Inspired by the cave systems of Vinales, Cuba, Teresita Fernandez’s glimmering semi-abstract ceramic mosaic pictures a lush cave interior with the suggestion of human figures in elemental interactions with nature. (At Lehmann Maupin through Dec 31st).
Teresita Fernandez, Vinales (Subterranean), glazed ceramic, 72 x 144 x 1.5 inches, 2015.
Like Claes Oldenburg’s Ray Gun series, for which he gathered found objects that had a gun-like shape, Daniel Hesidence’s latest series of paintings – subtitled ‘Summer’s Gun’ – tempt his audience into a game of looking for and interpreting the various forms that take center stage against heavily textured backgrounds. Set among calming, green-tones, an arrow-head or skull-like shape dominates this image, suggesting a still partially buried archaeological find. (At Canada NY on the Lower East Side through Jan 6th).
Daniel Hesidence, Untitled (Summer’s Gun), oil on canvas, 59 x 78 inches, 2015.
Using skins of dried, peeled paint as a collage material, Angel Otero adheres color to his canvas in fleshy pinks and mustard yellows that recall deKooning’s sensuous Pink Angels tempered by a cooler palette. (At Lehmann Maupin on the Lower East Side through Dec 31st).
Angel Otero, Come Sleep with Me: We Won’t Make Love, Love will Make Us, oil paint and fabric collaged on canvas, 96 x 72 x 2.5 inches, 2015.
Stones gathered from an urban beach in Port Dickson, Malaysia rest alongside prints created from a huge variety of German potatoes in Australian artist Simryn Gill’s latest solo show at Tracy Williams, Ltd. Both projects suggest nature’s overlooked abundance. (On the Lower East Side through Jan 10th).
Simryn Gill, Foreground: Untitled, stones collected from one of the few remaining urban beaches in the town of Port Dickson, 8 wooden tables, 29 1/2 x 72 x 144 inches, 2015. Background: Let Them Eat Potatoes, 182 Louis Vuitton writing inks on Gmund paper, 24 x 17 inches each, 2014.
Gil Batle, Chrysalis, Carved ostrich egg shell, 6.5 x 5 x 5 inches, 2014.
Ian Ruhter, Snow on Pines, Lake Tahoe, 30 x 40 inch pigment print, 2010.
Toledo-based artist Dan Hernandez combines scenes from early Renaissance paintings with 80s video game imagery to humorous effect at Kim Foster Gallery in Chelsea. Inspired by the flat sense of space and major size discrepancies between the characters in both genres, Hernandez creates epic battles between characters that stretch the idea of supernatural powers. (Through Jan 16th)
Dan Hernandez, Nocturne, mixed media on panel, 12 x 24 inches, 2015.
Eleanor Ray, San Marco Stairs, oil on panel, 6 x 5 ½ inches, 2014.
Sharon Lockhart, Milena, Jaroslaw, 2013, three framed chromogenic prints, 50 ¾ x 40 ¾ inches, 2014.
‘Vast’ is the only way to describe the scale of Chinese star artist Zeng Fanzhi’s latest paintings on view at Chelsea’s Gagosian Gallery. Titled ‘This Land So Rich in Beauty,’ the nearest and largest painting depicts a curiously glowing landscape mysteriously obscured by a thicket, suggesting that both wonders and danger lie just out of reach. (Through Dec 23rd).
Zeng Fanzhi, installation view of ‘Paintings, Drawings and Two Sculptures’ at Gagosian Gallery, November 2015.
Moataz Nasr, Elshaab (the people), 25 ceramic characters (detail seen here), 10.6 x 2.4 x 4 in each (approx.), 2012.
Keith Mayerson, installation view of ‘My American Dream,’ at Marlborough Gallery, Nov 2015.
Katy Grannan, Anonymous, Modesto, CA, archival pigment print on cotton rag paper mounted to Plexiglas, 55 x 41 inches, 2013.
Ruby Sky Stiler, Head, stained Baltic birch, 36 x 24 x 13 inches and Wave Head, stained Baltic birch, 46 x 30 x 15 ½ inches, 2015.
Miranda Lichtenstein, You!, archival pigment print, 40 x 26 ½ inches, 2015.
Mary Heilmann, Maricopa Highway, acrylic on canvas, 42 x 42 x 1 ½ inches, 2015.
Cynthia Daignault, installation view of Light Atlas at Lisa Cooley Gallery, oil on linen, overall dimensions variable, in 360 parts, 8 x 10 inches each, 2015.
Jean Tinguely, Untitled (Lamp), iron, feathers, light fixtures, light bulbs and electric motor, 33 ½ x 41 x 27 1/8 inches, 1982.
Nathan Vincent, installation view of ‘Let’s Play War’ at Emmanuel Fremin Gallery, Dec 2015.
Hayley Tompkins, Picture Pail IV, V and VI, metal pail, plastic bag, gouache and magazine page, 13 x 13 ¾ x 12 ¼ inches, 2015.
Claes Oldenburg and Coosje van Bruggen, Sliced Stradivarius – Rose, canvas, felt, wood, cord, hardware, painted with latex, 45 x 18 x 7 inches, 2003.
Cayce Zavaglia, Uncle Angelo, one ply cotton, silk, and wool thread on Belgian linen with acrylic, 8.75 x 7.75 inches, 2015.
Ryan Mrozowski, Untitled (Orange), acrylic on linen, 50 x 56 inches, 2015.
Peter Saul, George Washington Crossing the Delaware, acrylic/canvas, 64 x 82 inches, 2015.
Kota Ezawa, The Concert, LED lightbox, 28 x 25 inches, 2015.
Corinne Wasmuht, Pehoe P, oil on aluminum, 38.58 x 44.09 inches, 2015.
Peter Schuyff, Untitled, 79 x 71 inches, oil on linen, 2015.
Bjorn Braun, Untitled, sunflower seed, oat flakes, wheat,
juniper seed, peanuts, honey and flour, 2015.
Vibha Galhotra, Flow, nickel coated ghungroos, fabric, polyurethane coat, 129 x 93 ¼ x 112 ½ inches, 2015.
This two-part sculpture by Dutch artist Mark Manders looks
like a portrait of a girl with a split personality; it’s actually a recent
addition to Manders’ years-long project to create an ongoing ‘self-portrait’ in
the form of scaled-down built environments, stylized animals and androgynous
human figures. Here, bronze figures
painted to look like unfired clay occupy a gallery wrapped in plastic sheeting,
as if the creative process has just halted. (At Tanya Bonkadar Gallery in
Chelsea through Dec 19th.)
Mark Manders, Room with Unfired Clay Figures, painted
bronze, iron, wood, offset print on paper, 93 3/8 x 141 ½ x 51 inches,
2011-2015.
Sopheap Pich, Rang Phnom Flower No. 2, bamboo, rattan, metal wire, 30 ¾ x 85 ½ x 43 ¼ inches, 2015.
