Inspired by Robert Altman’s 1973 film ‘The Long Goodbye,’ Dave McDermott latest paintings consider the private investigator/protagonist who mucks through complicated and broken lives to do his job. This saucer-eyed cat – made of swirls of blue and red yarn lined up over hot pink paint – bears witness to humanity’s flaws. (On view at GRIMM on the Lower East Side through March 11th.)
Thornton Dial included an image of himself, banging a pan to bring people together to start a meal in the upper portion of this riff on William Merritt Chase’s Still Life with Watermelon. As seen in this detail of a larger painting, he included a second real frying pan filled with paintings of eggs positioned near lusciously colored fruits, suggesting the bounty that an artist can provide. (At David Lewis Gallery on the Lower East Side through March 18th).
Designers Amanda McGowan and Mattie Rivkah Barringer, who create garments under the name Women’s History Museum, explore a barely-there aesthetic partly inspired by their experience of tiny, ‘almost unintelligible’ Instagram images of clothing. Though this outfit looks like it may be worn by a fashion-conscious desert island cast-away, the mannequin’s position before a faux-cottage suggests a whimsical escapee from a fairy-tale. (On view at Gavin Brown’s Enterprise on the Lower East Side through February 25th).
Though it resembles an oversized segment of wall and molding, Leonardo Drew’s ‘Number 201’ is a standout in Sikkema Jenkins & Co’s current nature-focused show. Using materials originally derived from nature and often used in building, Drew’s construction marries nature and culture in enticing forms. (On view in Chelsea through Feb 24th).
After complaining that she could paint her signature subject matter – little girls behaving badly – blindfolded, that’s just what Kim Dingle did to create the work in her recent series. Using her hand as a guide, Dingle maps out characters like these from memory in oil on Plexiglas. Here, two slightly sinister looking girls, drawn with fluidity and proportions reminiscent of Mickey Mouse, exchange compliments on each others’ wild hair. (On view at Sperone Westwater Gallery on the Lower East Side through March 3rd).
Quilts by Gee’s Bend Quiltmakers Mary Lee Bendolph (background) and Loretta Pettway Bennett (foreground) are the highlight of Kaufman Repetto’s current group show, an exhibition that asks what’s new for art as more female artists have come to prominence over the past several decades. Bennett’s denim quilt suggests that the contributions of many have produced a prize result. (On view in Chelsea through Feb 24th).
Li Wei flies through the air and walks on water in photos at Galerie Richard that appear to document gravity defying feats and even common sense. Using mirrors (here, this technique is obvious), cranes and wires, the Beijing-based artist gives himself superpowers that other artists can only dream of. (On view on the Lower East Side through March 11th).
Jamian Juliano-Villani enchants critics with her latest show of realist paintings featuring “plenty funny” (Art Forum) yet “haunting (Art in America) collaged-together imagery. The “closely watched rising star’s” (Artnet) “impressive…gonzo paintings” (The New Yorker) include this blue-furred model strutting the runway with Key Food bags – a setup that offers entre into a strange alternative universe. (On view at JTT Gallery on the Lower East Side through Feb 24th).
Arcmanoro Niles’ portraits – set in the Washington DC neighborhood where he grew up – feature not only their posed subjects but a host of secondary, ghoulish characters who the artist calls ‘seekers.’ Though this boy’s vibrant youth is made magical by his glittery hair, an odd creature wrapped around his feet could be setting the boy up for a fall. (On view at Rachel Uffner Gallery on the Lower East Side through Feb 25th).
Gil Batle is back with a second solo show at Ricco/Maresca of ostrich eggs carved with stories of various inmates encountered during the artist’s past prison sentences. Every bit as absorbing as his first show here in 2016, this exhibition features eggs like ‘Abducted,’ which explores a murdering dentist’s tales of alien interference in his life. (On view in Chelsea through Feb 24th).
By passing polarized light through scrolled and bunched transparent films, German artist Martin Klimas creates an enticing abstraction in an array of tones and colors. (On view at Foley Gallery on the Lower East Side through Feb 18th).
Books are bound with covers of cigarettes or melted crayons, studded with nails like a fetish object or stuffed with garbage in Allan Stone Projects’ exhibition of Barton Benes’ book sculptures. This book from c. 72-74 is at the mercy of a giant safety pin, perhaps holding the book together, keeping it closed or treating it like a punk or a diapered baby? (On view in Chelsea through Feb 24th).
Nearly twenty years after his last New York solo show, British artist Jason Martin is back with limited palette paintings in swathes of oil paint as lush and thick as frosting. (On view at Lisson Gallery’s 24th Street location through Feb 24th).
Robert Indiana’s mid-1960s monument to love continues to work its magic on audiences around the world as the artist nears his 90th birthday. Now at Paul Kasmin Gallery, this towering steel sculpture multiplies and magnifies the term in all its myriad understandings. (On view at Paul Kasmin Gallery’s 27th Street location through March 3rd).
