Saif Azzuz at Nicelle Beauchene Gallery

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After traversing a mini-maze of metal barricades decorated with sharply cut outlines of foliage, visitors to Saif Azzuz’s installation in Tribeca at Nicelle Beauchene Gallery reach a painting of an idyllic scene representing downtown Manhattan prior to European arrival.  Inspired by his Yurok family’s connection to the land in California, Azzuz considers how access to and use of the land has shifted over time around what’s now Collect Pond Park, once downtown’s major source of drinking water and now an area occupied by Manhattan’s vast court buildings and jail.  (On view through March 25th).

Saif Azzuz, installation view of ‘Says Who,’ featuring (back wall) Under the willow tree (let the earth stabilize your postcolonial insecure jitter), acrylic on canvas, 96 x 160, 2022.

Berenice Abbott at the Metropolitan Museum of Art

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Right on the heels of a show of photographer Berenice Abbott’s Greenwich Village portraits and urban landscapes at Chelsea’s Marlborough Gallery, fans of the iconic early 20th century New York City chronicler can enjoy the Metropolitan Museum of Art’s new exhibition of images from Abbott’s 1929 album shot around town.  Freshly back from an eight year-long stay in Paris where she pivoted to photography and established her own successful studio, Abbott arrived in New York and enthusiastically fell to documenting the thriving city as she found it.  Also included in the Met’s show are works by Abbott’s contemporaries and her ‘Changing New York’ series from ’35-’39, including this view of a 9th Ave Automat. (On view on the Upper East Side through Sept 4th).

Berenice Abbott, Automat, 877 Ninth Avenue, gelatin silver print, 1936.

Hew Locke, The Relic at PPOW Gallery

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Two ships appear to float in the center of PPOW’s Tribeca gallery space, their tattered sails and apparition-like figures on the cabins and crates suggesting that they’ve floated in from another place and time.  The sense of disorientation is key to Guyanese-British artist Hew Locke’s consideration of Guyana’s colonial past and its future as the country experiences an oil boom.  The dilapidated house on the deck of this ship is echoed in photographs on the wall of Guyanese houses that have seen better days; Locke adds acrylic renderings of water inundating the lower levels as a warning that human aspirations can be washed away by greater forces.  (On view in Tribeca through April 1st).

Hew Locke, The Relic, wood and mixed media, 88 5/8 x 98 3/8 x 24 ¾ inches, 2022.

Maya Brodsky at George Adams Gallery

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From the modestly sized to the tiny, Maya Brodsky’s realist paintings at George Adams Gallery draw audiences closer to inspect and appreciate detailed images of the artist, her young daughter and her grandmother.  Though several scenes of Brodsky’s daughter Eda in the hospital after being born are touching in their tenderness and most of the show’s paintings showcase beautiful light effects (sunlight or artificial light), the most moving paintings are of Dusya, Brodsky’s grandmother.  As Dusya rubs Maya’s foot or fastens the buttons of her own sweater, Brodsky renders her fine crown of straight white hair or her well-used hands with loving detail and a sense of gravity that feels profound. (On view in Tribeca through April 1st).

Maya Brodsky, Open/Close, oil on mylar mounted on panel, 5 5/8 x 5 ¼ inches, 2019.

Derrick Adams at FLAG Art Foundation

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Painter Derrick Adams has long been inspired by the sights and people of his Brooklyn neighborhood, from wig shops to the faces of his neighbors.  Recent work on view at the Flag Art Foundation in Chelsea continues this interest while announcing a new direction; inspired by movies, Adams adds another layer of narrative and visual power to over a dozen new works that continue his exploration of Black leisure and joy in everyday life.  One day while working on a photo shoot in a Brooklyn park, Adams observed a young Black couple installing and relaxing in a hammock.  The scenario struck him as cinematic and inspired this happy ode to life’s pleasures enjoyed by the couple, a squirrel, pigeons and even a public monument.  (On view through March 11th).

Derrick Adams, JUST, acrylic on wood panel, 95 x 71 7/8 inches, 2022.

Patti Warashina in ‘Robert Pfannebecker’ at R & Company

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R & Company’s celebration of post-war American craft collector Bob Pfannebecker includes nearly 70 objects by over 30 artists that are a feast for the eyes, including stunners like Patti Warashina’s ‘Deco for Kottler.’   Head of the ceramics program at University of Washington, Seattle for decades, Warashina nods to fellow professor Howard Kottler with the title of this streamlined and elegant piece from her ‘Stacked Loaf’ series.  Though abstract, this stacked form resembles architecture and rising clouds.  (On view in Tribeca through April 14th).

Patti Warashina, Deco for Kottler, from the Basket, Loaf and Arch Series, glazed ceramic, 6 (l) x 20 (w) x 27 inches (h), 1970.

Mark Thomas Gibson at Sikkema Jenkins & Co

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Mark Thomas Gibson’s new paintings at Sikkema Jenkins & Co feature hands, feet and legs but no full figures, a selective focus that ominously suggests multiple players unknown to us and perhaps to each other. White hands clasp in prayer, proffer a rope-bound fist or a broken wristwatch while a solitary Black hand holds a critical theory text by Achille Mbembe about democracy under threat.  All the while, menacing cartoonish whistles sound their warnings amid a leaking system of pipes in a cacophonous mele that seems about to explode. (On view through March 11th).

Mark Thomas Gibson, All A Go (Steampipes and Hands), ink on canvas, 66 1/8 x 86 ¼ inches, 2022.

Nicole Eisenman at Print Center New York

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Known as a painter, Nicole Eisenman’s forays into sculpture over the past few years have earned her accolades in gallery shows and the 2019 Whitney Biennial; now, her decade-long experimentation with printmaking is the subject of an informative and visually gratifying show at the Print Center New York.  Emphasizing process and creativity, a series of eight prints made during stages of the creation of the 2012 etching ‘Watermark’ illustrate her progress.  Here in the final version, Eisenman brings us into the intimacy of her family home, complete with her mother, father and her two children who read books at center.  We see the scene through Eisenman’s eyes as she eats from a bowl and looks out over a room alive with unspoken thoughts.  (On view through May 13th).

Nicole Eisenman, Watermark, etching and aquatint, ed of 25, printed and published by Harlan & Weaver, New York, 2012.

Spencer Finch at the Hill Art Foundation

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It’s impossible not to gaze out over 10th Ave or the greenspace of the High Line Park through the floor-to-ceiling windows of the Hill Art Foundation’s gorgeous two-story Chelsea gallery space.  Spencer Finch – an artist who has made a career of simulating natural phenomena in gallery settings using a diverse range of media from photography to installation – reverses the outward look, inviting nature into the space. Inspired by Claude Monet’s desire to “paint air,” Finch has created an installation that recreates his direct observation of the light and color of the famous Impressionist’s garden in Giverny.  (On view through March 4th).

Spencer Finch, Painting Air, glass, hardware, wall painting, dimensions variable, 2012.

Chiharu Shiota at Templon Gallery

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The huge line to enter Chiharu Shiota’s exhibition at Chelsea’s Templon Gallery last weekend speaks to the capacity of the Berlin-based Japanese artist to mesmerize audiences with the scale and intense labor of installations that elaborate on her ongoing theme of human connectivity.  A temporary installation fills the gallery’s front room, acting as portal to the rest of the exhibition and a place to marvel at the seemingly simultaneously chaotic and orderly network the artist created by suspending book pages in a web of thick white thread stapled to walls and floor.  Titled ‘Human Rhizome,’ the piece references an underground network of roots; in Shiota’s interpretation, the written word acts as an unseen communication network. (On view through March 9th).

Chiharu Shiota, Human Rhizome, thread and book pages, installation, ‘23

Ramekon O’Arwisters in ‘Pollen on a West Wind’ at Jason Jacques Gallery

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The organizing principle for Jason Jacques Gallery’s group show of innovative ceramic sculpture is not a theme but a place – all participating artists connect in some way to the Center for Contemporary Ceramics at California State University at Long Beach.  Ramekon O’Arwisters’ relationship to CSULB is less conventional and his work alluring for his creative appropriation of failed ceramic forms abandoned there into fabulously colorful and dynamic sculptures.  Inspired by an encounter with broken ceramics during a residency at the San Francisco dump, O’Arwisters added the material to his textile practice, creating exuberant yet compact compositions that energize the show.  (On view in Chelsea through March 25th).

Ramekon O’Arwisters, Cheesecake #9, fabric, ceramics from CSULB ceramic program, beads, pins, 20h x 11w x 11d, 2019.

Tania Perez Cordova at Tina Kim Gallery

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Titled ‘Precipitation,’ Tania Perez Cordova’s new body of work at Tina Kim Gallery manifests a rain shower in the gallery, thin gold-plated chains representing drops of water.  Falling from ceiling to floor through holes pierced in the leaves of artificial plants, the chains form straight lines that contrast the elegant curve of stems and leaves, creating a tension akin to a bow or the strings of a harp.  As visitors advance through the gallery, the number of chains increases to suggest a more intense downpour, inviting viewers to follow their instinct in interpreting and appreciating Perez Cordova’s poetic practice.  (On view in Chelsea through March 25th).

