Daniel Richter at GRIMM Gallery

When German painter Daniel Richter radically switched painting styles c. 2015, moving from newspaper or history book-inspired representational scenes to more expressionistic scenarios, he explained that he wanted to get away from the ‘theater stage,’ and from ‘…knowing what I’m about to do.’  His recent paintings at GRIMM Gallery feature powerful, abstracted encounters between unknown actors, creating dramas that go beyond a particular moment in time.  Here, two figures emerge from a dark background locked in combat against a dramatically lit sky, their large scale suggesting an apocalyptic encounter between the toga-clad character on the left and the alien-like combatant with elongated, insectoid leg on the left.  (On view on the Lower East Side through Jan 4th).

Daniel Richter, UNSER DER TAG, oil on canvas, 90 ½ x 70 7/8 inches, 2019.

Rosson Crow at The Hole NYC

LA based painter Rosson Crow’s recreation of the Garden of Eden, seen here in detail and part of her current show ‘Trust Fall’ at The Hole, was inspired by a creationism theme park that looked more like a cheap film set than an idyllic landscape.  Splashed and dripped paint on the canvas surface makes it clear this is a painted representation, alluding to notions of ‘fake’ and ‘real’ that define political discourse today.  Meanwhile, a Greek-inspired urn abandoned in the foliage reading ‘how does it feel to want?’ speaks to contemporary concerns about extremes of wealth and poverty.  (On view on the Lower East Side through Dec 29th).

Rosson Crow, Garden of Eden Recreation, acrylic, spray paint, photo transfer, oil and enamel on canvas, 96 x 120 inches, 2019.

 

 

Hernan Bas at Lehmann Maupin Gallery

‘No one had really made a painting of’ the character in The Pundit before, Hernan Bas explains of his image of a young news anchor lost in thought.  Though the news cycle pervades the day-to-day, journalists rarely appear as subject matter in the Chelsea galleries, never mind at the center of a newsroom turned geometric abstraction, making this painting feel like a discovery.  (On view at Lehmann Maupin Gallery through Jan 4th).

Hernan Bas, The Pundit, acrylic and chroma key on linen, 84 x 72 inches, 2019.

Namsa Leuba in ‘The New Black Vanguard’ at Aperture Foundation

Award-winning photographer Namsa Leuba points to her Swiss Guinean heritage as inspiration for a practice that takes her around the globe making images that she calls ‘documentary fictions.’  A standout in Aperture’s eye-poppingly vibrant show of fashion-related photography, ‘The New Black Vanguard,’ curated by Antwaun Sargent, Leuba’s work illustrates the show’s desire to show off ‘new perspectives…on race and beauty, gender and power.’  (On view in Chelsea through Jan 18th).

Namsa Leuba, Sarah, Lagos, Nigeria, 2015. Designers : Torlowei, Ituen Basi. Series : NGL.

Chen Fei at Galerie Perrotin

Beijing-based artist Chen Fei channels Dutch still life in his painting of tempting foodstuffs but substitutes dumplings for bread and banana leaf wraps for grapes.  He cites Renaissance historian Vasari to question whether still life can be as engaging as portraiture, forcing the issue by presenting figurative painting in the downstairs gallery and still life upstairs.  While the large-scale nude characters downstairs steal the show with their unconventional personalities, the still lifes still wow with their sheer abundance.  (On view at Perrotin on the Lower East Side through Dec 21st).

Chen Fei, detail from Painting of Harmony, acrylic, gold and silver foil on linen mounted on board, 39 3/8 x 78 ¾ inches.