Anthony Pearson’s organic and geometric forms, hand-scored in flat layers of tinted hydrocal, alternate between all-white and black compositions and lead the eye through a series of experiments in light and shape. (At Marianne Boesky Gallery in Chelsea through January 16th).
Anthony Pearson, detail of ‘Untitled (Four Part Etched Plaster),’ pigmented hydrocal and medium coated pigment hydrocal in four walnut frames, 12 ½ x 9 ½ x 1 ¾ inches, 2015.
Svenja Deininger, Untitled, oil on canvas, 80 ¼ x 52 inches framed, 2015.
From 17th century Dutch paintings of the countryside to sublime Hudson River views by mid 19th century Americans, landscapes unspoiled by development have been a favorite subject in art. Barnaby Furnas’s new paintings at Chelsea’s Marianne Boesky Gallery go back further in time, imagining the drama of a planet at the moment of creation, here on ‘The First Morning.’ (Through Oct 10th).
Barnaby Furnas, The First Morning (Fire Toads), acrylic, dispersing pigment, pencil, colored pencil on prepared linen, 99 1/8 x 104 inches, 2015.
Jessica Jackson Hutchins’ newspaper-covered sofa scattered with rough ceramic forms was a standout of the 2008 Whitney Biennial. Here, her first show at Chelsea’s Marianne Boesky Gallery opens with another couch more boldly occupied by a huge ceramic shape that the Portland, OR based artist refers to as a whale. (On view through June 6th).
Jessica Jackson Hutchins, installation view of ‘I Do Choose,’ with ‘Ultrasuede Wave,’ in foreground, sofa, oil stick, glazed ceramic, 2015.
Brazilian artist Thiago Rocha Pitta’s new videos track minute, artist-introduced changes to tiny segments of the landscape in Argentina. Here, a cascade of sand runs like a never-ending hourglass. (At Marianne Boesky Gallery on the Lower East Side through March 22nd.)
Thiago Rocha Pitta, Temporal maps of a non sedimented land #1, video, 2.33 min, 2015.
