Explaining that his carefully color-calibrated combinations of shapes are meant to evoke both fragmentation and interconnectedness, Philadelphia-based artist Odili Donald Odita applies his characteristic geometric abstractions directly to the walls creating an optical AND physical impact. (At Jack Shainman Gallery through Nov 16th).
Odili Donald Odita, Rain Forest acrylic latex wall paint, dimensions variable, 2013.
Chip Hughes’ meticulously rendered abstract painting, ‘Drinks’, on view at Lower East Side gallery Kerry Schuss, recalls quilting with its grid and wavy lines like piping. But amoeba-like organic shapes, cool colors and a slick of washed out color suggest watery worlds or blown-up microbiology. (Through Oct 20th).
Chip Hughes, Drinks, oil on canvas, 48 x 60 inches, 2012.
Barbara Takenaga’s latest abstract paintings continue to evoke the natural world in bold colors and mesmerizing patterns; here, a piece titled ‘Funnel’ suggests the strange lights and form of a deep sea creature crossed with a swing carousel at night. (At Chelsea’s DC Moore Gallery through Oct 5th).
Barbara Takenaga, Red Funnel, acrylic on linen, 2013.
Is it a serpent? A leg in fishnet stockings? A feathered neck? None of the above? New York based German artist Charline von Heyl’s latest paintings at Chelsea’s Petzel Gallery come loaded with associations for viewers willing to engage the myriad suggestions. (Through October 5th)
Charline von Heyl, Pancalist, acrylic on canvas, 2012.
Jennifer Cohen’s ‘White Line’ is as poised as a ballerina en pointe, but its meaning is given an extra charge by being included in Yancey Richardson Gallery’s summer group show titled, ‘Desire,’ which showcases work by female artists adopting a female gaze. (In Chelsea through August 23rd).
Jennifer Cohen, White Line, bronze, copper tubing, plaster and paper pulp, 2013.
