Marco Maggi at Bienvenu Steinberg & J

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You need good eyesight to appreciate Marco Maggi’s minutely crafted cut paper collages and etched glass, but ironically in the artwork ‘Global Myopia’ at Bienvenu Steinberg & J, the artist proposes that our collective vision has deteriorated as technology has come to dominate our lives.  Quoting the artist, the gallery explains, “We live inside a phone: a screen that brings us closer to what is faraway and takes us away from what is close to us.” Maggi covers this huge lens with minute geometries as delicately engraved as frost.  Viewers are invited to slow down and view the work carefully, appreciating the details and the process of discovering them.  (On view in Tribeca through Nov 12th).

Marco Maggi, Global Myopia, engraving on biconvex lens, 20 in h x 20 in w x 3 in d, 2022.

Emily Mae Smith at Petzel Gallery

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Inspired by the manically busy brooms in Disney’s Fantasia, Emily Mae Smith’s recurring broom character is set apart – an individual posing with tense self-assurance in several of the artist’s new works now on view at Petzel Gallery.  Initially, Smith saw the brooms as representative of unrecognized female labor; separated from the pack, they become lone underdogs constructed from the discards of wheat production but forming identities of their own. This figure is host to two mice on her legs and birds and a squirrel on her head, offering sanctuary and even enduring abuse as part of her relationship to nature.  (On view through Nov 12th).

Emily Mae Smith, Habitat, oil on linen, 2022.

Kohei Nawa at Pace Gallery

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Pixels and biological cells are the focus of Japanese artist Kohei Nawa’s ‘PixCell’ artworks at Pace Gallery, sculptures that invite viewers to consider the relationship between the natural and artificial.  In this sculpture of a baby deer, the surface is rendered in spheres of various sizes, as if distorted by being viewed through a lens.  Transparent and appearing to rise up from the surface of the animal, the cells speak to the title of the show, ‘Aether,’ by giving the deer an ephemeral quality that belies its physical weight and form.  (On view through Oct 22nd).

Kohei Nawa, PixCell-Bambi #24 (Aurora), mixed media (glass beads, resin, Taxidermy, aluminum plate), 26 1/8 x 25 9/16 x 25 9/16 inches, 2021.

Jenny Holzer at Hauser & Wirth

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‘ABUSE OF POWER COMES AS NO SURPRISE’ is one of Jenny Holzer’s most famous ‘Truisms’ (a series of short quotes from academic texts she started collecting in the late 70s) and one that comes readily to mind in her current exhibition at Hauser & Wirth Gallery.  Lining the walls and scattered on the floor are versions of ‘curse tablets’ popular in ancient Greece and Rome, small metal plates inscribed with ill wishes toward a rival.  Holzer’s contemporary versions, printed on lead and copper, then distressed, bear tweets from Donald Trump and Q, founder of QAnon that appear to extend the tablet tradition into the present day.  (On view in Chelsea through Oct 22nd).

Jenny Holzer, installation view of ‘Demented Words’ at Hauser & Wirth Gallery, Sept 2022.

Sol LeWitt at Paula Cooper Gallery

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Sol LeWitt’s wall drawings – some 1,200 sets of instructions for turning architecture into art – range from the simple (e.g. drawing lines in patterns going up, down and to the side) to the kind of full-room, immersive installation currently on view at Paula Cooper Gallery.  Energizing but restrained, a matte, fresco-like orange tone dominates, setting off multi-hued, isometric pyramids of various colors that seem to float through space.  In the center of the gallery, white enamel on aluminum sculptures resemble tips of icebergs adrift on the gallery’s polished concrete floor.  Surrounded by angular geometries in the cavernous rectangle of the gallery, visitors inhabit a parallel universe governed by alternative rules of color and space.  (On view on 21st Street in Chelsea through Oct 22nd).

Sol LeWitt, Wall drawing #485 (detail), three asymmetrical pyramids with color ink washes superimposed, color wash ink, 1986. Sol LeWitt, Complex Form #6 (to the right, detail), enamel on aluminum, 1987/1988.