Gina Beavers at Marianne Boesky Gallery

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Titled ‘Comfortcore,’ and inspired by a Scandinavian concept of snug interior décor, Gina Beavers’ show of sculptural paintings at Marianne Boesky Gallery pictures chunky blankets, cheerful cushions and thick towel sets which together poke fun at the rampant marketing and consumption of coziness.  Having recently moved into a home of her own, Beavers explains that online searches for furnishings led to ceaseless ads for similar products.  Here, in a thick, 3-D painting she cut from foam and built up with putty and paper pulp before painting, Beavers collages together so many items with similar prints that it’s hard to tell where the products start and stop.  (On view in Chelsea through Oct 5th).

Gina Beavers, Full circle in Jungle, oil, acrylic, putty, paper pulp, foam and wood stain on panel, 60 x 51 x 5 ½ inches, 2024.

Leonardo Drew at Galerie Lelong

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At the entrance to Leonardo Drew’s current solo show at Galerie Lelong is a huge, ten-foot-high grid of panels, each hosting a rich abundance of fragments, yet this towering, orderly artwork is overwhelmed by the dynamic chaos of a floor-to ceiling installation in the main gallery beyond.  The materials – wood, plaster and paint – appear to be weathered fragments from a natural disaster but are in fact deliberately distressed and arranged in clusters around the gallery’s two main columns.  In his urge to reinvent, Drew has reused elements from previous installations – projects for Art Basel in ’22 and the Yorkshire Sculpture Park in ’23 – to respond to the specifics of Galerie Lelong’s industrial-architecture-turned-white-cube by banishing its austerity and taking over the space.  (On view in Chelsea through Oct 19th).

Leonardo Drew, installation view of Number 427, wood, plaster and paint, 3 parts, overall dimensions variable, 2024.

Wangari Mathenge at Nicola Vassell Gallery

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Wangari Mathenga doesn’t dream the way most people do.  Able to dream while awake and be awake yet dreaming, Mathenga eventually realized that her sleep patterns were atypical and, in her recent body of painting at Nicola Vassell Gallery, pictures herself between states of consciousness.  Though we see her pajama’d figure lying down, the artist’s interest is in the brain in an active sleep state and her pictures emerge from data taken from the cameras she set up in her home and the dream journals she keeps.  Originally intending to paint the dreams she recorded, Mathenge instead focused on her own moving figure in canvases that offer intimate insights yet picture a state of consciousness accessible only to her.  (On view in Chelsea through Oct 19th).

Wangari Mathenga, I’ve Learned How to Fly (Bedimmed Boundaries), oil on canvas, 55 x 82 inches, 2024.

Mitch Epstein at Yancey Richardson Gallery

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Over the past several decades, photographer Mitch Epstein’s series have memorably pictured conflict over land, energy consumption in the US, and landmarked trees in NYC; his latest body of work at Chelsea’s Yancey Richardson Gallery, ‘Old Growth’ continues to picture the land in a stunning homage to ancient trees across the country.  A redwood emerges from fog, a striated bristlecone pine stands at attention and this enormous sequoia towers over a tiny human in images that aim to inspire the protection of forests in light of their beauty and essential function in the environment.  (On view through Oct 19th).

Mitch Epstein, Congress Trail, Sequoia National Park, California, from the series Old Growth, 45 ¾ x 36 ¾ inches, 2021.

Hilary Pecis at David Kordansky Gallery

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The title of Hillary Pecis’ current New York solo show at David Kordansky Gallery, ‘Warm Rhythm’ perfectly describes the vibrant colors and abundant patterning of her new paintings.  Set in LA and often inspired by scenes she encounters in her cross-country runs or daily life in the city, her paintings both sooth and excite with their tranquil subject matter rendered in bold color.  The delectable quality of a still life with half-eaten lunch or this cozy scene with cat, reading lamp and mug carries over into delight at an orange house set against lush greens of a verdant front yard or the blooms spilling out of a vividly painted flower shop.  (On view in Chelsea through Oct 12th).

Hilary Pecis, Pepita, acrylic on linen, 44 x 34 x 1 ½ inches, 2024.