The neon color and curvy, wave-contoured form of Greg Bogin’s shaped canvas ‘Sunny disposition (oasis)’ is a summery-feeling merger of beach culture and minimal abstraction. Like Martin Puryear’s Phrygian cap sculptures which it resembles, it suggests freedom, but more of a sand-between-the-toes variety. (At Marlborough Gallery Chelsea through July 31st).
Greg Bogin, Sunny disposition (oasis), synthetic paint and urethane on canvas, 72 x 73 inches, 2014.
British artist Paul Winstanley’s paintings of empty art studio spaces in colleges around the UK are improbable subject matter for such pleasingly still, light-infused minimal compositions. Come September, they’ll fill with bodies, activity and color but at the moment, the tranquility is a pleasure. (At Mitchell-Innes & Nash in Chelsea through July 19th).
Paul Winstanley, Art School 40, oil on panel, 56 5/8 x 37 3/4inches, 2015.
At age 92, just two years after his previous major multi-gallery solo show, Ellsworth Kelly is back at Matthew Marks’ Chelsea galleries (all four locations) with works so bold that a New Yorker critic was prompted to call this Kelly’s ‘all-time most thrilling gallery show.’ Here, an elegantly minimal blue shape could be a stylized arrow pointing upwards, the measure of an angle and much more. (Through June 20th).
Ellsworth Kelly, Blue Angle, painted aluminum, 90 x 150 x 4 1/8 inches, 2014.
Titled after actions including ‘pitch,’ ‘slide,’ ‘cram,’ and ‘swap,’ Lee Lozano’s paintings from the mid 60s merge serene minimal abstraction with forceful angles and directional lines that give each canvas suggestive power. (At Hauser & Wirth through July 31st).
Lee Lozano, Lean, oil on canvas, three parts, 78 ¼ x 123 ¼ x 1 5/8 inches, 1966.
In the past, British artist Anya Gallaccio has left red gerbera flowers to rot, covered walls with chocolate and placed a 32-ton block of ice to melt in a disused pump station, all as part of an art practice based on experimentation and manipulation of natural materials. In these stone pieces, she considers longer spaces of time – the effect of heat and pressure on minerals over the millenia. (At Lehman Maupin Gallery on the LES through Feb 15th.)
Anya Gallaccio, installation view at Lehman Maupin Gallery, (foreground) Lay my head, lavignes (stripes), mount ashen, texas cream, black granite and green chirt, 51 x 56 x 48 inches, 2014.
