Holly Coulis at Klaus von Nichtssagend Gallery

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Holly Coulis’s latest paintings feature kitchenware, fruits and foods with a clean-lined graphic sensibility. Strong red outlines and softly glowing orbs of light take the still lives into another realm, however, making the familiar delightfully strange. (At Klaus von Nichtssagend Gallery on the Lower East Side through Dec 6th).

 Holly Coulis, Fruit, Pitcher in a Corner, oil on canvas, 30 x 22 inches, 2015.

Hilary Harnischfeger at Rachel Uffner Gallery

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Hilary Harnischfeger makes an unlikely but delightful connection to both geological formations and a cow in this wall-mounted sculpture titled ‘Bovina.’ Using stacked layers of cut and colored paper, ceramic, oil stick and hydrostone, the Brooklyn-based artist works her usual magic with materials while bringing to mind farm tools or a cow’s skull affixed to a barn wall. (On the Lower East Side at Rachel Uffner Gallery through Dec 20th).

 Hilary Harnischfeger, Bovina, ceramic, hydrostone, pigment, crushed glass, oil stick, paper, wood, 20 x 22 x 10 inches, 2015.

Mark Bradford at Hauser & Wirth Gallery

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LA artist Mark Bradford takes full advantage of his new affiliation with Hauser & Wirth Gallery and their huge gallery space with this piece, titled ‘Waterfall.’ Bradford is known for embedding cords and other materials in his paper-on-canvas artworks; here, he has pulled thick cords away from his ‘paintings,’ bringing the paper with them. Hung over a rafter, the cascade gives new life to action painting. (In Chelsea through Dec 23rd).

 Mark Bradford, Waterfall, mixed media, dimensions variable, 2015.

Jeronimo Elespe Night Paintings at Eleven Rivington

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After seeing just a few pieces in Madrid-based painter Jeronimo Elespe’s latest show at Eleven Rivington, it won’t come as a surprise to find out that he paints at night. Figures and interiors materialize out of the darkness; here, a staircase seems to magically end in a pool of reflected light, anchored by a sniffing dog. (On the Lower East Side through Dec 20th.)

 Jeronimo Elespe, Fine, oil on aluminum, 14.96 x 9.84 inches, 2015.

Thomas Schutte in ‘Sculpture’ at Skarstedt Gallery

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Part of a series of reclining nudes that recall iconic artworks from Manet’s Olympia to Henry Moore’s posed figures, Thomas Schutte’s female figure appears to have been pressed down, as if made of clay and not steel. She is defined by compromise – the antithesis of the classical norm. (At Skarstedt Gallery through Dec 19th).

 Thomas Schutte, Stahlfrau Nr. 4, cast steel on steel table, 13 ¾ x 86 ½ x 47 ½ inches, 1999.

Josh Tonsfeldt at Simon Preston Gallery

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Shot on the fly through the window of a Toronto tattoo shop, this image by Josh Tonsfeldt stacks pictures – of the window itself, reflections on the glass, a man looking at a screen, and the same man using his skin as a surface. Printing on the cement-like material hydrocal lends a provocative, incongruous sense of permanence to a chance encounter. (At Simon Preston Gallery on the Lower East Side through Dec 20th).

Josh Tonsfeldt, Adrenaline Tattoo, UV cured pigment print on hydrocal, spray paint, epoxy resin, pigment inks, 32 x 48 inches, 2015.

Rachel Whiteread, Silver Leaf at Luhring Augustine

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Famous for making casts of empty space (inside of rooms, between book shelves), British sculptor Rachel Whiteread continues to consider built and domestic environments in her latest solo show at Chelsea’s Luhring Augustine Gallery. Among doors and windows cast in resin, this papier mache and silver leaf brick wall offers an architectural fragment as a precious object. (Through Dec 19th).

Rachel Whiteread, Untitled (Silver Leaf), papier mache and silver leaf, 22 x 19 5/8 inches, 2015.

