Michael Smith opens a new chapter in the life of his hapless alter ego, Mike, with an exhibition centered around his search for the fountain of youth. A tapestry map, banners featuring Sudoku games and a water cooler are just some of the fun in Mike’s quest. (At Chelsea’s Greene Naftali Gallery through Aug 14th).
Michael Smith, installation view of ‘Excuse me!?!…I’m looking for the ‘Fountain of Youth,’ July 2015.
Since 2009, Brussels-based Belgian artist Hans Op de Beeck has been painting black and white watercolors during the night, as a contrast to days spent in a busy studio making art that includes CGI animations, video, installation and more. Empty of people and highly atmospheric, the watercolors are a peaceful and evocative contrast to the digital realm. (At Marianne Boesky Gallery in Chelsea through May 2nd).
Hans Op de Beeck, Seascape, Cloudy Sky, black and white watercolor on Arches paper in wooden frame, 51 ½ x 100 ¼ x 1 ½ inches, 2014.
Saya Woolfalk continues to imagine life in a utopic community of culturally hybridized beings with her new series of colorful sculpture, video and collage at Chelsea’s Leslie Tonkonow Artworks & Projects. In this lush corner installation, a meditating figure in fantastical priestly garb holds minerals that supposedly release the power of greater empathy. (Through Feb 28th).
Saya Woolfalk, ChimaTEK: Virtual Reality Station, mixed media installation with video, 108 x 91 x 19 ½, 2015.
Brooklyn-based artist KATSU is known for semi-abstract paintings created by drone; here at The Hole, a cluster of ceramic drone sculptures periodically disappears in a cloud of vape-generated smoke. (On the Lower East Side through Feb 22nd).
KATSU, Ceramic drone swarm, ceramic stoneware, 15 x 15 x 3 inches, 2014-2015.
Multi-media artist and media darling Dan Colen points to Disney films as a source for his latest, mostly abstract, paintings collectively called ‘Miracle.’ Here, ‘The Sorcerer’s Apprentice’ features an arc of sparkles painted in raw pigment and oil. Colen’s process-based style is so fashionable at the moment as to prompt the question of whether this piece demonstrates magic with painting or marketing. (At Gagosian Gallery through October 18th).
Dan Colen, The Sorcerer’s Apprentice, oil and raw pigment, 67 x 102 inches, 2013.