Tania Perez Cordova, Philodendron Stenolobum (70% chance of rain), iron, epoxy clay, plastic, acrylic, gold plated brass chain, patterns of leaf damage, ’22.
Tania Perez Cordova, (detail) Philodendron Stenolobum (70% chance of rain), iron, epoxy clay, plastic, acrylic, gold plated brass chain, patterns of leaf damage, ’22.

 

YZ Kami at Gagosian Gallery

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Son of a portrait painter, Iranian artist YZ Kami grew up speaking the language of portraiture, but as his art practice matured, the identity of his sitters became less important.  Now on view at Gagosian Gallery in Chelsea, enigmatic paintings of subjects known only to us by a name or descriptive identifier in the title represent specific individuals at close range who nevertheless feel as if they’re at a remove.  Indistinctly painted contours, a deliberate softening of outlines, give each character a sense of existing at another point in time, perhaps as a memory.  Downcast eyes suggest that the inner life is the subject of these intriguing but elusive paintings.  (On view in Chelsea through Feb 25th).

Isaac in Purple Shirt, oil on linen, 58 ½ x 36 inches, 2022.

Carrie Schneider at Chart Gallery

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Mariah Carey’s head dominates Carrie Schneider’s solo show at Chart Gallery in Tribeca; smiling and nodding, it is featured in a large 16mm color film projection, a still image and two impressively huge photos printed on paper rolls that total 400 feet in length.  Sampled from an interview in which Carey says in response to a question about Jennifer Lopez, ‘I don’t know her,’ Schneider’s work explores how a few seconds of footage can become a meme with an unending digital lifespan and how an evasion on Carey’s part resulted in a cascade of attention.  Schneider’s super-abundance of abstract imagery created via multiple exposures in a specially built camera generates its own kind of optical noise, a visual art parallel to celebrity culture.

Carrie Schneider, Voice’s Owner (I don’t know her), two unique chromogenic photographs made in camera, 20 x 4800 inches, installation dimensions vary, 2023.

Cannupa Hanska Luger at Garth Greenan Gallery

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Only a year and a half ago, Cannupa Hanska Luger’s standout show at Garth Greenan Gallery presented costumes and video that posited Native American practices of adaptability in the environment as a model in a world increasingly effected by climate change.  Luger’s back again already with a strong new body of work that reminds viewers of Native American ingenuity via a series of paintings in the form of large-scale tipis, which the gallery calls ‘spaces of resistance.’  Decorated with graphics reminiscent of art painted on WWII airplanes – large eyes and a set of shark teeth – the tipis are ironically not tools to alter or possess the land but instead to remain mobile within it.  (On view through Feb 25th).

Cannupa Hanska Luger, Blood Lust, acrylic on canvas and mixed media, 109 x 190 inches, 2022.

Rachel Eulena Williams at Nicelle Beauchene Gallery

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Strips of painted and dyed acrylic canvas are reassembled in this dynamic composition by Rachel Eulena Williams in ‘My Way: A Gathering’ at Nicelle Beauchene Gallery in Tribeca.  Featuring work by Gee’s Bend Quiltmakers and younger Black female artists in touch with their artistic forebears’ legacy, this group exhibition is a visual feast of pattern and color.  (On view through Feb 18th.)

Rachel Eulena Williams, Fall Scrap Flag, acrylic on canvas, dye canvas and polyester, 68 x 73 inches, 2022.

Mikey Yates in ‘The Midnight Hour’ at The Hole

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Young Kansas City based artist Mikey Yates, whose ‘Summer Walker’ is a standout at The Hole’s current night-themed group exhibition, paints tranquil scenes that include a family making art together at the dining room table and women chatting at night on a rooftop.  Such scenes – whether populated by solitary people or multiple individuals – argue the pleasures and importance of domestic life.  Though the individual in this painting walks alongside a highway in relative isolation, light from the streetlamp, a yellow hydrant and glowing neon sign in the distance create a sense of well-being and purpose.  (On view through Feb 18th).

Mikey Yates, Summer Walker, oil, acrylic and oil stick on canvas, 40 x 30 inches, 2022.

Katherine Bernhardt at Canada NYC

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Known for the ‘stupid, crazy, ridiculous, funny patterns’ (a 2014 show title) of her paintings, Katherine Bernhardt’s new work at Canada NYC continues to amuse with repeating images of Bart Simpson at his most irreverent.  Dropping his shorts and flanked by two giant smoking cigarettes, the day-glo cartoon character is an emblem of provocation and yet hard to take seriously. Bernhardt finds more contrast in each paintings’ combination of street-art channeling spray-painted outlines vs washy acrylic staining that signals considered painterly abstraction.  To those who might worry about the seriousness of Bernhardt’s series, the painting’s title applies: ‘Don’t have a cow, man.’ (On view through Feb 25th).

Katherine Bernhardt, Don’t have a cow, man,’ acrylic and spray paint on canvas, 60 x 48 inches, 2022.

Marlon Mullen, Untitled at JTT Gallery

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Marlon Mullen‘s paintings, now on view at JTT Gallery, take imagery from art magazine covers and other art-related publications and filter it, altering graphic elements and text to transform the original image into something highly personal.  An artist with autism spectrum disorder who does not communicate verbally, the import of Mullen’s carefully rendered text is amplified.  Mullen’s project is also poignant for its focus on images – magazine covers – that have a great deal of cultural importance when fresh but are quickly replaced by new images/covers.  With his bold and imaginative interpretations, Mullen extends the life of these moments in art history while forcing recognition of their fleeting relevance.  (On view in Tribeca through Feb 11th).

Marlon Mullen, untitled, acrylic on canvas, 48 x 40 inches, 2022.

Cynthia Talmadge at Bortolami Gallery

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The streetscape in this painting by Cynthia Talmadge at Bortolami Gallery is a rendition of the gallery’s actual Tribeca location, but created in a pointillist painting style, the place doesn’t quite seem real.  Appropriately, each picture depicts a scene in the imagined life of ‘Alan Smithee,’ a pseudonym used in place of a real film director’s name when (s)he has lost creative control of a film and disowns it.  Talmadge pictures Smithee in various Hollywood haunts (the Scientology Celebrity Center, the Beverly Hilton) and later in New York as he ditches his west coast lifestyle and disastrous film career in favor of a shot at Broadway.  Redemption eludes Smithee but the story – also told with details of Smithee’s life on the cover of various issues of Playbill – entices with its conflict between big dreams and dashed hopes.  (On view in Tribeca through Feb 25th).

Cynthia Talmadge, Maserati (39 Walker), oil and canvas with wood frame, 30 x 24 inches, 2022.

RaMell Ross & William Christenberry at Pace Gallery

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After moving to Hale County, Alabama several years ago, writer, filmmaker, photographer and professor RaMell Ross has become known for creating contemplative portraits of the area’s Black residents in film and photography.  A selection of these images are a highlight of Pace Gallery’s dual show (curated by Ross) of Ross’s own work alongside artwork by the late photographer William Christenberry.  In this show, Ross’ focus is on place as much as people; inspired by Christenberry’s use of red-toned Alabama earth, Ross employs the material in flag boxes and picture frames and photographs dirt manipulated by man and machine.  Titled ‘Typeface,’ this piece suggests that earth can be used as a language or means of communication as it is developed to tell a new story.  (On view in Chelsea through Feb 25th).

RaMell Ross, Typeface, pigment print mounted to Dibond, 59 x 73 ¾, 2021.

Renata Bonfanti at Kaufman Repetto

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Experimentation and a quest for the new has been at the heart of Italian textile designer Renata Bonfanti’s work since she traveled from her native Italy to complete her studies in Olso in the early 50s.  A selection of woven work from 1968 – 1990, now on view at Kaufmann Repetto in Tribeca, foregrounds Bonfanti’s inventive techniques and varied geometries, which she explains are always inspired by the built environment.  (On view through Feb 18th).

Renata Bonfanti, Kilim 3 (from the Bengala series), linen, wool, and meraklon, 89 x 71.5 inches, 1982.

Ryan Sullivan at 125 Newbury

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Ryan Sullivan’s abstractions invite viewers on a process of discovery in new work at 125 Newbury; what appear to be relatively straightforward non-representational paintings are in fact complicated images created by both chance and forethought.  Sullivan’s working technique is key.  Using pigment suspended in industrial grade resin, the artist makes the paintings ‘backward,’ by laying down the marks that will be seen on the surface, then continuing to add on the background layers, eventually moving the piece from its frame once set.  As much sculpture as painting, the untitled pieces foreground our own exploration of how to interpret what we’re encountering in each dynamic and complex composition.  (On view in Tribeca through Jan 28th).

Ryan Sullivan, Untitled, cast urethane resin, fiberglass, epoxy, 88 ¾ x 79 ¾ inches, 2022.

