Hannah Whitaker at Marinaro

New York photographer Hannah Whitaker departs from her usual complex, multiple exposure images in recent straight photographs at Marinaro that employ grids and gradients to create what looks like a digital environment for a lone female character.  Here, a shaft of light illuminates a sliver of her model’s otherwise dark body, suggesting that we’re seeing a fragment of what’s before us.  Imagined as a sister to digital avatars like Siri or Alexa, Whitaker’s new figure questions who our AI characters are and why they’re designed as they are.  (On view in Manhattan’s Two Bridges neighborhood through Jan 24th.  Masks and social distancing are required.)

Hannah Whitaker, Orange Eye, Slit, UV printed onto MDF with hand painted edges, 21 x 15 inches, 2019.

Ridley Howard at Marinaro Gallery

Marinaro Gallery’s huge 2nd floor windows invite glimpses from the street of the artwork inside; upstairs on the gallery wall, Ridley Howard occupies a similar vantage point in ‘Over the Star’ as he portrays two women with guarded postures laughing together. Awkward or intimate, their joke is irresistible, inviting us to keep watching. (At Marinaro Gallery on the Lower East Side through June 18th).

Ridley Howard, Over the Star, oil on linen, 50 x 66 inches, 2017.

Johannes VanDerBeek at Marinaro

Johannes VanDerBeek’s thick aqua-resin paintings at new Lower East Side gallery Marinaro look like highly colored views from under the microscope. Looser than Joan Miro and freer and more abstract than Yves Tanguy, the work still channels Surrealism and early 20th century abstraction. (On view through March 19th).

Johannes VanDerBeek, Medieval Blossom, aqua-resin, fiberglass, steel, clay, silicone and paint, 65 x 45 inches, 2017.