Lao Tongli’s organic forms stand out against a black background, suggesting that they populate some dark, interior space despite their color. Though they look like plant forms or stylized tree branches, their resemblance to blood vessels is appropriate, having been inspired by Tongli’s fathers’ long struggle with heart disease. (On view at Chambers Fine Art in Chelsea through Sept 2nd).
Though Yoshitomo Nara’s new work at Pace Gallery is based on traditional Japanese vessel forms, the new ceramic works continue Nara’s practice of tapping into contemporary youth cultures. Whether disaffected or conformist, Nara’s young characters are less the free spirits they normally are; as portly jugs, they come across as more contained. (At Pace Gallery’s 25th Street location through April 29th).
It comes as no surprise that British artist Billy Childish counts Van Gogh as an influence. By putting these sunflowers in a vessel that recalls Gauguin’s ceramics, Childish marries two artists who lived outside of conventional society in an image that pulsates with pattern. (At Lehmann Maupin’s West 22nd Street location through Oct 31st).
Billy Childish, Sunflowers, oil and charcoal on linen, 60.04 x 42.13 inches, 2015.
Known for her elaborate, nature-inspired ceramic vessels, Joan Bankemper’s three-part contribution to Nancy Hoffman Gallery’s winter group exhibition is a serenely gorgeous reminder that winter won’t last forever. (In Chelsea through Jan 24th).
Joan Bankemper, installation view of ‘Cutout/Decoupage’ at Nancy Hoffman Gallery, December 2014.
Liz Glynn’s latest solo show is full of loot. Before visitors reach this suspended, damaged vessel, they pass Ming porcelain, Julius Caesar’s robes and more, all comically rendered in paper mache and suggesting alternate takes on history. (At Chelsea’s Paula Cooper Gallery through Feb 8th).
Liz Glynn, Vessel (Ravaged, Looted and Burned,) hardwood with bronze and steel hardware, rope, 86 x 246 x 73 inches, 2013.