Ana Pellicer in ‘Shades of Daphne’ at Kasmin Gallery

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Titled ‘Shades of Daphne,’ Kasmin Gallery’s current group exhibition celebrates ‘resistance and revolt’ of figures who’ve changed forms, a la Daphne of Greek mythology, who morphed into a tree before being accosted by Apollo.  Mexican artist Ana Pellicer’s ‘Purepecha Rattlesnake,’ a giant chain and pendant, is intended as jewelry for the Statue of Liberty, a conceptual aspect of  the work that changes our idea of the statue’s identity.  Crafted using 500-year-old copperworking techniques from Michoacan, Mexico, Pellicer suggests that Lady Liberty has sophisticated tastes.  (On view in Chelsea through Feb 22nd).

Ana Pellicer, Purepecha Rattlesnake, woven copper chain with cast copper pendant, 185 x 25 ¼ x 7 7/8 inches, 1995.

Robin Rhode, Die Strandloper – Man at Lehmann Maupin

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A man with skin composed of overlapping shells arranges his hands on a wall in Lehmann Maupin Gallery’s front room as if to peer into the vibrantly colored picture before him – a mural depicting a block of flats.  ‘Die Strandloper – Man’ or ‘The Beachwalker – Man,’ an installation by South African artist Robin Rhode, is titled after a term used to refer to one of South Africa’s oldest people groups, the Khoisan, who have lived along southwest Africa’s coasts and whose lifestyles have been under threat for centuries by European settlement and now climate change.  Resembling the streamlined forms of hotels from the game Monopoly, the structures in their non-natural colors are a sharp contrast to the figures’ close physical relationship with the natural world. (On view in Chelsea through Feb 11th).

Robin Rhode, Die Strandloper – Man (The Beachwalker – Man) and Die Strandloper – Boy (The Beachwalker – Boy), both are glass fiber reinforced plastic and shells, ’22 and Block of Flats (Wall Painting), acrylic paint, dimensions variable, ‘23

Victoria Sambunaris Photographs at Yancey Richardson

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Two tiny backpackers could almost go unnoticed in the bottom center of this photograph by Victoria Sambunaris, on view at Yancey Richardson Gallery, if Sambunaris had not framed them so carefully on the curving pathway of Death Valley National Park from her vantage point above.  Though dwarfed by natural surrounds, human presence is unmissable in the artist’s new work focusing on the California desert.  Expecting to encounter these landscapes as wastelands, Sambunaris instead witnessed all manner of human activity from camping caravans to dune buggy riding, made all the more attractive during the pandemic, when she traveled to make this body of work. (On view in Chelsea through Feb 18th).

Victoria Sambunaris, Untitled, (Zabriskie Point), Death Valley National Park, California, 2021. Chromogenic print, 39 x 55 inches.

David Hockney, iPad Paintings at Pace

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Cloudy skies do little to dampen the luminosity of this iPad drawing by David Hockney, now on view in a solo show of the artist’s new work at Pace Gallery.  Created with the help of six iPads, this garden landscape scene is both disjointed – two different elevations combine at center, rain cloud patterns repeat – and harmonious thanks to continuous views of the flat, yellow-toned foreground.  Made lively by shifting clouds and rings spreading on the water, the scene’s combination of perspectives and vivid colors turns an otherwise mundane garden scene into a delight for the senses.  (On view in Chelsea through Feb 25th).

David Hockney, 10th – 22nd June 2021, Water Lilies in the Pond with Pots of Flowers, six iPad paintings comprising a single work, printed on two sheets of paper, mounted on Dibond, 82 ½ x 78 ½ inches, 2021.

Simone Leigh at the Metropolitan Museum of Art

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Simone Leigh’s monumental ‘Large Jug’ in the Metropolitan Museum of Art’s exhibition ‘Hear Me Now: The Black Potters of Old Edgefield, South Carolina’ draws on the historic and influential pottery produced by enslaved Africans in Old Edgefield prior to the Civil War.  The Met’s current show includes vessels used for food preparation and storage as well as a selection of face jugs, pottery vessels bearing human likenesses and having ritual significance.  In Leigh’s version, facial features have been replaced by large cowrie shells that hint at eyes or mouths but also point to the past use of the shells as currency.  (On view through Feb 5th, 2023).

Simone Leigh, Large Jug, glazed stoneware, 62 1/2 × 40 3/4 × 45 ¾,’21 – 22.

Wael Shawky, Isles of the Blessed XII at Lisson Gallery

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Egyptian artist Wael Shawky once said that “…art should be running after our own ignorance…” explaining that his artistic project arises from learning, particularly about how history has been constructed.  In ‘Isle of the Blessed,’ the Egyptian artist’s current solo show at Lisson Gallery, Shawky presents a single-channel film and accompanying paintings that consider Greek mythology’s explanation of place names (e.g. Europa) as a way of deriving fact from fiction.  Mysterious, cartoonish and a little haunting, paintings such as this one, ‘Isles of the Blessed XII,’ explore the boundaries between the fantastical and the real.  (On view in Chelsea through Jan 14th).

Wael Shawky, Isles of the Blessed XII, oil on canvas, 16 x 20 1/10 x 3/5 inches, 2022.

Bethany Collins in ‘Visual Record: The Materiality of Sound in Print’

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Bethany Collins’ artwork is about language, specifically its potential to communicate or to completely fail to do so.  In the Print Center’s engaging fall/winter group exhibition ‘Visual Record,’ Collins presents ‘America:  A Hymnal,’ a book featuring one hundred songs set to the tune of ‘My Country Tis of Thee.’  Since the 18th century, new lyrics have been written for this song in support of such divergent causes as temperance, suffrage, abolition, and the Confederacy.  In Collins’ book, printed lyrics run below notes that have been burnt away by laser cutting, demonstrating that the classic tune has itself become a battleground for various ideologies.  (On view through Jan 21st).

Bethany Collins, America: A Hymnal, book with 100 laser cut leaves, 6 x 9 x 1 in, 2017.
Bethany Collins, America: A Hymnal, book with 100 laser cut leaves, 6 x 9 x 1 in, 2017.

 

 

 

Rico Gatson at Miles McEnery Gallery

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Like two huge eyes or dual portals into the unknown, Rico Gatson’s ‘Untitled (Double Consciousness)’ is dominated by two intersecting sets of concentric circles, a repeated motif in his current show of painting titled ‘Spectral Visions’ at Miles McEnery Gallery.  The work’s title suggests a simultaneous looking outward and inward; its vibrant color indicating a state of heightened awareness.  Inspired by mathematician Ron Eglash’s study of fractal forms found in African patterns and spiritual expressions in the work of artists like Hilma af Klint and Emma Kunz, Gatson harnesses geometry to express kinds of order that exist beyond the conscious realm. (On view through Jan 28th).

Rico Gatson, Untitled (Double Consciousness), acrylic paint and glitter on wood, 36 x 48 inches, 2022.

Deborah Butterfield at Marlborough Gallery

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Though told as a student that horses weren’t ‘serious’ subjects for contemporary art, Deborah Butterfield persevered to become renowned for sensitive and powerful sculptures of horses created in materials from salvaged metal to sea plastics.  Best-known are her bronze pieces that still appear to be made of the wood from which they were cast, an enticing illusion.  In a show of new work at Chelsea’s Marlborough Gallery, Butterfield sourced wood from near her home/working horse ranch in Montana and property in Hawaii to create towering horses like this one titled ‘Sweetgrass,’ which, though its assembled form is light like a sketch created in wood, has a powerful presence in keeping with its weighty bronze manufacture.  (On view through Jan 14th).

Deborah Butterfield, Sweetgrass, cast bronze, unique, 90 x 108 x 33 inches, 2021 – 22.

Billy Childish, Tree – Seattle at Lehmann Maupin Gallery

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Though Billy Childish is known for his stunningly prolific production of punk and garage albums, volumes of poetry and thousands of paintings, his latest show of canvases at Lehmann Maupin Gallery exudes tranquility.  Here, a lone shore pine dominates the canvas, reaching out to the blue and white strata of sky with its branches.  In other paintings, solitary figures navigate canoes or swim in frigid-looking waters, suggesting a journey that must be undertaken alone.  (On view in Chelsea through Jan 7th).

Billy Childish, tree – seattle, oil and charcoal on linen, 96 x 72 x 2 inches, 2022.

Ariana Papademetropoulos at Vito Schnabel Gallery

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Taking inspiration from medieval tapestries including ‘The Hunt of the Unicorn’ at the Met Museum’s Cloisters, Ariana Papademetropoulos’ new paintings at Vito Schnabel’s Chelsea gallery feature a unicorn that struggles towards its own unique experience of freedom.  Here, set in a Renaissance-era wood paneled room, the mythical creature – who the artist sees as an alter-ego – rests on a bed that is simultaneously a watery landscape.  This glimpse into a parallel world and the mirror with an emerging face on the left of the painting suggest that the unicorn may have escape portals that will allow it to slip its confines. (On view in Chelsea through Jan 7th.  Note holiday closures this week.)

Ariana Papademetropoulos, Horror Vacui, oil on canvas, 91 ¾ x 108 ¼ inches, 2022.

