A dark geometric shape appears to do battle with two biomorphic entities in Elizabeth Murray’s 1982 canvas at Chelsea’s Cheim & Read Gallery. Part of an exhibition showcasing abstract painting in the 80s, its attention-grabbing drama and size (over ten feet tall) excite the imagination. (Through Aug 30th).
Elizabeth Murray, Sentimental Education, oil on canvas, 127 x 96 inches, 1982.
In his latest solo show at Chelsea’s Luhring Augustine Gallery, British artist William Daniels continues to walk the line between abstraction and representation in new paintings for which he constructed, photographed, then painted arches made of aluminum foil. (Through Aug 16th).
William Daniels, Untitled, 42 3/8 x 41 ¾ inches, oil on board, 2013.
Garth Weiser continues to pursue the possibilities for contemporary abstraction with sumptuous metallic paintings like this one (seen in detail). Weiser applies copper leaf over layers of acrylic, then cuts into the surface using a razor creating patterns with color and texture. (At Chelsea’s Casey Kaplan Gallery through June 22nd).
Garth Weiser, detail of ‘WNYC sustaining member Haiku,’ copper leaf, acrylic, and dimensional fabric paint on paper, 2013.
Exhibitions at three of Matthew Marks’ Chelsea galleries celebrate American art legend Ellsworth Kelly’s 90th birthday (which occurred earlier this week). The vibrant ‘Gold with Orange Reliefs’ is luxurious and organic, evoking lush fruits or a splendid sunrise. (Through June 29. This painting is at the 502 West 22nd Street location.)
Ellsworth Kelly, Gold with Orange Reliefs, oil and canvas and wood, three joined panels, 2013.
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.
