New York artist Richard Dupont inaugurates Tracy Williams Ltd‘s new Lower East Side location with sculptures and drawings of distorted bodies that recall both digital effects and fun-house mirrors. (Through July 29th).
Richard Dupont, Lauren, Marylene 1, bronze (polished), 30 x 17.5 x 8 inches, 2014-15.
In the spirit of Sherry Levine’s iconic rephotographing of Walker Evans 1930s photos, Lisa Ruyter’s latest paintings reproduce photos from the Farm Security Administration’s archive of images shot during the Great Depression. In Ruyter’s words the images are, ‘a record of what was already being lost to Americans even as it was being constructed, an American dream of self-determination, independence and freedom.’ (At Eleven Rivington through July 3rd).
Lisa Ruyter, Russell Lee: Mother and child of agricultural day laborers family encamped near Spiro. Sequoyah County Oklahoma, acrylic on canvas, 78.74 x 39.37 inches, 2014.
Self-identity and national identity are tightly bound in Cuban artist Yoan Capote’s politically inflected artworks. Here, Capote peeks out from behind his sculpture of Castro, made from door hinges gathered from Havana households, suggesting either an open or closed door. (At Chelsea’s Jack Shainman Gallery through July 10th).
Yoan Capote, Immanence, mixed media including hinges, wood doors, metal armature, 120 x 180 x 180 inches, 2015.
Major Ab Exp school artist Lee Krasner’s huge ‘Comet’ signals the celestial realms in surprising color and washes of pure white light in a standout piece from 1970 in ‘Abstraction’ at Chelsea’s Robert Miller Gallery. (Through July 31st).
Lee Krasner, Comet, oil on canvas, 70 x 86 inches, 1970.
A stylized nose, heavily made-up eyelashes and explosively arranged red hair are nearly submerged beneath expressionist flowers in Ellen Berkenblit’s ‘Color Forms,’ in which her character both merges and clashes with the landscape. (At Anton Kern Gallery in Chelsea through July 3rd).
Ellen Berkenblit, Color Forms, oil on canvas, 94 x 76 inches, 2013.