Hew Locke’s Facade Commission ‘Gilt’ at the Metropolitan Museum of Art

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As museums including the Metropolitan Museum of Art continue to address accusations of improperly acquired artifacts, the museum’s façade commission of Hew Locke’s ‘Gilt’ is both appropriate and daringly self-critical.  Locke explains that his cast fiberglass sculptures, gilt to resemble valuable artworks, are a pun on ‘guilt’ and a prompt to consider how the objects in the museum have been gathered to satisfy our pleasure.  While a creature at the base of the vessel literally devours it, eyes at the top look on in witness and a figure inspired by an 8th century BCE ivory in the Met’s permanent collection ironically brings tribute to the Assyrian Empire.  (On view on the Met’s façade through May 30th, 2023).

Hew Locke, ‘Trophy 2’ in installation view of the Façade Commission ‘Gilt’ at the Metropolitan Museum of Art, fiberglass, stainless steel, gilding and oil-based paint, Dec 2022.

Tau Lewis at 52 Walker

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Six monumental heads tower over visitors to Tau Lewis’ installation of totemic sculptures at 52 Walker in Tribeca, offering a conduit to encounter the divine.  Calling Lewis’ new pieces a ‘new mythology’ and a ‘corporeal arena for those who move between temporal and heavenly realms,’ the gallery presents itself as stage for interaction inspired by Yoruban mask dramas in which masks are worn and spiritually activated.  Too large for actual movement, the heads convey a powerful solidity while textures and colors created from Lewis’ use of salvaged textiles nevertheless suggest imminent movement and liveliness.  (On view in Tribeca through Jan 7th.  Note holiday closures this week.)

Tau Lewis, Homonoia, steel, enamel paint, acrylic paint and finisher, repurposed leather and suede, organic cotton twill, and coated nylon thread, 88 ½ x 68 x 26 ¼ inches, 2022.

Studio Job at R & Company

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Too large even for the Rockefeller Center Christmas tree, this hanging sculpture by Dutch design company Studio Job at R & Company in Tribeca pushes the scale of ornament to the max.  Inspired by the car that designer Job Smeets of Studio Job and his partner Rebecca Sharkey drove across the United States in 2019, the hanging bronze Cadillac Eldorado is one of several sculptures, including a huge light in the form of an Elvis jumpsuit and a breathtakingly dynamic Statue of Liberty set of drawers, that delight as they turn American pop icons into useful design objects. (On view through Jan 27th).

Eldorado, polished, hand-painted bronze, hand-formed glass, and silver and gold leaf, edition of 5 + 2 Aps and prototype, 2020-2022.

Carolyn Salas at The Hole NYC

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A pair of long white legs tiptoe toward a hanging curtain on the right side of Carolyn Salas’ laser-cut aluminum sculpture ‘Gone’ at The Hole as if making a quick and quiet exit.  Behind, assorted disembodied heads, legs and vases suggest a crowded domestic environment from which our protagonist is slipping away to find her own space.  (On view in Tribeca through Dec 31st).

Carolyn Salas, Gone, 2022, powder-coated aluminum 3/8?, 102 x 144 inches.

Glenn Brown Paintings at Gagosian Gallery

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Against a hazy, apocalyptic landscape, two conjoined heads rise from a spindly stalk of a neck in this painting by Glenn Brown at Chelsea’s Gagosian Gallery, their downward facing gazes suggesting the demure demeanor of women meant to be looked at.  The noir-romantic landscape and the women’s postures and youthful European features are recognizable from western art history.  But self-consciously constructed in individual brushstrokes of multicolored paint, they forgo the illusion of reality.  Positioned half in shadow, half in light, one with a halo, one without, Brown both withholds and illuminates their identities in a way that suggests constant morphing.  (On view in Chelsea through Dec 23rd).

Glenn Brown, We’ll Keep on Dancing Till We Pay the Rent, oil on panel, 78 ¾ x 55 ½ inches, 2022.

Firelei Baez, Olamina at James Cohan

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Flowers, hair and a voluminous white dress obscure the features of the figure reclining across this densely patterned painting by Firelei Baez at James Cohan Gallery.  The title refers to Olamina, the highly empathic fictional character imagined by sci-fi novelist Octavia Butler, but here, the figure seems unburdened by her gift or our gaze.  Printed below the paint, on the canvas itself are numbers, a grid and a timeline that suggest the maps and documents that Baez frequently adopts and obscures as she brilliantly and flamboyantly asserts her own imagery over outmoded Euro-centric presentations of information.  (On view in Tribeca through Dec 21st).

Firelei Baez, Olamina (How do we learn to love each other while we are embattled), oil and acrylic on archival printed canvas), 86 3/8 x 114 ½, 1 ½ inches, 2022.

Kerry James Marshall, Exquisite Corpse at Jack Shainman

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A pot of gold in this new painting by Kerry James Marshall symbolizes good fortune but rests near a skeleton’s arm, suggesting that someone’s luck has run out.  Such contrast is at the heart of the artist’s new show, Exquisite Corpse, at Jack Shainman Gallery in Chelsea. Titled after the Surrealist game invented in the 1920s, each of the exhibition’s drawings and paintings are divided into three or four rectangular zones and appear to have been completed by separate individuals who had no knowledge of what was drawn or painted by the previous game participants.  The conceit might seem humorous at first – Marshall winkingly signed his own name different ways and suggests that he’s playing a game in this series.  But operating with no knowledge of the past can have implications if the stakes are higher than a fun time with friends.  Beauty ideals, a (disappearing) house, or a pot of gold are mirage-like, unstable symbols, offering food for thought about contemporary life and perceptions.  (On view through Dec 23rd).

Kerry James Marshall, Untitled (Exquisite Corpse Pot of Gold), acrylic on PVC panel, 2021.

Pat Steir at Hauser & Wirth Gallery

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A record number of monumental paintings are dominating Chelsea galleries this month; at just over thirty-seven feet long, Pat Steir’s ‘Blue River’ at Hauser & Wirth Gallery is one of the largest and most absorbing.  Painted in 2005 and hung along more recent work, the gallery explains that the piece is intended to point viewers’ minds toward the vastness and power of the universe.  Washes of blue and white running down the canvas suggest a waterfall while a red border to one side evokes a stage curtain, nodding to the fact that this extremely large rendition of a natural scene is filtered through human imagination.  (On view through Dec 17th.)

Pat Steir, installation view of Blue River, Hauser and Wirth Gallery, Nov 2022. Blue River, oil on canvas, 135 ¼ x 447 inches, 2005.

Alicja Kwade, Stella Sella at 303 Gallery

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Gravity is an unnamed but ever-present material in Alicja Kwade’s symbolically (and literally) weighty sculptures.  On view in her current exhibition at 303 Gallery in Chelsea, a rocking chair cast in bronze is partially enveloped by stone and positioned in an enclosure made of glass bricks meant to represent the artist’s personal living space. Around the enclosure are mobiles titled ‘Heavy Skies’ that distribute the weight of various stones, a contrast to the lightness normally associated with such balanced arrangements.  Precarity meets inertia in the contrast between fragile glass and heavy stone, creating a tension that comes from wondering what change is to come.  (On view through Dec 17th).

Alicja Kwade, Stella Sella, bronze, stones, 38 5/8 x 19.69 x 39.76 inches, 2022.

Raphael Navot at Friedman Benda Gallery

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Paris-based designer Raphael Navot’s furniture, now on view at Friedman Benda Gallery, begs to be touched. The gallery explains that the soft, curving forms of this couch, titled ‘Entwined,’ demonstrate the concept of comfort as something experienced both mentally and physically.  Though velvet upholstery resembles the surface of rock, and Navot intends to harken back to what the gallery calls the first furniture, ‘a pile of rounded rocks,’ the sheer tactility of the sofa’s sweeping curves makes softness irrelevant.  (On view in Chelsea through Dec 10th).

Raphael Navot, Entwined, velvet, bronze, fiberglass, 3D-milled foam, 36.75 x 56.25 inches, 2022.

Betty Woodman at David Kordansky Gallery

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“I do like extravagance, so if I’m going to err, I usually err in that direction,” Betty Woodman once said in a recorded interview as she explained the processes behind her exuberant ceramic sculpture.  David Kordansky Gallery’s current show of Woodman’s work from the ‘90s demonstrates the artist’s unconventional take on painting, ceramics and sculpture, including this lively piece, ‘Sala da Pranzo.’  Elaborate handles create a striking silhouette and call attention to the space beyond the conventional cylinder, a vessel that could hold flowers but better acts as a surface for painting.  Among the abundant patterns are foliate shapes and scrolls against an orange background, recalling Greek motifs, and large circles that suggest stylized neolithic pottery designs. (On view in Chelsea through Dec 17th).

Betty Woodman, Sala da Pranzo, glazed earthenware, epoxy resin, lacquer and paint, 25 ¼ x 32 x 10 inches, 1995.

Joan Mitchell at David Zwirner Gallery

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David Zwirner Gallery’s current exhibition of work from museum and private collections by Joan Mitchell celebrates the late second generation abstract expressionist painter’s ability to suggest emotive landscapes through unique consideration of figure-ground relationships and bold color choices.  ‘Before, Again I’ from 1985 includes both orange tones that dominated her paintings in the early 80s and the cooler colors that evolved as a result of health challenges later in the decade.  Both palettes point to the inspiration she found in her gardens in Vetheuil, a town once home to Impressionist painter Claude Monet.  (On view through Dec 17th).