Zhang Huan at Pace Gallery

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At 122 feet long, Shanghai-based artist Zhang Huan’s epic painting of Mao surrounded by hundreds of government members and followers forcefully demonstrates the Chinese leader’s power just a short while before the Cultural Revolution began. Created in ash gathered from Buddhist temples, a material Zhang identifies with ‘collective longings, wishes of the people,’ the piece demonstrates the continued sway of history on contemporary life and politics. (At Chelsea’ Pace Gallery through Dec 12th).

 Zhang Huan, June 15, 1964, ash on linen, 9’ 5/16 x 122 ‘ 11/16”, 2013.

Andy Goldsworthy at Galerie Lelong

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Renowned for his interventions in nature, British artist Andy Goldsworthy has recently documented himself walking up a waterfall, throwing kelp into the sky and crawling precariously across a long hedge. Here, he participates in an autumn ritual usually enjoyed a younger demographic – burrowing through a massive pile of fallen leaves. Each gesture reads as a charmingly quixotic quest to engage with nature. (At Chelsea’s Galerie Lelong through Dec 5th).

 Andy Goldsworthy, Burrowing through a pile of leaves, Greenwich, CT, 15 Nov, 2013, time lapse video, running time 4:27 minutes, ed of 6.

Sheila Hicks, Baoli at Sikkema Jenkins

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Titled after a step-well leading down to water, Sheila Hicks’ large wall hanging, Baoli, offers a dynamic surface, with colorful areas leading the eye into the depths, lighter areas suggesting a solid surface on which the eye can rest. (At Sikkema Jenkins & Co through Nov 28th).

Sheila Hicks, Baoli, natural linen, triple-dyed embroidery cotton, 114 x 63 x 8 inches, 2014.

Surface Tension at FLAG Art Foundation

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It’s always a treat to see work by Ghanaian artist El Anatsui, known for repurposing materials like printing plates and liquor bottle caps into beautiful abstract sculpture. This piece opens the show ‘Surface Tension’ at Chelsea’s FLAG Art Foundation, a timely selection of work by a multi-generational selection of artists who create dramatic tension on 2-D surfaces. (Through Dec 12th).

El Anatsui, Telesma, mixed media, found aluminum and copper wire, 96 x 116 inches, 2014.

Benjamin Degen, Fast Swimmer at Susan Inglett

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‘Every time I look out a window, a new floor is built onto a new tower,’ writes New York painter Benjamin Degen as he explains about how his recent work considers communities of individuals and friends against the backdrop of a rapidly changing city. One of these characters in ‘Fast Swimmer’ is literally wrapped up by her environment, which abounds in patterns. (At Susan Inglett Gallery through Dec 5th).

Benjamin Degen, Fast Swimmer, oil on linen over panel, 72 x 48 inches, 2015.

Yoon Ji Seon at Yossi Milo Gallery

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Physical transformation is nothing new for Korean youth; one recent poll reported that 50% of young women in their 20s have had a cosmetic procedure. Seoul-based artist Yoon Ji Seon alters her features aggressively by stitching over photographic self-portraits printed on linen, but she does so with a wild creativity that rejects conventional beauty norms. (At Yossi Milo Gallery through Dec 5th).

 Yoon Ji Seon, Rag Face #15022, sewing on fabric and photograph, 24” x 16.5”, unique, 2015.

Beatriz Milhazes at James Cohan Gallery

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Brazilian artist Beatriz Milhazes continues to conjure a joyous mood and rhythmically flowing forms in abstract paintings and new sculptures at James Cohan Gallery. She’s said that without the inspiration of Carnival, she wouldn’t be an artist; these sculptures even evolved from some made in collaboration with craftsmen who make floats for Carnival. (In Chelsea through Nov 28th).

Beatriz Milhazes, installation view of ‘Marola’ at James Cohan Gallery, Oct 2015.

Karl Haendel at Mitchell-Innes and Nash

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To what ends will you go for personal improvement? Karl Haendel’s huge, meticulous pencil drawings document a push for personal perfection and accompanying sense of self-worth by yoga practitioners; elsewhere, he draws apes balanced on what look like pieces of modern art. ‘Where does it all start and stop?’ his gorgeously rendered artworks seem to ask. (At Chelsea’s Mitchell-Innes and Nash through Dec 5th).

