Tag: abstract

Yto Barrada in ‘Hiding in Plain Sight’ at Pace Gallery

Is abstraction less political than representational art?  ‘Hiding in Plain Sight,’ Pace Gallery’s summer group exhibition, argues for abstract art’s capacity to embody resistance.  Yto Barrada’s ‘Geological Time Scale,’ a selection of monochrome Moroccan rugs arranged around a custom-built table, recalls how an early 20th century French general’s catalogue of traditional rugs excluded single-color pieces, his bias impacting his audience’s understanding of Moroccan textile production.  (On view in Chelsea through Aug 20th).

Yto Barrada, Geological Time Scale (assembled group of primarily monochrome Beni Mguild, Marmoucha, and Ait Sgougou pile rugs from Western Central, Middle Atlas, Morocco), Mid-20th Century, mixed media, dimensions variable, 2015.

Kamrooz Aram in ‘Field of Vision’ at Peter Blum Gallery

Iranian-born New Yorker Kamrooz Aram’s abstract paintings are a standout in Peter Blum Gallery’s handsome summer group show ‘Field of Vision,’ enticing with their heavy texture and abundant organic forms.  Known for riffing on arabesque decoration, Aram sends our eyes fluttering around this verdant canvas, briefly settling on forms that resemble insect wings or clouds.  Two panels suggest shutters opening on an intimate garden or the dark of night. (On view on Grand Street through July 30th.  Masks and social distancing required.)

Kamrooz Aram, Maghreb Drapery, oil, oil crayon, wax pencil and pencil on linen, 85 x 82 inches, 2020.

Shirazeh Houshiary at Lehmann Maupin Gallery

Painting from a self-described ‘birds eye view,’ London-based artist Shirazeh Houshiary applies layers of water and pigment along with colored pencil lines to her canvas in a labor-intensive process that lends a sublime effect to her monumental abstractions.  In this detail image from the over 17 feet long ‘Feel,’ now on view at Lehmann Maupin Gallery, vivid contrasts of red and black are a portent for unknown events of obvious consequence.  (On view through May 28th.  Masks and social distancing are required).

Shirazeh Houshiary, Feel, Pigment, pencil, and black aquacryl on canvas and aluminum, 74.8 x 212.6 inches, 2019.

Gerhard Richter at Gagosian Gallery

Six towering oil on canvas abstractions by Gerhard Richter, currently on view at Gagosian Gallery, are a second chance to take in a highlight of the Met’s short-lived Richter retrospective last spring.  Collectively titled ‘Cage Paintings,’ they pay homage to composer John Cage, whose chance-based music Richter listened to as he created the series in 2006.  Made by pulling a squeegee across painted canvas, the paintings juxtapose the artist’s carefully developed technique with the inevitable unforeseen results of his painting method.  (On view in Chelsea through June 26th).

Gerhard Richter, installation view of ‘Cage Paintings’ at Gagosian Gallery, April 2021

Carrie Moyer at DC Moore Gallery

Colors pop and merge into the background while shapes seem to hover on the surface of Carrie Moyer’s latest paintings at DC Moore.  These tensions – which define Moyer’s practice – are made more provocative in her most recent work by the addition of more representative elements, like the tassel-like floral bells dotting the surface of this painting, ‘Hell’s Bells and Buckets.’   Moyer notes that in some recent work, her palette has ‘downshifted,’ or adopted a chromal sobriety found to either side of the central flow of form in this painting.  Far from creating a subdued painting, however, the effect is to heighten excitement at the shifting forms at center.  (On view in Chelsea through May 1st. Masks and social distancing required.)

Carrie Moyer, Hell’s Bells and Buckets, acrylic and sand on canvas, 66 x 60 inches, 2020.