu Motor Spares in Zimbabwean artist Gareth Nyandoro’s work at Van Doren Waxter Gallery.  Known for his cut paper technique – for which he scores, paints and peels layers from the material – Harare-based Nyandoro captures both the energy and the quieter moments of the city’s marketplaces and exchanges.  (On view on the Lower East Side through Dec 21st).

Gareth Nyandoro, Mhofu Motor Spares, mixed media (Kucheka cheka) on paper mounted on canvas, 79.5 x 65 inches, through 2018.

Valerie Hegarty at Burning in Water

In the shadow of Chelsea’s ultra-luxurious new residential buildings, Valerie Hegarty’s new sculptures and wall installations at Burning in Water are a poignant, contemporary vanitas, reminding us that what is fresh will soon be old.  Here, the Brooklyn-based artist’s own subway stop is the inspiration for a paint and paper installation that nestles right into a pristine wall.  (On view in Chelsea through Jan 5th).

Valerie Hegarty, Eastern Parkway/Brooklyn Museum (My Subway Stop), paper, latex and acrylic paint, Tyvek, glue, 82 x 72 inches, 2018.

Will Cotton in ‘Paper/Print’ at the International Print Center

Will Cotton’s paintings of models and confectionery merge erotic desire and the temptation of sweets; here, sugar wins out as a tower of cake takes center stage at the International Print Center in Chelsea.  If this looks like a sculpture that won’t age well, don’t be fooled; this indulgent stack of goodies is made of handmade paper – a standout in the Print Center’s show of American hand paper-making since the 60s.

Will Cotton, The Pleasure Principle 2, cast pigmented handmade paper, published by Pace Editions, Inc, papermakers: Ruth Lingen, Akemi Martin and Emily Chaplain, 2014.

Thomas Demand at Matthew Marks Gallery

Thomas Demand’s meticulous paper sculptures from his ‘Dailies’ series pay homage to ordinary objects that were encountered, considered extraordinary for a moment, photographed, then forgotten.  After reconstructing a scene shot on his phone as a paper sculpture, Demand prints the image as a vivid dye transfer print.  Positioned on Demand’s wall of anonymous lockers, the banal becomes something wondrous again. (On view in Chelsea at Matthew Marks Gallery through April 7th). 

Thomas Demand, Daily #30, framed dye transfer print, 26 ½ x 21 ½ inches, 2017 over Locker, UV print on nonwoven wallpaper, dimensions variable, 2017.