Nestled next to a pile of discarded Christmas trees, a figure resembling early 20th century Dada artist Hugo Ball is partially encased in an icy-blue material in the centerpiece of Joanna Malinowska’s latest solo show at Canada New York. In the past, Malinowska has considered Ball and other iconic artists in relation to non-western art practice; here, he appears to be have collected as part of a beaver dam and paralyzed by a block of ice. (On the Lower East Side through March 12th).
Jaume Plensa’s latest exhibition at Galerie Lelong continues his investigation of portraiture, featuring several of his signature, elongated heads with closed eyes that suggest unseen inner lives. In Chelsea, they are arranged on wooden beams and are joined by spectral faces on the wall that transform the gallery into a contemplative space. (On view through March 11th).
Comparing Elise Ansel’s remake of Northern Renaissance master Hugo van der Goes’ Portinari altarpiece with the original isn’t the point. Ansel distills the main characters from the 15th century Adoration and enlivens them with a dynamic quality that doesn’t exist in the still and measured quality of the original, positing that color, not extreme detail carries the emotion of the scene. (At Danese Corey Gallery through March 11th).
One stone is real, the other is a replica. Vija Celmins entices viewers to ponder which one came from the earth and which from the artist’s hand in this pairing at Matthew Marks Gallery’s 22nd Street space in Chelsea. In other works, Celmins turns her hand to the skies and the seas with meticulous realist paintings that celebrate the creative powers of the artist. (On view through April 15th).
Green Caribbean waters turn menacing under steely grey skies, their currents outlined in rows of fishhooks in this meditation on isolation by Cuban artist Yoan Capote. (At Jack Shainman Gallery’s 24th Street location in Chelsea through March 11th).
Young Brooklyn-based artist Jordan Kasey channels Picasso’s monumental females, Botero’s swollen figures and a sense of the surreal in her huge paintings, now on view at Nicelle Beauchene Gallery. With faces mostly cropped out, ‘Poolside’ foregrounds log-like stacks of limbs belonging to a brand new breed of weighty Titans. (On the Lower East Side through March 12th).
Are children born in Rwanda after the genocide freer, having not had their lives disrupted by that violence? How will their understanding of history impact their lives? South African photographer Pieter Hugo asked these questions while also questioning the post-Apartheid legacy of his own children and their generation in a series of photos at Chelsea’s Yossi Milo Gallery. Here, the landscape and its histories act as backdrop to a portrait of a self-possessed young person. (On view through March 4th).
Architect Charles Platt’s glass-wall contemporary designs are a world away from his collage, now on view on the Lower East Side at Freight and Volume Gallery. This pair of overalls, mounted to canvas and titled ‘The Hired Man’ literally turns the notion of work for hire inside out. (Through Feb 26th).
In an eighteen-screen installation set in a warren of cubicles at Lehmann Maupin Gallery, French-Algerian artist Kader Attia explores western vs non-western approaches to mental health in a series of monologues by European and African health professionals. The dehumanizing office environment contrasts the intimacy of each screening space, resulting in an unsettling experience that invites new discoveries. (At Lehmann Maupin’s Lower East Side location through March 4th).
Leila Heller Gallery compliments the Guggenheim’s current ‘Visionaries’ exhibition with a show featuring artworks by early 20th century ‘non-objective’ painters, including mature works by German avant-gardist Rudolf Bauer. Though this painting from the ‘30s brings to mind a planet on the left and the built environment to the right, Bauer’s focus was art as expression of the spirit. (In Chelsea through March 4th).
Minnesota-based nonagenarian ceramic artist Warren MacKenzie means for his creations to be used. A selection of work at Driscoll Babcock Galleries, including this attractive arrangement of cups and bowls, holds out the idea of living with beautiful things. (In Chelsea through Feb 25th).
Paul Kasmin Gallery and Sotheby’s Gallery team up this month to bring the vanitas still life and memento mori up to date in an impressive exhibition of Dutch genre painting and contemporary art touching on the theme of life’s brevity. Columbian artist Rafael Gomezbarros’ smarm of ants – constructed with cast human skulls – opens the show with a bang. (At Paul Kasmin Gallery in Chelsea through March 4th).
Paul Sharits’ painting ‘Infected Foot III’ doesn’t regard the pain of others; we’re looking down at the purple, throbbing mass as if it’s our own. Beads and glistening cords of paint look as if they’d be part of a cheerier composition; instead, they add to the surprise of a rogue body part that threatens to bring down the whole. (At Greene Naftali Gallery through Feb 25th).
Sohei Nishino’s charmingly idiosyncratic maps of cities around the world track the Japanese globetrotter’s exploration of metropolitan architecture and populations. Each bricolage results from hundreds of images shot at various vantage points around a given city. In this detail from Nishino’s New Delhi diorama map, the crowds and traffic encroach on the India Gate war memorial, though it retains a space and aura of its own. (At Bryce Wolkowitz Gallery in Chelsea through March 4th).