Joan Mitchell, Before, Again I, oil on canvas, 109 ½ x 78 inches, 1985.

Anselm Kiefer, Danae at Gagosian Gallery

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Gagosian Gallery’s enormous Chelsea space seems made to accommodate the monumental scale and theme of Anselm Kiefer’s latest paintings, which address contemporary migration via reference to Greek mythology and the Biblical exodus.  The title of this over 43’ long painting, ‘Danae,’ refers to the Greek myth of Zeus manifesting as a shower of gold to visit the imprisoned Danae, a liaison which resulted in the birth of their son, Perseus.  Here, a cloud of gold hovers above the cavernous hangar of Berlin’s now-closed Tempelhof Airport, a space that has been used to house refugees, as if to rain blessing on the imperiled populations that have taken refuge there. (On view through Dec 23rd).

Anselm Kiefer, Danae, emulsion, acrylic, oil, shellac, gold leaf, coal, metal and wires on canvas, 149 5/8 x 523 5/8 inches, 2016 – 2021.

Allison Schulnik at PPOW Gallery

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Set off against purple and pink walls at PPOW Gallery, Allison Schulnik’s paintings of night visitors to her property in Sky Valley, California convey the mystery and intrigue of the owls, bobcats and foxes that make the desert their home.  The animation ‘Purple Mountain’ – the title piece for the show, created from 675 gouache on paper paintings – features distant San Jacinto Peak in a blaze of glorious light conditions.  By contrast, this bobcat and other animals appear to have been glimpsed briefly in a flash of light against the dark of night; rendered in Schulnik’s signature impasto style, they convey a sense of immediacy and power through their expressive rendering. (On view through Dec 10th).

Allison Schulnik, Water Plate Bobcat #1, oil on canvas stretched over panel, 48 x 60 in, 2021.

Angel Otero at Hauser & Wirth Gallery

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Featuring a piano from his studio, a former church building in the Hudson Valley, this vibrant painting by Angel Otero is a standout among his new work at Hauser & Wirth Gallery.  Otero once created abstract images from sheets of dried oil paint; he now employs a combination of techniques from paint on canvas to collaged paint, resulting in thick, complex surfaces that suggest layers of memories.  Inspired by recollections of his upbringing in Puerto Rico, ‘Concerto’ acknowledges the personal resonance of objects like dentures in a glass, a large cooking pot or the magical suggestion of a school of goldfish filling the air.  (On view in Chelsea through Dec 23rd).

Angel Otero, Concerto, oil paint and fabric collaged on canvas, 95 x 95 x 1 ½ inches, 2022.

Leda Catunda at Bortolami Gallery

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Titled ‘Geography,’ Brazilian artist Leda Catunda’s current exhibition at Bortolami Gallery offers personal interpretations of the landscape in the form of fabric-based sculptures sourced from materials created by the fashion and decoration industries.  Here, ‘Mapa Mundi’ juxtaposes the built environment (represented by swatches of plaid) with green areas inhabited by chickens.  She adds rocks from a shoreline, a few bucolic scenes of country life and ominous patches of flame, all surrounded by flowing waters.  Zones of striped colors suggest unknown aspects of life on the planet, in Catunda’s vision, a place created by our desire to define ourselves through images and design.  (On view through Dec 23rd).

Leda Catunda, Mapa Mundi, acrylic and enamel on fabric, wood, plastic, velvet, voile, flags, rug and foam, 90 ½ x 118 1/8 inches, 2022.

Jannis Kounellis at Gladstone Gallery

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Describing himself as a ‘Greek man and an Italian artist,’ the late Jannis Kounellis was a founder of Arte Povera, a movement that emerged from the desire of post-war Italian artists to embrace materials more linked to everyday life than to fine art.  In this piece from 2016, Kounellis sourced outdoor sheds, placing them on beds of coals arranged in a grid around Gladstone Gallery’s spacious 21st Street location.  Iron panels line the walls, holding a rope and bent pieces of metal that resemble an alphabet.  Though not meant to be interpreted literally, Kounellis’ materials are evocative – coal suggesting fire and the wooden sheds standing in for fuel while looking like makeshift coffins.  Whether it’s the death of the industrial past hinted at by the old railway sheds or more contemporary losses, this somber installation acts as a reminder to pause and reflect.  (On view through Dec 23rd).

Jannis Kounellis, Untitled, iron panels, bent metal, metal hooks; iron panels, rope, metal hooks; antique wardrobes, coal, overall dimensions variable, 2016.

Gladys Nilsson, Wheee at Garth Greenan

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Twenty-six vividly colored new watercolors by Gladys Nilsson lining the walls of Garth Greenan Gallery are an intense dose of visual pleasure and irreverent fun.  In this piece titled ‘Wheee,’ Nilsson tones down her focus on the body parts we tend to keep private (with the exception of a prominent derrière), instead featuring a large figure in jester-like clothes who dangles from a fleshy-pink tree branch. From on high, the individual above makes eye contact with a similarly boneless-looking character below, each as curious about each other as they are to us.  (On view in Chelsea through Dec 17th).

Wheee, watercolor, gouache, and pencil on paper, 30 x 22 ¾ inches, 2021.

Ivan Navarro at Templon Gallery

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It’s easy to name a few stars, at least of the human variety.  But start thinking beyond our solar system and it gets tougher to come up with household names for more distant celestial bodies.  The stars – Almaz, Menkalinen, Hoedus I and others noted on this lightbox by Ivan Navarro at Templon Gallery’s recently opened New York space – are officially named by a working group of the International Astronomical Union in Paris.  Navarro, known for neon sculptures that comment on political power and social issues questions who has the right to mark territory with names or by other means.  Swirls of painted color evoke distant nebula along with the stars, emphasizing the unknown nature of distant phenomenon.  (On view in Chelsea through Dec 23rd).

Ivan Navarro, Nebula X (Auriga), LED, aluminum, wooden box, paint, regular mirror, one way mirror, and electric energy, 2022.

Anya Kielar in ‘Somatic Markings’ at Kasmin Gallery

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How do individuals, particularly women, live up to the roles society offers them and how do they shape those identities? Fluidity between these two positions is at the heart of Kasmin Gallery’s new group show Somatic Markings, a selection of work by seven artists whose unconventional depictions of the human body invite rejection of binaries.  Here, Anya Kielar’s shadow box sculpture ‘The Actress’ features a figure soliloquizing before a disembodied eye.  Inspired by Greek and Roman relief painting and shallow medieval carving among other sources, the title figure is cramped by her surroundings and depicted in such willowy forms that she appears infinitely capable of adaptation and change. (On view in Chelsea through Dec 23rd).

Anya Kielar, The Actress, paint, linen fabric, foam, aqua resin, wood and plexiglass, 40 ¼ x 30 ½ x 8 inches, 2020.

Richard Ibghy & Marilou Lemmens at Jane Lombard Gallery

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From toddler fight clubs to flat earth theories, colorful sculptures by Richard Ibghy & Marilou Lemmens at Jane Lombard Gallery symbolize rumors and conspiracies of the 21st century with seriousness tempered by humor.  The purple head in the foreground of this installation view represents the notion that climate activist Greta Thunberg is actually an actor in thrall to nefarious powers.  Other pieces suggest that the US government can control the weather or that patterns of holes in ripped jeans have been used to communicate secret messages. Lighthearted in appearance but representing harmful misunderstandings, the installation emphasizes the absurdity and ubiquity of widespread falsehoods.  (On view in Tribeca through Dec 17th).

Richard Ibghy & Marilou Lemmens, installation view of ‘Alternative Facts of the 21st Century,’ at Jane Lombard Gallery, Nov 2022.

Pamela Jorden, Noisetone at Klaus von Nichtssagend

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Two strikingly different semi-spherical paintings appear to join together to provocative effect at the center of ‘Noisetone,’ one of Pamela Jorden’s new abstractions at Klaus von Nichtssagend Gallery in Tribeca.  Both created from washes of paint and featuring a curving arch at the top like a dip in a wave or a celestial sphere, the palettes of each half create divergent moods that suggest different light conditions and landscapes.  Purple and pink washes of color on the left uplift an otherwise bleak scene and off-set an overpoweringly rich combination of blue, green, red and yellow to the right.  (On view through Dec 10th).

Pamela Jorden, Noisetone, oil and acrylic and linen, 80 inch diameter, 2022.

Tunji Adeniyi-Jones, Midnight Voices #2 at Nicelle Beauchene

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At just smaller than 30 x 23 inches, Tunji Adeniyi-Jones’ new lithographs in the entry space of Nicelle Beauchene Gallery are smaller than the artist’s vibrant, pattern-driven paintings in the main space, but more intense and rewarding.  Powered by the motion of the curving, androgynous bodies that contort to fit into the picture’s confined space, each print conveys the energy and rhythms of dance.  (On view in Tribeca through Nov 23rd).

