Evocative sculpture by New York artist Sarah Braman creates a nexus between mass produced furniture and the unique art object, coldly minimal forms and a potentially cozy bedroom, a mined metal and unexploited nature in the form of a gorgeous sunset. (At Chelsea’s Mitchell-Innes & Nash through April 16th).
Eddie Martinez continues to mine art history in increasingly abstract paintings now on view in Chelsea at Mitchell-Innes and Nash. Tapping into diverse sources of inspiration – from Basquiat’s jittery line to de Kooning’s boldly outlined bodily forms – Martinez creates strangely familiar paintings to ponder. (Through March 5th).
Pat O’Neill, Safer than Springtime, fiberglass, aluminum, steel, paint, 48 x 39 x 30 inches, 1964.
Brooklyn-based painter Keltie Ferris is known for abstract paintings that recall the city grid, so you’d think she’d relish LA’s road systems on her recent residency there. Instead, she turns her eye skyward in pieces like ‘oRiOn,’ a canvas that hints at a celestial hunter, outlined in vivid color and decorated in a shower of shooting stars. (At Chelsea’s Mitchell-Innes and Nash through Oct 17th).
Keltie Ferris, oRiOn, acrylic and oil on canvas, 72 x 60 inches, 2015.
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.