Maybe it’s the descending pattern of dots or the black rainbow shape in Diedrick Brackens’ tapestry but the text, ‘everything is lovely now’ isn’t quite believable. Instead, this shaggy banner seems to announce a still transitory state. (At Thomas Erben Gallery in Chelsea through Feb 18th).
From the depths of Katharina Grosse’s huge abstractions, shapes materialize and invite interpretation. The Berlin-based artist describes her new works as “portals to a small room, where all the color has been crammed into a tiny space.” Peering into these openings is an intense optical experience. (At Gagosian Gallery’s 24th Street Chelsea location through March 11th).
Collectors might metaphorically salivate after coveted artworks, but the feeling turns literal in sight of Kay Kurt’s intense, realist renderings of candy. At six feet high and eleven feet long, this assortment of hard candies brings to mind the flavors of childhood while treating each piece as its own perfectly formed sculptural object. (At Albertz Benda in Chelsea through Feb 16th).
Female hands, eyes, mouths and other body parts transferred onto stones by Anh Thuy Nguyen resemble a smashed frieze, carefully reassembled on the floor. Titled ‘Burden,’ the sculpture grapples with the difficulties of representation and with the pressures placed on the female body. (At Miyako Yoshinaga Gallery through Feb 18th).
‘Rest During The Flight Into Egypt’ broaches the subject of migration in Romanian artist Adrian Ghenie’s latest solo show at Pace Gallery in Chelsea. Here, two kids wait on a railroad track in front of a heaving, blood-red landscape wearing masks that disguise their faces but not the damage inflicted upon them. (On view through Feb 18th).
From the pervasive musty scent of perfume to the claustrophobic, tented ceiling of PPOW’s transformed back gallery, Portia Munson’s installation ‘The Garden’ assaults the senses and may induce panic in the clutter-adverse. The overload of frilly and feminine things is oppressive – calculated to send visitors gasping for more gender-neutral territory. (In Chelsea through Feb 11th).
Using fiber from sheep selectively bred to increase genetic diversity, Channing Hansen creates abstract knit works that derive their patterns from an algorithm that makes use of his own DNA. Complicated back story aside, the artworks entice by evoking the body and the landscapes in vivid color and a wealth of texture. (At CRG Gallery on the Lower East Side through Feb 25th).
The text on this box – ‘Enjoy your delicious moments!’ – is supposed to be an encouragement to appreciate pizza, but it’s also a good way to describe the feeling of realizing that this realistic food box is actually a meticulously crafted, hand painted wooden sculpture by trompe l’oeil master Matt Johnson. (At 303 Gallery in Chelsea through Feb 25th).
In 1977, James Wines partially buried twenty cars in a strip mall parking lot in Hamden, CT then covered them with asphalt to create an eerie auto graveyard. This maquette for that project, part of a group show at P! gallery on the Lower East Side, conveys a sense of quiet and disbelief upon discovering what looks like remains buried by ash. (Through Feb 26th).
Petzel Gallery’s current must-see show, ‘We Need to Talk,’ is a tour de force of heart-felt political statement, from a video shot at Standing Rock to a neon sign reading, ‘What if Women Ruled the World?’ In between, Mark Dion’s 1991 ‘FBI Tool Bag of Dirty Tricks’ is a standout that’s turning into a classic. (In Chelsea through Feb 11th).
The mirrored, cave-like entrance to Lee Bul’s latest solo show at Lehmann Maupin Gallery dazzles. Once inside, however, the ceiling height diminishes rapidly and visitors emerge into the main gallery at an uncomfortable crouch. Failed promises are a recurring theme in Lee Bul’s oeuvre; here she sends a strong message from the beginning of the exhibition. (Through Feb 11th).
At over eight feet tall, this structure of welded aluminum tubes by Emil Lukas not only dominates Sperone Westwater’s small back gallery, it commandeers our vision. By leading our gaze toward a single point on the wall behind, it melds sculpture with the role of painting and drawing by creating one-point perspective. (On the Lower East Side through Feb 11th).
In the early 90s, an LA Times critic commented on the ‘silly sort of dignity’ possessed by the eccentric characters in Gladys Nilsson’s large watercolors. The phrase perfectly characterizes these figures from the ‘80s, whose exaggerated physical characteristics and twisting bodies are equal parts grotesque and intriguing. (At Garth Greenan Gallery in Chelsea through Feb 18th).
The huge portal dominating Daniel Heidkamp’s hotel room painting leads us into more than we might expect. From what looks to be one of the Maritime Hotel’s distinctive windows, Heidkamp shuffles the New York skyline and offers glimpses of a ballet rehearsal in a building that only exists in this painting. It feels surprisingly daring to rearrange New York’s built environment and particularly appropriate as construction booms in the city. (At Derek Eller Gallery through Feb 5th).
