Robin Rhode at Lehmann Maupin Gallery

A man with skin composed of overlapping shells arranges his hands on a wall in Lehmann Maupin Gallery’s front room as if to peer into the vibrantly colored picture before him – a mural depicting a block of flats.  ‘Die Strandloper – Man’ or ‘The Beachwalker – Man,’ an installation by South African artist Robin Rhode, is titled after a term used to refer to one of South Africa’s oldest people groups, the Khoisan, who have lived along southwest Africa’s coasts and whose lifestyles have been under threat for centuries by European settlement and now climate change.  Resembling the streamlined forms of hotels from the game Monopoly, the structures in their non-natural colors are a sharp contrast to the figures’ close physical relationship with the natural world. (On view in Chelsea through Feb 11th).

Robin Rhode, Die Strandloper – Man (The Beachwalker – Man) and Die Strandloper – Boy (The Beachwalker – Boy), both are glass fiber reinforced plastic and shells, ’22 and Block of Flats (Wall Painting), acrylic paint, dimensions variable, ‘23

Cinga Samson at Flag Art Foundation

South African artist Cinga Samson complicates the act of looking in paintings that are challenging to see. The muted palettes and crepuscular lighting of his individual portraits and figure groups not only disguise his subjects, but aim to create a sense of having intruded on a private scene.  Samson’s recent body of work, on view at Flag Art Foundation in Chelsea, features young men like this figure, whose remarkable eyes disrupt easy engagement and suggest moments of looking inward.  Each painting is a meditation on mortality, the flower in this piece acting as a symbol of transience.  (On view through Jan 15th.   Masks, social distancing and proof of vaccination required).

Cinga Samson, Nontshonshi 1, oil on canvas, 18 x 13 ¾ x 1 inches, 2021.

David Goldblatt at Pace Gallery

Late South African photographer David Goldblatt didn’t leave it to chance that his photos would be read without context, titling them with notes on their circumstances.  Currently on view at Pace Gallery in an exhibition curated by South African photographer Zanele Muholi, who worked and trained in Goldblatt’s studio, the photos consider visibility of women, segregation, privilege, labor conditions and more.  Here, Goldblatt records the forced removal of Black families from land designated by the government as ‘white.’  (On view in Chelsea through March 27th).

David Goldblatt, Luke Kgatitsoe at his house, bulldozed in February 1984 by the government after the forced removal of the people of Mapoga, a black-owned farm, which had been declared a “black spot,” Ventersdorp district, Transvaal, 21 October 1986, gelatin silver hand print, 6 ¼ x 7 7/8 inches.

Martin Puryear at Matthew Marks Gallery

History looms large in succinct and powerful sculptures by Martin Puryear at Matthew Marks Gallery that include a huge civil war cap with a cannon hidden inside and a classical fluted column supporting a stylized shackle – a monument to Sally Hemings.  Here, a precariously situated wagon reimagines the vehicles the Boers used to move into South Africa’s interior in the 19th century.  Titled ‘New Voortrekker,’ after the term the Boers used for themselves, the sculpture’s wagon features a spiral staircase with a mirror at its base, as if to offer ascending/descending settlers a different view of themselves.  (On view in Chelsea through Dec 19th. Masks, social distancing and appointments are required).

Martin Puryear, New Voortrekker, ash, American cypress, maple, mirror, 2018.

Pieter Hugo at Yossi Milo Gallery

Invited by curator Francisco Berzunza to make new work to show in Mexico on the themes of sex and death, South African photographer Pieter Hugo spent months meeting people from all walks of life including this community theater group formed by sanitation workers in Oaxaca de Juarez.  Here, they reenact a scene from a mural painted in the 50s by David Alfaro Siqueiros at Chapultepec Castle, bringing revolutionary attitudes into the present day.  (On view at Chelsea’s Yossi Milo Gallery through Feb 29th).

Pieter Hugo, After Siqueiros, Oaxaca de Juarez, archival pigment print, 47 1/8 x 63 inches, 2018.