Ricardo Brey in ‘Re: Bicycling’ at Susan Inglett Gallery

Susan Inglett Gallery’s excellent summer group exhibition, co-curated by David Platzker of Specific Object and Alex Ostroy of the cycling apparel brand Ostroy, celebrates the bike as revolutionary object.  From a late 19th century French poster depicting a woman in long dress enjoying the freedom of the road to Rodney Graham’s bike-powered, rotating psychedelic collage, the exhibition extols the power of the bike to take people in new directions.  Here, Ricardo Brey’s standout mixed media sculpture ‘Joy,’ connects bikes to heavenly paths and celestial orbits.  (On view through July 23rd).

celestial orbits. (On view through July 23rd).
Ricardo Brey, Joy, mixed media, 14 3/16 x 25 ¼ x 31 ½ inches, 2018.

William Villalongo at Susan Inglett Gallery

‘You Matter,’ reads a sign in the window of William Villalongo’s current solo show at Susan Inglett Gallery, recalling the refrain from recent protests against police aggression. Inside, the Brooklyn-based artist presents the seasons as skeletons cloaked in glittering black female bodies and dominating lush landscapes – characters at peace and one with nature. (In Chelsea through Oct 17th).

William Villalongo, (detail from) Spring, acrylic, paper and velvet flocking on wood panel, 72 x 36 inches, 2015.

Eric Fertman at Susan Inglett Gallery

Brooklyn sculptor Eric Fertman takes portraiture in a new direction with quirky biomorphic figures that make the digestive tract, for example, fun to think about. Even the tilting ‘Broken Man’ in the foreground appeals to the eye as he enacts an electric-yellow death dance. (At Susan Inglett Gallery in Chelsea through April 25th). Eric Fertman (foreground, yellow)

Broken Man, ash, paint, plywood, stain, steel, 75 x 40 x 36 inches, 2105.

Lucas Samaras in ‘Specific Objects’ at Susan Inglett Gallery

Lucas Samaras’ pin-encrusted cube is a standout in Susan Inglett Gallery’s ‘Specific Objects’ show, an exhibition inspired by a pivotal 1965 Donald Judd essay that came to define minimalism.  The piece’s shape is its subject matter, but the pins introduce an element of danger that give it a charge.  (In Chelsea through July 26th).  

Lucas Samaras, Untitled, pins on wood, 1964.

Hope Gangloff at Susan Inglett Gallery

Hope Gangloff’s pasty-skinned subjects are likened to hip updates on Egon Schiele’s or Gustave Klimt’s characters but the men and women in her latest solo show at Chelsea’s Susan Inglett Gallery – like this picture of ‘Lydia (The Tattooed Lady)’ – seem to be having a lot more fun.  (Thanks to Nancy on last Saturday’s tour for a link to Groucho Marx’s ode to Lydia!) (Through March 23rd).

Hope Gangloff, Lydia (The Tattooed Lady), acrylic/canvas, 2013.