Though he has focused on the female form in past, pared down representations, a large, pink-hued highlight of John Finneran’s latest solo show at 47 Canal features three kings. Resembling archaic designs and featuring universal geometries, they appear both ancient and contemporary. (On the Lower East Side through April 2nd).
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).
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).
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).
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).
