Though they’re both solitary women illuminated by glowing backgrounds, the subject of Barkley L. Hendrick’s 2015 painting, Anthem, couldn’t be further in character from the measured cool of his iconic 1969 ‘Lawdy Mama.’ This singer is holding nothing back as she takes the stage with a double mike and unrestrained self-confidence. (At Jack Shainman Gallery through April 23rd.)
Self-identity and national identity are tightly bound in Cuban artist Yoan Capote’s politically inflected artworks. Here, Capote peeks out from behind his sculpture of Castro, made from door hinges gathered from Havana households, suggesting either an open or closed door. (At Chelsea’s Jack Shainman Gallery through July 10th).
Yoan Capote, Immanence, mixed media including hinges, wood doors, metal armature, 120 x 180 x 180 inches, 2015.
Hank Willis Thomas is banking on Hillary Clinton getting the Democratic nod for president; so much that he was inspired to open up a conversation about the role of women in an update on his famous ‘Unbranded’ series, for which he removed logos and text from ad images to reflect on the naked images used by corporate America to move products. Now he’s selected one hundred images of white women from the past one hundred years. The show at Jack Shainman’s two Chelsea locations is even getting a boost with advertising of its own at the 8th Ave and 23rd Street subway station. (Through May 23rd).
Ad for Hank Willis Thomas’ show ‘Unbranded: A Century of White Women, 1915 – 2015.
‘How Iraqi Are You?’ asks the title of Iraqi born, San Francisco-based artist Hayv Kahraman’s current solo show of paintings at Chelsea’s Jack Shainman Gallery. Based on a 12th century text about everyday Iraqi life, Kahraman’s paintings loosely tell stories from her own life, including this piece, which refers to her experience of having been smuggled out of Baghdad to Sweden. (Through April 4th).
Hayv Kahraman, Kachakchi, oil on linen, 79 x 108 x 2 inches, 2015.
New York artist Titus Kaphar disrupts each of his works, cutting figures out of a canvas to consider the impact of absence, whiting out and redrawing figures or peeling back a layer of canvas to literally reveal a back story. Here, a colonial-era man’s portrait is shredded and stretched to shatter any illusion of a tidy personal narrative. (At Chelsea’s Jack Shainman Gallery through Feb 21st).
Titus Kaphar, Stripes, oil on canvas and nails, 59 ½ x 51 x 1 ½ inches, 2014.
