Richard Prince at Gagosian Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

“I was trying to imitate or channel what my kids were doing, because, you know, I can draw,” explains iconic appropriation artist Richard Prince of his new body of work ‘High Times.’  Titled after the counterculture magazine, which requested work from Prince for a 2016 cover, the new work is inspired by drawings from the late 90s that aim for immediacy and feeling that studied drawing couldn’t achieve for Prince.  Here, in a piece over 18 x 20 feet, Prince inkjet prints, paints and collages his way into a body of work that overwhelms with manic energy.  (On view at Gagosian Gallery’s 21st Street location through Dec 15th).

Richard Prince, installation view of ‘High Times’ at Gagosian Gallery on 21st Street, November, 2018.

Jocelyn Hobbie at Fredericks and Freiser Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Realist painter Jocelyn Hobbie continues to ponder female subjects in a profusion of patterns in her latest show at Fredericks & Freiser Gallery in Chelsea.  The title of this piece, ‘Hollyhock and Anemones,’ ignores the figure at center, suggesting that she’s competing for attention with other decorative elements of the painting.  Hobbie’s glowing skinned women radiate an unreal perfection; while painted in oil, they appear to have been created in the digital realm.  Positioning them in a no-man’s land of ambiguous space and purpose, Hobbie generates a seductive uncertain image.  (On view through Dec 22nd).

Jocelyn Hobbie, Hollyhock and Anemones, oil on canvas, 50 x 20 inches, 2018.

Nick Cave at Jack Shainman Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Nick Cave, famous for his part-armor, part-costume sound-suits, meditates on gun violence in America in a sobering, symbol-laden show at Jack Shainman Gallery.  Here, Cave nestles found sculptures of African heads amongst hands paired in prayer or raised in a solitary gesture of greeting, surrender or a caress.  Flowers in the background offer hope of renewal.  (On view at Jack Shainman’s two Chelsea locations through Dec 22nd).

Nick Cave, detail of Untitled, fiberglass hands, wood sculpted heads of various sizes, beaded flowers, 36” (h) x 270” (l) x 45 ½” (w), 2018

Kyle Meyer at Yossi Milo Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Kyle Meyer’s photodocumentary work with eSwatini’s (formerly Swaziland’s) HIV positive populations parallels a stunningly beautiful personal project shot with members of the country’s gay community and now on view at Chelsea’s Yossi Milo Gallery. After photographing men wrapped in scarves made of vibrant fabrics (chosen together at market), Meyer hand sliced the scarf fabric, weaving it into a photo that both protects the sitter’s identity while declaring his existence.  (On view through Dec 8th).

Kyle Meyer, Unidentified 121, archival pigment print hand woven with wax print fabric, approx. 67 x 44 inches, unique, 2018.

Annie Lapin at Miles McEnery Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

LA artist Annie Lapin conjures images from accidents, pouring a charcoal water solution over a prepared surface and embellishing the results with analogue and digitally created effects that she transcribes to canvas.  In ‘Defenestration,’ a few deft additions to the central shape turns a stain into an escaping figure hightailing it out of a raw linen canvas.  A metaphor for emerging artistic creativity?  (On view at Miles McEnery Gallery in Chelsea through Nov 10th).

Annie Lapin, Defenestration, charcoal, acrylic, flocking and vinyl paint on linen, 30 x 26 x 3 inches, 2018.