CGI and hand painting merge in Matthew Stone’s uncanny portrait. Part of The Hole Gallery’s ‘Post-Analog Painting II’ show, this image questions to what extent painting is influenced by the digital. (On view on the Lower East Side through May 14th).
Dawn Clements isn’t bothered about artful arrangement of the still life objects she paints, yet each object’s deliberately placement gives them all equal weight, from a smiley face made of fruits and a banana, to lip balm, rubber bands and a small belt buckle. (At Pierogi Gallery on the Lower East Side through May 7th).
Known for his meticulously hand-rendered small sculptures that allude to objects without resolving into specific things, Matt Hoyt again reveals a body of work at Bureau, Inc. that resembles unexplained archaeological finds. This untitled stand-alone piece suggests Rorschach tests, a pelvic-bone or vertebra, without closely resembling any of these. (At Bureau, Inc. on the Lower East Side through April 30th).
At the end of Romare Bearden’s ‘Bayou Fever,’ a 1979 ballet storyboarded by the artist but never performed, all problems are resolved and ‘The Emperor of the Golden Trumpet’ plays for the characters as they travel to New Orleans for Mardi Gras. One of twenty-one panels, this artwork demonstrates Bearden’s wonderful storytelling capacity and facility with collage. (At DC Moore Gallery through April 29th).
Though Yoshitomo Nara’s new work at Pace Gallery is based on traditional Japanese vessel forms, the new ceramic works continue Nara’s practice of tapping into contemporary youth cultures. Whether disaffected or conformist, Nara’s young characters are less the free spirits they normally are; as portly jugs, they come across as more contained. (At Pace Gallery’s 25th Street location through April 29th).
