The skin, shirt and vest of the man in this portrait by Toyin Odutola are alive with pattern, a foil to the quiet interior in which he stands and a suggestion of busy thoughts. Looking out into the light coming from outdoors, he’s privy to a vision from outside that we can’t yet see. (In ‘Vanishing Points’ at James Cohan Gallery through April 22nd).
‘Dazzle painting’ is an apt and humorous term used by New York artist Jane Hammond to describe her glittery paintings on mica sheets, which are arranged over reflective materials to catch the light. Featuring images from yesteryear, Hammond’s work literally burnishes memories. (At Chelsea’s Galerie Lelong through April 22nd).
Though the central figure of Sedrick Huckaby’s genre-bending painting/sculpture ‘Frederick’s Family’ is surrounded by relatives, their crossed arms and stony looks suggest deep discord. With downcast eyes and drab-colored clothing, Frederick begs the question of what went wrong and how things are to continue. (At Steven Harvey Fine Art Projects on the Lower East Side through April 23rd).
Color appears to move and shift, sometimes without the constraints of form in Scott Olson’s new oil paintings at James Cohan Gallery on the Lower East Side. Recalling Umberto Boccioni without the urgency or Robert Delaunay with less defined geometry, Olson channels early 20th century experiments in abstraction with subtle nods to the organic world and a palette that alternatively soothes and excites. (On view through April 23rd).
Olafur Eliasson introduces his latest exhibition at Tanya Bonakdar Gallery as political commentary with ‘The listening dimension,’ an installation of mirrored surfaces that invite personal reflection on the complexities of life. By creating an environment that gives viewers pause to consider an unusual space, Eliasson hopes to combat ‘oversimplification’ in the political realm and beyond. (In Chelsea through April 22nd).
