Zinaida in ‘Women and Other Wild Creature: Matrilineal Tales’ at Sapar Contemporary

Centered on female experience and knowledge, Ukrainian artist Zinaida’s art practice has delved into traditional crafts and customs of remote rural communities in Western Ukraine.  Over years of research trips, the artist has come to know traditional craftswomen, such as a maker of goose feather bridal crowns who before passing away left the artist a partial crown and instructions to finish it. In this piece at Sapar Contemporary, the customary red necklace worn by a bride is enlarged into an ungainly adornment, turned dark as if blackened by fire representing ‘arid land, charred wood.’ (On view through August 26th).

Zinaida, Black Bride, 23 5/8 x 35 3/8 inches, 2022.

Gustav Hamilton in ‘(m)ad-libs’ at George Adams Gallery

Young Brooklyn-based artist Gustav Hamilton’s paintings in glaze on ceramic slabs have the solidity of sculpture and painting’s capacity to tell a story, making them standouts in George Adams Gallery’s summer group show.  Recurring archways in Hamilton’s work were inspired by Rene Magritte’s transitional states and here, add spatial complexity to what might be a rendering of a bird on a tomb-like slab or a bird seen out the window against a night sky.  Below, a volume titled ‘Guide to Essential Knowledge’ promises to ground readers in fundamental understandings of life. Propped up by Hamilton’s ceramic coffee-cup bookends (which actually exist elsewhere as sculpture) the artist mixes profundity and lightheartedness.  (On view in Tribeca through Aug 19th).

Gustav Hamilton, A Brief History, glazed ceramic, 16 ¼ x 13 x 2 ¼ inches, 2019 – 2021.

Marianne Huotari in Summer Group Show at HB381

Inspired by a Scandinavian rug-weaving tradition that produces thickly textured textiles, Finnish artist Marianne Huotari creates sculptures made of many small ceramic elements that she hand-sews together onto a metal frame with wire.  Now on view in HB381 Gallery’s summer group show, this piece resembles a standing figure.  On closer inspection, the variety of shapes that make up the piece’s surface recall leaves, fruits and other natural forms; titled ‘Summer Night’s Oasis,’ the sculpture seems to invent a new kind of fruitfulness and visual pleasure.  (On view in Tribeca through Aug 19th).

Marianne Huotari, Kesayon Keidas (Summer Night’s Oasis), glazed stoneware, hand-sewn, 55 h. x 25.5 inches dia., 2020.

Jeffrey Meris in ‘Eyes of the Skin’ at Lehmann Maupin Gallery

Growing plants became a refuge of sorts for New York based artist Jeffrey Meris during the early pandemic and the summer of 2020.  While caring for his growing collection of greenery, Meris delighted in how easily spider plants regenerate but at the same time compared the plant’s form to a firework. Making a connection to the unrest in 2020, Meris constructed armatures like this one in Lehmann Maupin’s summer group show ‘Eyes of the Skin,’ curated by Teresita Fernandez.  Referencing an explosion with the shape of the aluminum frame and bullets in the form of the plants’ ceramic pots, Meris’ message is nevertheless one of self-care and healing through nature.  (On view in Chelsea through Aug 12th).

Jeffrey Meris, Catch a Stick of Fire, aluminum, hardware, lightbulbs, sockets, ceramics, spider-leaf plants, water, light, oxygen, dimensions variable, 2021.

Julie Curtiss in ‘Among Friends: Three views of a collection’ at the FLAG Art Foundation

Julie Curtiss does strange things with hair.  In past work, she’s covered faces, legs, animals and food with layers of wavy locks, making her subjects both repellant and slightly sinister.   Here, in a piece at the FLAG Art Foundation’s summer group exhibition, a straightforward hairstyle – middle part with straight bangs – signals menace.  Titled ‘Fangs,’ this hairdo is less scary than Medusa’s but might give a new acquaintance pause.  (On view in Chelsea through Aug 12th).

Julie Curtiss, Fangs, airbrushed acrylic and gouache on paper, 12 x 9 inches, 2020.