Tunji Adeniyi-Jones, Midnight Voices #2, two-color lithograph on paper, 29 7/8 x 22 3/8 inches, 2022.

Mary Ellen Bartley at Yancey Richardson Gallery

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Mary Ellen Bartley’s photographs are not about the objects she pictures; blue-toned hardcover books are shot in ways that challenge spatial perception, for example, while a stack of paperbacks with multi-colored edges becomes a geometric abstraction.  These transformations of ordinary objects into unique and thought-provoking arrangements of color and form connect Bartley with work by 20th century Italian artist Giorgio Morandi, who famously spent decades painting images of vessels as he explored the possibilities of representation.  Begun during a residency at the Casa Morandi in Bologna and interrupted by the onset of the pandemic, Bartley’s new work at Yancey Richardson Gallery features books from Morandi’s library.  Like Morandi, Bartley delays our reading of each picture’s components, sometimes by obscuring its components in a way that excites interest in the contents of the volumes and the possibilities of perception.

Mary Ellen Bartley, Large White Bottle and Shadow, archival pigment print, ed of 7, 28 x 37 inches, 2022.

Fiona Rae at Miles McEnery Gallery

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Typically, Fiona Rae’s ambiguous painted forms suggest real-world objects but elude identification.  Further complicating the work, both gestural and geometric abstraction appear on the same canvas, a surprising combination geared to upend our expectations.  Her latest work at Miles McEnery Gallery distills these artistic strategies into paintings featuring distinctly formed clusters of organic and geometric shapes set against a spare white background.  Titles reveal that each grouping is a word from a phrase taken from a written source, from pop music to Shakespeare.  This airy assemblage reads, ‘I’ve seen things you people wouldn’t believe,’ a line from the movie Bladerunner expounding on futuristic technological marvels.  (On view in Chelsea through Nov 26th).

Fiona Rae, I’ve seen things you people wouldn’t believe, oil and acrylic on linen, 60 x 50 inches, 2022.

Yashua Klos at Sikkema Jenkins & Co

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Curious to know what African cultures were part of his ancestry, New York artist Yashua Klos took a DNA test that unexpectedly ended up reconnecting him with his large Detroit-based family.  New work now on view at Sikkema Jenkins Gallery includes a handsomely presented row of masks that merge a welding mask – symbol of Detroit’s automobile industry and part of his own family’s history – with various masks influenced by African examples.  Klos considers each a symbol of ‘invocation and protection’ and torches the exterior as a transformational act akin to activating the mask’s power.  (On view in Chelsea through Dec 3rd).

Yashua Klos, Dan Protection Power Welding Mask, stained and charred wood, 13 ¼ x 10 ¾ x 11 1/8 inches, 2021.

Lucas Samaras in ‘Wild Strawberries’ at 125 Newbury

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“I continuously shift my attention to things that bother or frighten me,” Lucas Samaras wrote in a statement from 1966.  These two angled chairs, covered in geometric patterns with yarn and resting on a bed of pins, signal discomfort and precarity despite their attractive colors.  Part of 125 Newbury’s inaugural show in Tribeca, titled ‘Wild Strawberries’ after a surreal and disturbing scene in Ingmar Bergman’s film by the same name, the chairs suggest a threat that’s unclear but palpably present.  (On view through Nov 19th).

Lucas Samaras, Two Chairs, mixed media, 19 x 16 ½ x 21 inches, c. 1970s.

Christina Forrer at Luhring Augustine Gallery

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LA-based Swiss artist Christina Forrer’s new tapestries at Luhring Augustine continue to explore complex and troubled relationships, specifically between mankind and nature in the show’s most dramatic work, ‘Sepulcher.’  Titled after the space in which a dead person would be laid, the piece features a blazing sun, burning fields, bolts of lightning and icy breath from a blue figure in the sky, all signs of nature wreaking havoc.  Yet lady bugs, a waterfall and a fertile orchard suggest continued benefit and abundance.  All crafted in bright and pleasing colors, Forrer’s apocalypse is tempered by love of and hope for the natural world.  (On view in Tribeca through Oct 29th).

Christina Forrer, Sepulcher, cotton, wool and linen, 97 x 162 inches, 2021.

Marco Maggi at Bienvenu Steinberg & J

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You need good eyesight to appreciate Marco Maggi’s minutely crafted cut paper collages and etched glass, but ironically in the artwork ‘Global Myopia’ at Bienvenu Steinberg & J, the artist proposes that our collective vision has deteriorated as technology has come to dominate our lives.  Quoting the artist, the gallery explains, “We live inside a phone: a screen that brings us closer to what is faraway and takes us away from what is close to us.” Maggi covers this huge lens with minute geometries as delicately engraved as frost.  Viewers are invited to slow down and view the work carefully, appreciating the details and the process of discovering them.  (On view in Tribeca through Nov 12th).

Marco Maggi, Global Myopia, engraving on biconvex lens, 20 in h x 20 in w x 3 in d, 2022.

Emily Mae Smith at Petzel Gallery

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Inspired by the manically busy brooms in Disney’s Fantasia, Emily Mae Smith’s recurring broom character is set apart – an individual posing with tense self-assurance in several of the artist’s new works now on view at Petzel Gallery.  Initially, Smith saw the brooms as representative of unrecognized female labor; separated from the pack, they become lone underdogs constructed from the discards of wheat production but forming identities of their own. This figure is host to two mice on her legs and birds and a squirrel on her head, offering sanctuary and even enduring abuse as part of her relationship to nature.  (On view through Nov 12th).

Emily Mae Smith, Habitat, oil on linen, 2022.

Kohei Nawa at Pace Gallery

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Pixels and biological cells are the focus of Japanese artist Kohei Nawa’s ‘PixCell’ artworks at Pace Gallery, sculptures that invite viewers to consider the relationship between the natural and artificial.  In this sculpture of a baby deer, the surface is rendered in spheres of various sizes, as if distorted by being viewed through a lens.  Transparent and appearing to rise up from the surface of the animal, the cells speak to the title of the show, ‘Aether,’ by giving the deer an ephemeral quality that belies its physical weight and form.  (On view through Oct 22nd).

Kohei Nawa, PixCell-Bambi #24 (Aurora), mixed media (glass beads, resin, Taxidermy, aluminum plate), 26 1/8 x 25 9/16 x 25 9/16 inches, 2021.

Jenny Holzer at Hauser & Wirth

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‘ABUSE OF POWER COMES AS NO SURPRISE’ is one of Jenny Holzer’s most famous ‘Truisms’ (a series of short quotes from academic texts she started collecting in the late 70s) and one that comes readily to mind in her current exhibition at Hauser & Wirth Gallery.  Lining the walls and scattered on the floor are versions of ‘curse tablets’ popular in ancient Greece and Rome, small metal plates inscribed with ill wishes toward a rival.  Holzer’s contemporary versions, printed on lead and copper, then distressed, bear tweets from Donald Trump and Q, founder of QAnon that appear to extend the tablet tradition into the present day.  (On view in Chelsea through Oct 22nd).

Jenny Holzer, installation view of ‘Demented Words’ at Hauser & Wirth Gallery, Sept 2022.

Sol LeWitt, Wall drawing #485 at Paula Cooper

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Sol LeWitt’s wall drawings – some 1,200 sets of instructions for turning architecture into art – range from the simple (e.g. drawing lines in patterns going up, down and to the side) to the kind of full-room, immersive installation currently on view at Paula Cooper Gallery.  Energizing but restrained, a matte, fresco-like orange tone dominates, setting off multi-hued, isometric pyramids of various colors that seem to float through space.  In the center of the gallery, white enamel on aluminum sculptures resemble tips of icebergs adrift on the gallery’s polished concrete floor.  Surrounded by angular geometries in the cavernous rectangle of the gallery, visitors inhabit a parallel universe governed by alternative rules of color and space.  (On view on 21st Street in Chelsea through Oct 22nd).

Sol LeWitt, Wall drawing #485 (detail), three asymmetrical pyramids with color ink washes superimposed, color wash ink, 1986. Sol LeWitt, Complex Form #6 (to the right, detail), enamel on aluminum, 1987/1988.

Beatriz Milhazes at Pace Gallery

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Made recently but rendered antique-looking by strategically distressed paint, Brazilian artist Beatriz Milhazes’ paintings at Pace Gallery exist to celebrate the histories and abundant possibilities of design.  Scrolling stems, chains of periwinkles and clusters of Klimt-like gold circles in this painting join colorful wave forms and triangular patterns in creating strong horizontals, broken by large leaf-like forms at the center of the canvas.  Does nature compete with design?  A merger of organic and geometric shapes in the vertical strip at the center of this painting suggests a harmonious and dynamic relationship between the two.  (On view in Chelsea through Oct 29th).

Beatriz Milhazes, Azulão, acrylic on linen, 75 inches × 63 inches, 2021 – 22.

