What does it take for a minimal painting to stand on its own strengths, with no explanation or apparent associations to build a context for understanding? New York-based Suzan Frecon’s abstractions ask this question, offering pure color, shape and surface to absorbing effect. (At David Zwirner’s 525 West 19th St location through March 23rd).
Suzan Frecon, composition in four colors, trial 3, oil on panel, 2009.
“With Nozkowski, a good, slow look-’n’-solve is part of the fun,” Tyler Green of Modern Art Notes has observed in response to Nozkowski’s puzzle-like paintings. Packed with familiar yet alien forms, they translate the everyday world into abstraction. (At Pace Gallery’s 508 West 25th Street location through March 23rd).
Thomas Nozkowski, Untitled (9-22), oil on linen on panel, 2012.
‘Festone’ (festoon) feels like the perfect title for this festive, beautifully colored acrylic painting by Turin-based painter Giorgio Griffa. Hurricane Sandy damaged the delicate-appearing work in his first New York solo show since 1970 in October; now the prolific Griffa, who folds and shelves his paintings upon completion, is back with a new selection of pleasingly minimal abstractions worth celebrating. (At Chelsea’s Casey Kaplan Gallery through March 2nd).
‘Fresh, direct and very much of this moment,’ is how the New York Times described Brooklyn artist Keltie Ferris’ show of large, digital-looking handmade oil and acrylic paintings at Chelsea’s Mitchell-Innes & Nash. Blurs of sprayed paint suggest a plane’s vapor trail while carefully painted pixel-like blocks of yellow-orange color lend the painting a jumpy energy. (Through Jan 12th.)