 Karl Haendel, Radcliffe, pencil on paper with shaped frame, 67 ½ x 89 ½ inches, 2015.

Li Liao at Klein Sun Gallery

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Visitors who stray too far into Klein Sun Gallery get more
than they bargained for with Chinese video and performance artist Li Liao’s
performance piece, ‘Attacking the Boxer from Behind is Forbidden.’  Each afternoon, a boxer occupies half of the
gallery, sparring with anyone who gets close and giving visitors the chance to
consider how they’ll react to an unexpected situation that defies conventional
gallery behavior. (In Chelsea through Nov 14th).

 Li Liao, performance view of ‘Attacking the Boxer From
Behind is Forbidden’ at Klein Sun Gallery, October 2015.

Joan Linder at Mixed Greens

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Joan Linder revisits the 1970s Love Canal toxic dumping scandal with a labor-intensive exhibition at Mixed Greens of meticulous drawings depicting the borders of the Buffalo landfill site as well as renderings of documents related to environmental degradation. In the gallery’s back room, notebooks stretching along every wall picture fences that keep the public way from ruined land, raising the question of what’s lurking here and elsewhere. (In Chelsea through Nov 14th).

Joan Linder, Hooker 102nd Street Book, ink on moleskin notebook, 5 books, 5 ½ x 3 ½ inches when closed; 5 ½ x 105 inches when opened, 2013.

Svenja Deininger at Marianne Boesky Gallery

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Shape and color are subject matter for Viennese artist Svenja Deininger, who jettisons the latter in this untitled painting to create a play of surfaces and edges. (At Chelsea’s Marianne Boesky Gallery through Nov 14th).

Svenja Deininger, Untitled, oil on canvas, 80 ¼ x 52 inches framed, 2015.

Christopher Adams at Garvey Simon Art Access

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Christopher Adams’ ceramic plants appear at once fragile and
robust; the material of their thin, scrolling leaves suggests something
breakable, the vigorous growth at center hints at expansive potential.  Garvey Simon Art Access in Chelsea is overrun
with variations on the plant in a range of glazes and finishes, making for a provocative
merger of biology and decoration. 
(Through Nov 7th).

Christopher Adams, from the ‘Primordial Garden’ series,
2015.

Eric Aho at DC Moore Gallery

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A frenzy of gestural abstraction in the foreground of this
painting by Vermont-based artist Eric Aho crystalizes into a representational
image of a majestic mountain in the far distance, giving the impression that Aho
begins by almost being inside his subject matter…then gradually allows images
to materialize.  (At Chelsea’s DC Moore
Gallery through Nov 14th).

Eric Aho, The Mountain, oil on linen, 90 x 80inches, 2014.

Martin Wittfooth at Jonathan LeVine Gallery

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Martin Wittfooth’s ‘Dawn’ would look like an exaggerated prophecy about the dangers of global warming on coastal cites were it not for the few apartment lights on below the massive whale. A few people are waking up to a reality far beyond the norm – a theme that ties into Wittfooth’s interest in altered consciousness in shamanistic practice. (At Chelsea’s Jonathan Levine Gallery through Nov 14th).

Martin Wittfooth, Dawn, oil on canvas, 54 x 120 inches, 2015.

Mernet Larsen in ‘Let’s Get Figurative’ at Nicelle Beauchene Gallery

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Mernet Larsen’s eerie nativity scene is a standout in Nicelle Beauchene Gallery’s mini-survey of current trends in figurative painting. Though the figures’ boxy shapes recall the Cubism-mocking ‘Cubies’ cartoons from a century ago, flashes of oddness (in the position of the angels’ feet, a spill on Mary’s lap) punctuate an already charged atmosphere. (On the Lower East Side through Nov 15th).

Mernet Larsen, Nativity, acrylic and mixed media on canvas, 74 x 31.5 inches, 2005.