Do Ho Suh at Lehmann Maupin Gallery

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Historic monuments are a hot topic today, but Do Ho Suh’s engagement with public sculpture goes back decades, questioning what and who we memorialize.  Over twenty years ago, he crafted a large pedestal, empty on top but supported by scores of tiny sculptures of people holding up the base, suggesting that it takes the efforts of many to elevate select individuals.  Now, the new sculpture ‘Inverted Pedestal,’ the first piece to greet visitors to his exhibition at Lehmann Maupin Gallery, offers a pedestal that appears to have swallowed the figure meant to be honored.  Created from extruded plastic material, the piece’s transparent mesh surface allows visitors to see a figure, not displayed in glory but suspended upside down and hidden.  (On view in Chelsea through Oct 29th.)

Do Ho Suh, Inverted Monument, PETg, stainless steel, 98.43 x 79.72 x 79.72 inches, 2022.

Pamela Phatsimo Sunstrum at Galerie Lelong

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All is not well in the home that Pamela Phatsimo Sunstrum pictures in ‘Front Room,’ an intriguing painting in her debut solo show at Galerie Lelong in Chelsea.  In a recent talk, the artist portrayed domestic space as a place where many emotions, from rage to comfort, can be experienced.  Here, two women (alter egos of the artist) attempt to soothe an upset woman with tenderness and understanding, while a fourth individual stands distracted in the background.  Monumental in their full, beautifully rendered garments, the women’s actions and emotions take on powerful significance. (On view in Chelsea through Oct 22nd).

Pamela Phatsimo Sunstrum, Front Room, oil and pencil on linen, 2022.

Luiz Zerbini, Dry River at Sikkema Jenkins & Co

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So large it’s an immersive experience just to stand in front of it, Brazilian artist Luiz Zerbini’s painting ‘Dry River’ at Sikkema Jenkins & Co juxtaposes an organizing grid against abundant plant forms.  Drawing inspiration from diverse sources including Brazilian tower blocks and his own personal garden, Zerbini’s practice revels in the abundance of natural design while prompting viewers to consider how human planning does (or does not) coexist harmoniously. (On view in Chelsea through Oct 15th).

Luiz Zerbini, Dry River, acrylic on canvas, triptych: 118 1/8 x 236 ¼ inches, 2022.

Vanessa German at Kasmin Gallery

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Both ‘blue jeans’ and ‘the blues’ are listed as materials in Vanessa German’s towering sculpture ‘Sad Rapper,’ the title piece of her current solo show at Chelsea’s Kasmin Gallery.  Not only a visual artist but a poet and performer, German creates descriptions of her assembled sculptures that double as poetic reflections on the thought processes behind the work.  Dressed in blue and standing on a platform of red and white stripes, this figure represents a less easily recognized ‘American’ character, one covered in prayer bundles but laden with society’s expectations. (On view through Oct 22nd).

Vanessa German, Sad Rapper, wood, tar, 75 pounds of old blue jeans, the blues, sorrow, cuz in 1983 rappers could be bad but could not be sad— or gay, holiness, salt, a groan, tears, African blue and white cloth, love, meanness, the way that it feels to need to cry but not be able to cry— for an exceptionally long time, convinced of muscle instead of tenderness, grief, yarn, twine, loneliness, old blue bed sheets, heartbreak and lying about it, canvas, prayer beads, shame, black pigment, delusion, love, love, love, you gonna be ok ni$$a, you ain’t alone homie, it’s ok, just go’on ahead and be broken for a little while, shit~ life is hard sometimes, red and white paint, foam, ptsd, glue, plaster, heat, 78 x 48 x 40 inches, 2022.

Masaomi Yasunaga at Lisson Gallery

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Arranged on a long, low mound of gravel, Masaomi Yasunaga’s stone-infused ceramics at Lisson Gallery look as if they’ve been excavated from an ancient site.  Allowing glaze, granite, slip and unrefined porcelain to fuse together in unexpected ways in his kiln, the Japanese sculptor invents a surface for his unconventional pieces that suggests natural forms built up over time.  (On view in Chelsea through Oct 15th).

Masaomi Yasunaga, Vessel fused with stone I, glaze, colored slip, granite, kaolin and silver leaf, 52 3/8 x 36 5/8 x 12 5/8 inches, 2022.

Lindsey Lou Howard at Launch F18

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Amusingly excessive, Lindsay Lou Howard’s new ceramics at Launch F18 speak to overconsumption with a sense of humor and a lot of imagination. Here, ‘Plant Based’ offers nutrition to the worms still wriggling in the dirt (?) or fake meat (?) of this giant, 2-foot-tall sandwich.  Other pieces in the show, including a lamp made of thick spaghetti in red sauce (interspersed with chocolate, veggies and a can of Sprite) and a sandwich holding a giant ‘Faberge’ egg between pieces of white bread, ask if we really ‘want it all.’ (On view in Tribeca through Oct 15th).

Lindsey Lou Howard, Plant Based, stoneware, glaze, 30 x 15 x 15 inches, 2022.

Rafael Lozano-Hemmer at Pace Gallery

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In the middle of Chelsea’s bustling Pace Gallery, it comes as a surprise to hear your own heartbeat filling the cavernous room housing Rafael Lozano-Hemmer’s interactive installation ‘Pulse Topology.’  Placing your hand under one of three small monitor suspended from the ceiling not only broadcasts the sound of your heartbeat but translates it into flashing lights in one of thousands of lightbulbs suspended in an undulating pattern from the ceiling.  Though essential to life, we often take our beating hearts for granted; making them the focus of an artwork not only flips interior functions to the exterior, it speaks to something visitors have in common.  (On view in Chelsea through Oct 22nd).

Rafael Lozano-Hemmer, Pulse Topology, 2021, 3,000 LED filament lightbulbs, DMX controllers, custom-made photoplethysmography sensors, computers, covers any area between 1,000 and 5,000 square feet.

Claudia Martinez Garay at GRIMM Gallery

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Lima and Amsterdam-based artist Claudia Martinez Garay constructs a complex image of Peruvian culture and history by combining images sourced through different means. In a piece now on view in her solo show at Grimm Gallery in Tribeca, a winged hybrid creature and stepped geometries inside a flat-topped pyramidal form bring to mind Peruvian mythologies and architectures.  In the foreground, academic drawings of native flora are mounted on aluminum, expanding representations of Peru into the gallery and into the realm of new understandings.  (On view through Oct 15th).

Claudia Martinez Garay, Ghost Kingdom, painted wall mural, sublimated print on aluminum (9 parts), steel stand (6 parts), 199 x 186 x 115 inches, 2022.

Will Ryman at Chart Gallery

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Not many gallery exhibitions are outright funny, but Will Ryman’s latest sculpture at Chart Gallery is bound to have visitors chuckling.  Chock-full of eccentric New York characters crafted roughly in what looks like clay (actually resin), the show includes a platform-shoe wearing senior citizen perched on an NYPD barrier and a couple of noodle-slurping Goths on a subway seat.  Here, in a piece initially conceived of at the time of the sub-prime mortgage crisis in 2008, an exterminator scatters a crowd of mini businessmen.  (On view in Tribeca through Oct 22nd).

Will Ryman, The Exterminator, wood, resin, mesh, paint, screws, hose, plastic, 65 x 105 ½ x 159 ½ inches, ’08 – ’22.

Anila Quayyum Agha at Sundaram Tagore Gallery

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Inspired by Islamic art and architecture, Anila Quayyum Agha’s pattern-based practice celebrates the intricacies and pleasures of floral and geometric design.  Her installation Beautiful Despair, commissioned by the Amon Carter Museum of American Art in Fort Worth, Texas, literally immerses the viewer in patterns that are projected from a central cube onto the floor, walls and ceiling of a room at Sundaram Tagore Gallery.  With the piece, Quayyum Agha commemorates those lost to Covid (including her sister) while expressing hope for the future.  (On view in Chelsea though Oct 8th).

Anila Quayyum Agha, Beautiful Despair, lacquered steel and halogen bulb, 60 x 60 x 60 inches, 2022.

Urs Fischer, Denominator at Gagosian Gallery

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Van Gogh’s flower paintings were intended to be life affirming, representing joy, appreciation of nature and mankind’s love of the divine.  In this installation view of Urs Fischer’s piece ‘Denominator’ at Gagosian Gallery, a replica sunflower painting is overlaid with a projection of talking heads sourced from the internet, a juxtaposition geared to suggest that our devotion has shifted to the virtual realm.  The painting is part of a recreation of a room in London’s National Gallery, the added heads commenting on how traditional ways of spreading culture have shifted to individuals using on-line platforms. (On view in Chelsea through Oct 15th).

Urs Fischer, Denominator, database, algorithms, and LED cube, 141 ¾ x 141 ¾ x 141 ¾ inches, 2020-22.

Kate Clark at 542 West 24th Street

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Recent high-profile court cases have argued for basic human rights to be applied to animals while at the same time, many people exist with a remarkable remove from nature.  Kate Clark’s skillfully rendered hybrid human/animal characters question the nature of the relationship between humans and animals by existing as both and neither.  Confronting audiences with preternatural calm, Clark’s figures suggest an otherworldly intelligence and recall wise fictional characters from the worlds of entertainment and mythology.  (On view at 542 West 24th Street through Sept 28th).

