Even if you’re tired of Zoom meetings, you’ll be tempted to join Mongolian artist Uuriintuya Dagvasambuu’s online gathering in this painting at Sapar Contemporary, part of her New York solo show debut. Featuring a woman in traditional dress, flower stalks composed of tiny humans an undersea woman with her pet dog and more, each painted video frame is an introduction to a fascinating earthly or mystical world. (On view in Tribeca through April 30th.)
Though the tiger in this prep study for Walton Ford’s painting Chay, now on view in his solo show at Gagosian Gallery, looks ferocious, it represents an animal that is injured and seconds away from finding relief. Tragic misunderstandings or false assumptions about animals throughout history inform Ford’s large watercolor, gouache and ink drawings. In the finished painting (also included in the show), a tiger leaps into a pool of water, ropes trailing from his body in a reenactment from a Vietnamese folk tale about how a farmer’s trickery results in the tiger’s stripes. (On view in Chelsea through April 23rd).
Using silicone and metal beads, sculptor Eva LeWitt creates a series of hanging spheres in Luhring Augustine’s Chelsea space that shape-shift as light passes through them. The artist has explained that for her, spheres are ‘a beginning and an end…a period, a punctuation.’ Hung in a ring around the middle of the gallery at varying lengths, they seem gathered as if for conversation or play. (On view in Chelsea through April 30th).
Known for his portraits of stylish Black people painted from the ‘60s onward, Barkley L. Hendricks’ lesser-known body of work merging minimalism and basketball is now on view at Chelsea’s Jack Shainman Gallery. Between attending the Pennsylvania Academy of Art and Yale, Hendricks worked for the Philadelphia Department of Recreation as an artist with access to the courts and games that inspired pieces like ‘Two!’ Though the ball is in motion here, a sense of stillness pervades, as if the artist is savoring a moment in a game. Though circular and rectangular forms dominate and bring to mind hard-edge abstraction, Hendricks evokes the flat stillness of a momentous scene in an early Renaissance painting. (On view in Chelsea through April 30th).
Norway-based American artist Camille Norment conceives of social relationships past and present in terms of sound in two new commissions at the Dia Art Foundation in Chelsea. For this untitled piece, microphones in the gallery pick up ambient sound and send it down the stem and into the bell below. As sound creates more sound and feeds back into the loop, auditory events in the room become, in Norment’s words, “an exponential saturation of voice, existing and experienced as a negotiation of control.” (On view through Jan 2023).
