Suzanne Jackson at Ortuzar Projects

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After standing out in the 2024 Whitney Biennial and in the Shah Garg Collection’s Chelsea exhibition last winter, Suzanne Jackson’s hanging environmental installations and works on paper at Ortuzar Projects offer a more in-depth look at the artist’s remarkable assemblage.  Jackson has likened her studio to a compost heap where materials are broken down and recomposed; here in ‘9, Billie, Mingus, Monk’s,’ she repurposes many different kinds of paper and cloth along with her signature acrylic gel medium in a dense yet floating record of marks and decision-making.  Praised for its music-like fragility and manifestation of joy by Hilton Als in the New Yorker recently, the piece’s earth-toned colors and solid presence are a standout in the show.  (On view through Oct 19th in Tribeca).

Suzanne Jackson, 9, Billie, Mingus, Monk’s, acrylic, acrylic gel medium, flax paper, Bogus paper, Stonehenge paper, tissue, linen, nursery burlap, produce bag netting, canvas and wood, double-sided, 64 x 65 x 5 ½ inches, 2003.

Josh Kline at Lisson Gallery

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Among New York artist Josh Kline’s most memorable sculptures are his huge FedEx boxes filled with packing peanuts and disassembled, 3D printed Fed Ex employees.  Like that chilling indictment of exploitable or disposable labor, Kline’s scathing new work at Lisson Gallery considers the precarious position of artists and other creatives.  In the age of AI replacing humans, expensive MFAs and prohibitively expensive costs of living, what is the roll of artists?  Taking his own body as model, Kline’s scattered 3D printed heads, arms and legs suggest a complete merger between worker and product.  Printed with Kline’s own Chase credit card and titled ‘New York Artist,’ Kline suggests that he is both consumer and consumable in the ‘art industry.’ (On view in Chelsea through Oct 19th.)

Josh Kline, New York Artist, 3D-printed sculpture in acrylic-based photopolymer resin; Ikea chair, denim, UV protective coating, and museum wax, 2024.
Josh Kline, New York Artist, 3D-printed sculpture in acrylic-based photopolymer resin; Ikea chair, denim, UV protective coating, and museum wax, 2024.

Karen Bennicke at HB381

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Karen Bennicke’s richly colored ceramic sculptures are a puzzle, their cubist forms appearing at first to represent street art, alien bodies, signage, or toys.  Once visitors to her exhibition at HB381 spot the maps of Manhattan on the gallery’s back wall, however, each tangle of lines and shapes materializes into a segment of the island’s street map.  We can’t see but we can imagine that work, leisure, recreation and every aspect of city life takes place in the locations pictured, a representation of possibility more than experience.  At the same time, Bennicke’s sculptures speak to histories of settlement and the myriad decisions that went into what our urban environment looks like today.  (On view in Tribeca through Oct 19th).

Karen Bennicke, MP IVA, terracotta, slab built, 40.5” H x 13.5” W x 9.25” D, 2024.

Sky Glabush at Stephen Friedman Gallery

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Sky Glabush, a Canadian artist who lives and works in the countryside outside of London, Ontario, takes inspiration from nature and early modernist art.  His arresting landscape paintings at Stephen Friedman Gallery in Tribeca alternate electric orange and yellow toned scenes with tranquil blues and purples, conveying a breadth of responses to an abundantly varied natural world.  Marked by their geometricized orderliness, Glabush’s huge paintings of forest scenes emphasize a linear quality that’s echoed in the vertical forms of gallery visitors standing before them.  Vibrant and driven by pattern and form, Glabush’s landscapes enticingly argue for the transformative and wondrous aspects of the natural world.  (On view through Oct 17th).

Sky Glabush, River Through Trees, oil and sand on canvas, 96 x 72 inches, 2024.

Hilary Pecis at David Kordansky Gallery

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Hilary Pecis’s still-life paintings at David Kordansy Gallery are anything but still.  Vibrant colors vie for attention with bold patterns in scenes that are empty of people but feel bursting with activity.   Here, a yellow tablecloth tilts at an impossible angle to show viewers a mid-meal scene from multiple perspectives at once.  Though the food looks good, it’s our appetite for color and design that is whetted by this dynamic painting.  (On view in Chelsea through Oct 12th).

Hilary Pecis, Lunch in Frogtown, acrylic on linen, 74 ½ x 64 x 1 5/8 inches, 2024.