Kay WalkingStick’s paintings at Chelsea’s Hales Gallery traverse and glory in the North American landscape, from mountain peaks, to eroded canyons to windy shorelines. Each is overlaid with a pattern derived from imagery created by Native American peoples who have lived in the areas depicted. Together, the patterns and scenery speak to the deep connectedness of Native histories and culture and the land. (On view through April 16th.)
Christopher Myers’ applique textiles at James Cohan Gallery picture dramatic moments in history; here, a star-shape on the head of 19th century Xhosa leader Mlanjeni speaks to his vision of resistance to British colonialism in South Africa, specifically his prophesy that the Xhosa would be impervious to British bullets. Created from a patchwork of patterned textiles, each hanging work speaks to an individual creator employing material with its own histories and associations into a larger, conceptually layered image. Likewise, Myers’ subjects, who range from Paiute Ghost Dance advocate Wovoka to Hong Xiuquan, who fought the Qing Dynasty leaders to create an earthly Heavenly Kingdom, crafted diverse and complex ideologies of resistance. (On view in Tribeca through April 2nd).
Known for medium-sized, uncannily still wooden figures, South African sculptor Claudette Schreuders explores the notion of doubling with new work at Chelsea’s Jack Shainman Gallery. In response to the experience of social isolation over the last two years, Schreuders has been picturing the self as constant presence and company. Titled Accomplice, this piece considers how a lack of communication can lead to polarization and extreme thinking; however, at the same time, the hand gestures were inspired by a tender moment in a 14th century medieval church sculpture of Christ’s mother Mary greeting her relative, Elizabeth. (On view through April 2nd).
After an over two-decade hiatus from sculpture-making, late west coast Light and Space artist Peter Alexander came back strong, creating cast forms that appear to glow. Pace Gallery’s current show of these works from ’11 to ’20 features this eighteen-foot-long installation of urethane strips. Varying in width and color, the parallel pieces create an irregular rhythm that excites the senses. (On view through March 19th).
Titled ‘Phantom Tail,’ Elizabeth Glaessner’s show of new painting at PPOW Gallery in Tribeca dissolves distinct separation between human and animal bodies in order to probe possible forgotten connections to nature. Searching for what the gallery identifies as “collective primordial knowledge,” Glaessner imagines creatures with long horse-like or spider-like legs and here, sphinxes with tails curling to meet their flying hair. Created using poured pigment and solvent, the washy figures elude definition, as if perceived in a fever-dream. (On view through March 19th).
