To celebrate the publication of Rackstraw Downes’ writings since 1983, Betty Cunningham Gallery has curated an exhibition of his work, including this typically ordinary landscape made remarkable by whizzing wires and rising radio towers that strain to burst out of the frame. (In Chelsea through May 3rd).
Rackstraw Downes, At the Confluence of Two Ditches Bordering a Field with Four Radio Towers, oil on canvas, 46 x 48 inches, 1995. (Collection of Louis-Dreyfus Family).
Minimalist icon Robert Mangold continues to explore ways of painting around a void in this recent ring painting, which moves the eye around by juxtaposing an angular side and curved side while suggesting hula-hoop-like movement with an off-center white line. (At Pace Gallery’s 510 West 25th Street location through May 3rd).
Robert Mangold, Compound Ring II Variant (White Line), 2012.
LA painter Laura Owens mashes together levels of reality in this huge, untitled painting, blending an inspirational phrase, a rather grotesque character pouring lemonade from his faucet-nose, a bike wheel (Duchamp homage?), a grid of varying size and thickness and a finger swipe pattern over all of it, suggesting that meaning is being uncovered or wiped away. (At Greene Naftali Gallery through April 26th).
Laura Owens, Untitled, flashe, silkscreen inks, oil, acrylic, charcoal, bike wheel and gesso on linen, 108 x 84 inches, 2014.
Drawing on his Native American roots and life in downtown New York (where he’s lived for over 30 years), Brad Kahlhamer creates a new culture populated by figures based on Hopi katsina dolls and enigmatic heroes. (At Jack Shainman Gallery’s 20th Street location through April 26th).
Brad Kahlhamer, background: American Horse, acrylic, ink, spray paint and pencil on bed sheet, 94 ½ x 72 ½ inches, 2014. Foreground: Next Level Figures, wood, wire, bells, leather, acrylic, mirrors, spray paint, 2014.
Born to Georgia sharecroppers, based in New York, the late American painter Benny Andrews used his personal history to address injustice in works like this chilling painted collage of a monstrous hunter and his beastly hound. It’s a standout in the excellent ‘Rising Up/Uprising’ at Michael Rosenfeld Gallery, a show commemorating the 50th anniversary of the 1964 Civil Rights Act. (In Chelsea through May 3rd).
Benny Andrews, Hunters, 1989, oil on canvas with painted fabric collage and zipper, 72 1/8 x 52 inches.
