Ryan Sullivan at 125 Newbury

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Ryan Sullivan’s abstractions invite viewers on a process of discovery in new work at 125 Newbury; what appear to be relatively straightforward non-representational paintings are in fact complicated images created by both chance and forethought.  Sullivan’s working technique is key.  Using pigment suspended in industrial grade resin, the artist makes the paintings ‘backward,’ by laying down the marks that will be seen on the surface, then continuing to add on the background layers, eventually moving the piece from its frame once set.  As much sculpture as painting, the untitled pieces foreground our own exploration of how to interpret what we’re encountering in each dynamic and complex composition.  (On view in Tribeca through Jan 28th).

Ryan Sullivan, Untitled, cast urethane resin, fiberglass, epoxy, 88 ¾ x 79 ¾ inches, 2022.

Ana Pellicer in ‘Shades of Daphne’ at Kasmin Gallery

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Titled ‘Shades of Daphne,’ Kasmin Gallery’s current group exhibition celebrates ‘resistance and revolt’ of figures who’ve changed forms, a la Daphne of Greek mythology, who morphed into a tree before being accosted by Apollo.  Mexican artist Ana Pellicer’s ‘Purepecha Rattlesnake,’ a giant chain and pendant, is intended as jewelry for the Statue of Liberty, a conceptual aspect of  the work that changes our idea of the statue’s identity.  Crafted using 500-year-old copperworking techniques from Michoacan, Mexico, Pellicer suggests that Lady Liberty has sophisticated tastes.  (On view in Chelsea through Feb 22nd).

Ana Pellicer, Purepecha Rattlesnake, woven copper chain with cast copper pendant, 185 x 25 ¼ x 7 7/8 inches, 1995.

Robin Rhode at Lehmann Maupin Gallery

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A man with skin composed of overlapping shells arranges his hands on a wall in Lehmann Maupin Gallery’s front room as if to peer into the vibrantly colored picture before him – a mural depicting a block of flats.  ‘Die Strandloper – Man’ or ‘The Beachwalker – Man,’ an installation by South African artist Robin Rhode, is titled after a term used to refer to one of South Africa’s oldest people groups, the Khoisan, who have lived along southwest Africa’s coasts and whose lifestyles have been under threat for centuries by European settlement and now climate change.  Resembling the streamlined forms of hotels from the game Monopoly, the structures in their non-natural colors are a sharp contrast to the figures’ close physical relationship with the natural world. (On view in Chelsea through Feb 11th).

Robin Rhode, Die Strandloper – Man (The Beachwalker – Man) and Die Strandloper – Boy (The Beachwalker – Boy), both are glass fiber reinforced plastic and shells, ’22 and Block of Flats (Wall Painting), acrylic paint, dimensions variable, ‘23

Victoria Sambunaris at Yancey Richardson Gallery

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Two tiny backpackers could almost go unnoticed in the bottom center of this photograph by Victoria Sambunaris, on view at Yancey Richardson Gallery, if Sambunaris had not framed them so carefully on the curving pathway of Death Valley National Park from her vantage point above.  Though dwarfed by natural surrounds, human presence is unmissable in the artist’s new work focusing on the California desert.  Expecting to encounter these landscapes as wastelands, Sambunaris instead witnessed all manner of human activity from camping caravans to dune buggy riding, made all the more attractive during the pandemic, when she traveled to make this body of work. (On view in Chelsea through Feb 18th).

Victoria Sambunaris, Untitled, (Zabriskie Point), Death Valley National Park, California, 2021. Chromogenic print, 39 x 55 inches.

David Hockney at Pace Gallery

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Cloudy skies do little to dampen the luminosity of this iPad drawing by David Hockney, now on view in a solo show of the artist’s new work at Pace Gallery.  Created with the help of six iPads, this garden landscape scene is both disjointed – two different elevations combine at center, rain cloud patterns repeat – and harmonious thanks to continuous views of the flat, yellow-toned foreground.  Made lively by shifting clouds and rings spreading on the water, the scene’s combination of perspectives and vivid colors turns an otherwise mundane garden scene into a delight for the senses.  (On view in Chelsea through Feb 25th).

David Hockney, 10th – 22nd June 2021, Water Lilies in the Pond with Pots of Flowers, six iPad paintings comprising a single work, printed on two sheets of paper, mounted on Dibond, 82 ½ x 78 ½ inches, 2021.