In a sequence of six photos by South African artist Robin Rhode, an acrobatic mathematician contorts his body to project a ‘Lute of Pythagoras,’ a series of pentagrams locked together in pleasing mathematical proportion. At the gallery entrance, Rhode quotes Swiss architect and urban planner Le Corbusier’s assertion that humanity attempts to save itself from chaos through geometry. Rhode’s efforts to better humanity by joining art and geometry feel poignantly quixotic. (On view at Lehmann Maupin Gallery in Chelsea through Feb 24th).
A practical mentality dominates Eddie Martinez’s current two gallery solo show at Mitchell-Innes and Nash. Not finding a studio last summer, he painted in his yard. Finding inspiration in his daily drawings on family stationery, he scaled them up as eight-foot tall paintings. Titled ‘Love Letter,’ the second body of work would seem to refer to his wife’s name at the top of each painting though given the significance of drawing to his evocative abstract forms, he may have another muse in mind. (On view in Chelsea through Feb 24th).
Italy-based Korean sculptor Jukhee Kwon gets a lot out of books, specifically paper sculptures created by slicing into volumes in geometric patterns that cause pages to descend to the ground or explode outwards. Here, a New Testament morphs into ‘Campana’ (bell), a gravity-defying cascade of a delicate form. (On view at Ierimonte Gallery on the Lower East Side through March 16th).
Inspired by a woodblock print from Hiroshige’s ‘100 Famous Views of Edo,’ Tabaimo extends the life of the 19th century artwork in an animation that gives life to a mysterious female figure behind the balcony screen. Despite a spilled vessel and briefly flailing octopus tentacles, the scene retains its sense of tranquility and intrigue. (On view at James Cohan Gallery’s Lower East Side location through Feb 25th).
Once so abundant in the U.S. that their flocks sounded like thunder as they darkened the sky, passenger pigeons were hunted to extinction by the early 20th century. The final survivor, Martha, died in the Cincinnati Zoo over one hundred years ago, but inspired New York-based British realist painter Clive Smith’s painting of a commemorative plate, now on view at Marc Straus Gallery on the Lower East Side. Titled ‘Beak, Claw, Hand, Brush,’ this and other works in Smith’s series equate the labor of beak and hand, soberly suggesting that our own future may go the way of the passenger pigeon. (On view through Feb 9th).
There’s trouble in the tropics in Katherine Bernhardt’s latest solo show of pattern paintings at Canada New York. Watermelons appear alongside toilet paper, birds in flight next to cigarettes as nature contrasts man-made products in paintings with ominous titles like ‘Climate Change.’ Here, in ‘Dole + Darth Vader,’ the Sith lord is surrounded by Dole bananas, linking a fictional face of evil to a company criticized for damaging the environment and harming workers. (On view on the Lower East Side through Feb 11th).
A chain link fence rises like steam before a fiery sunset in Leigh Ruple’s ‘Metropolitan Avenue,’ an otherwise nondescript industrial scene turned electric by intense light, bands of color and prowling cats. (On view at Morgan Lehman Gallery in Chelsea through Feb 10th).
With their squat bodies, long legs and tiny heads, William King’s sculpted caricatures of important men or at least self-important ones are a highlight of Derek Eller Gallery’s current group show. Arms akimbo, each seems to demand to know what’s going on, as if they don’t quite approve of the work of nearby paintings on clothing by Annabeth Marks, Annie Pearlman’s vivid abstractions and Rachel Eulena Williams’ stitched canvases. (On view on the Lower East Side through Feb 11th.)
Like Rachel Whiteread’s resin water tower, installed on a New York rooftop in the late 90s, Demetrius Oliver’s cast resin turbines exalt the humble devices used to harness our most precious natural resources. In combination with other pieces in ‘Pneumato,’ his current solo show at Klaus von Nichtssagend Gallery, Oliver considers the natural world through everyday objects. (On view through Feb 11th).
As a young man, Melvin Edwards chose a career in art over football, but explains that the physicality of the sport remained in his sculpture. He explores a more critical consideration of the game in Goal Line Stance, a steel sculpture from 2017 that stands out in Galerie Lelong’s current show – an exhibition prompted by NFL players’ protests against social injustice (On view through Feb 17th in Chelsea).
Medieval-looking characters converse at table in Zach Bruder’s arrestingly anachronistic painting, which pictures the Middle Ages in an abstracted or folksy 20th century painting style. Substituting detail and realism for expressive forms, Bruder cloaks a familiar-seeming scene in an alien appearance. (On view at Magenta Plains on the Lower East Side through Feb 11th).
Still life paintings by Tom Wesselmann at Gagosian Gallery are literally the biggest show of the moment in Chelsea. At over 27 feet long, this arrangement of sun glasses, lipstick and more from 1973 was meant to represent the objects a woman might leave by a bedside table. (On view through Feb 24th).
Miami-based artist Kelley Johnson’s latest solo show opens with 2-D paintings and advances to artworks that literally fly off the wall thanks to PVC rods zinging outward. This piece, titled ‘Wall Kite,’ is grounded at the moment, but appears to be ready to launch upward. (On view at Freight and Volume Gallery on the Lower East Side through Feb 4th).