Kate Clark, Twins, pronghorn hide and horns, blesbok antelope hide and horns, foam, clay, thread, pins, rubber eyes, H 34” x W 27” x D12”, 2021.

Hank Willis Thomas, Nexus at Jack Shainman Gallery

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Race is “at the nexus of so many social currents and tensions,” wrote a Daily Beast reporter while engaging a 2015 exhibition by Hank Willis Thomas.  Yet Thomas’ polished stainless steel sculpture Nexus (in the foreground of this photo), now on view in his solo show at Jack Shainman Gallery, models colorblind mutual aid in the form of two individuals grasping hands.  Elsewhere, a bronze sculpture of two clasped hands in different colored patinas titled ‘Loving,’ celebrates a mixed-race marriage while the show’s largest piece, ‘Embrace’ depicts Martin Luther King Jr. and Coretta Scott King’s arms enfolding each other.  A neon piece spelling out Thomas’ oft repeated phrase (honoring his murdered cousin’s last words) ‘Love Over Rules’ reinforces the artist’s message.  (On view in Chelsea through Oct 29th).

Hank Willis Thomas, Nexus (in detail in the foreground), polished stainless steel, 96 inches tall, 2022.

Sturtevant at Matthew Marks Gallery

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In a 1971 letter, American artist Sturtevant declared her art practice not as anti-art but anti-great artist.  Her trademark practice of making artwork resembling pieces by renowned artists including Andy Warhol, Keith Haring and here, Robert Gober, upends expectations and interpretation when artwork easily recognizable to an art-savvy audience turns out to be something else.  In that moment of realization, she explained, “you’re either jolted into immediately rejecting it, or the work stays with you like a bad buzz in your head.” A selection of six pieces from the ‘60s to 2014 at Matthew Marks Gallery includes a reconsideration of Robert Gober’s own meditation on doubling.  (On view in Chelsea through Oct 22nd).

Sturtevant, Gober Partially Buried Sinks, plaster, wood, wire lathe, enamel paint, and artificial grass, sinks: 24 1/8 x 23 7/8 x 2 ¾ inches, platform: 2 x 322 7/8 x 208 5/8 inches, 1997.

Jesus Raphael Soto in ‘WAVE’ at Marlborough Gallery

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Experiencing one of late Venezuelan kinetic artist Jesus Raphael Soto’s signature sculptures of hanging plastic cord in 1969, critic Guy Brett remarked that the participant’s ‘physicality was diffused,’ suggesting that moving through the piece breaks down the barrier between bodies and environment.  With or without visitors mingling among the threads in this piece in Marlborough Gallery’s summer group show of abstract and kinetic art, Soto’s installation challenges perception as it morphs from solid to ephemeral, suggesting a work always in flux.   (On view in Chelsea through Sept 10th.)

Jesus Rafael Soto, Penetrable Azul de Valencia, wood and pigmented plastic, unique, 108 5/8 x 366 1/8 x 108 ¼ inches, 1999.

‘Ghana boy’ tunic in ‘The Clamor of Ornament’ at the Drawing Center

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Featuring multicolor embroidery and emblems from urban life, ‘Ghana boy’ tunics like this one currently on view at the Drawing Center were worn by Malian workers who’d migrated to Ghana’s coastal cities.  The garments might depict tools of a trade (e.g. a barber’s scissors), fashionable clothing or vehicles (motorbikes to airplanes) and speak to the experience of the wearer.  On view in the Drawing Center’s wide-ranging design exhibition ‘The Clamor of Ornament:  Exchange, Power and Joy from the 15th century to the present,’ this tunic demonstrates self-fashioning between cultures.  (On view in SoHo through Sept 18th).

“Ghana Boy” style tunic (back), unknown artist, Mali, cotton cloth with multicolor embroidery, c. 1960s-70s.
“Ghana Boy” style tunic, unknown artist, Mali, cotton cloth with multicolor embroidery, c. 1960s-70s.

Nicole Eisenman’s ‘Abolitionists’ at the Metropolitan Museum of Art

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Nicole Eisenman’s monumental painting ‘The Abolitionists in the Park’ at Hauser & Wirth Gallery in late spring/early summer was a highlight of Chelsea gallery tours; you can see it again in the Met Museum’s permanent collection, a recent acquisition thanks to the Green Family Art Foundation Gift.  At over 10 feet tall, it towers over visitors, inviting us into a scene of protesters gathered outside City Hall in downtown Manhattan during the summer of 2020.  Featuring an array of characters, from figures in shades of blue eating pizza to an entirely red-toned figure lounging in front, Eisenman meets and disrupts expectations of large-scale history painting while taking the genre up to the present moment. (On view in the Mezzanine gallery).

Nicole Eisenman, The Abolitionists in the Park, oil on canvas, 127 x 105 inches, 2020-22.

Matthew Wong at Cheim & Read Gallery

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Celebrated late painter Matthew Wong escaped a dreary Edmonton winter in 2016 for an extended stay in LA, during which time he produced dozens of atmospheric paintings currently on view at Cheim & Read Gallery in Chelsea.  Light takes over this scene, a blazing celestial orb (is it the sun or reflected light from the moon?) dominating the view from a window.  A solitary, skeletal figure appears to look down at an equally lonesome sailboat below. Titled ‘Nostalgia,’ the painting suggests a look back from the next life.  (On view through Sept 10th).

Matthew Wong, Nostalgia, acrylic on canvas, 20 x 16 inches, 2016.

Kapwani Kiwanga at the New Museum

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Paris-based artist Kapwani Kiwanga’s fifth floor exhibition ‘Off-Grid’ at the New Museum makes powerful use of the gallery’s high ceilings with two large-scale installations employing evocative materials.  Lengths of light-colored sisal hang in a curving grid to create what the museum calls a ‘warm cocoon,’ though with the piece, Kiwanga also references the freighted history of sisal in Tanzania, from colonial introduction to contemporary export.  The show’s other piece, a two-part combination of geometric mirrors and hanging beads, features surfaces spray coated with aluminum meticulously harvested from floodlight reflectors used by urban police forces.  The metallic surface reflects the gallery’s natural light, vs the light of nighttime surveillance.  (On view on the Lower East Side through Sept 5th).

Kapwani Kiwanga, installation view of ‘Off-Grid’ at the New Museum, July 2022.

Cecilia Vicuna at the Guggenheim Museum

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Killed for objecting to mining and dam projects, Indigenous women activists Berta Caceres (top) and Maria Taant (right) are honored in Cecilia Vicuna’s ‘Liderezas (Indigenous Women Leaders)’ painting, now on view in Vicunas’ retrospective at the Guggenheim.  Made in 2022 for this exhibition, the painting also pictures Nemonte Nenquimo at center, who has successfully led her community in resisting the destructive advances of oil companies in the Ecuadorian Amazon, Chilean activist Elisa Loncon and Peruvian activist Maxima Acuna. Together, the museum explains, their arrangement forms the Southern Cross constellation, metaphorically guiding humans to exist harmoniously with each other and nature.  (On view through Sept 5th).

Cecilia Vicuna, Liderezas (Indigenous Women Leaders), oil on canvas, 2022.

Jake Clark at A Hug From The Art World

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Children delight in balloons and bunnies frolic on a Central Park lawn in new ceramics by Australia-to-New York transplant Jake Clark at A Hug from the Art World.  Titled ‘At the Carlyle,’ Clark’s show is an homage to murals by Marcel Vertes’ in The Carlyle’s Café and the famed wall works by Ludwig Bemelmans (author of the Madeline children’s books) in the Bemelmans Bar.  Large, colorful and joyous, the focus of the ceramics is more on Clark’s vibrant interpretation of Bemelman’s illustration than The Carlyle’s dimly-lit spaces, fitting for a late summer show.

Jake Clark, Bemelmans Bar (Dancing Bunnies), glazed earthenware, 16.15 x 5.1 inches, 2022.

Sonia Gechtoff at 55 Walker

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Wholly abstract yet suggesting recognizable forms, late painter Sonia Gechtoff’s canvases invite and resist interpretation simultaneously.  Successful from a young age with shows at the San Francisco Museum of Art (now SFMoMA) and the De Young Museum, Gechtoff’s move to New York’s male-oriented abstract expressionist art scene in the late 1950s slowed her career and recognition.  Her current retrospective at 55 Walker (run by Bortolami, kaufmann Repetto and Andrew Kreps Gallery) contributes to correcting the record of her importance, showcasing work from the ‘50s to 2017, the year before her death at age 91.  It includes ‘Celestial Red,’ a composition dominated by circular forms evoking the planets and moons of a solar system, and behind them all, a powerful, glowing celestial body not fully known or seen. (On view in Tribeca through Aug 26th).

Sonia Gechtoff, Celestial Red, acrylic on canvas, 77 ¾ x 78 in, 1994.

Naotaka Hiro at Bortolami Gallery

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Framing an artwork is normally a secondary consideration to making it, but in Naotaka Hiro’s new works at Bortolami Gallery, the frame includes a wood panel onto which Hiro works directly.  After securing the panel a foot above the ground, Hiro lies underneath and records the position and movements of his body in acrylic, graphite, grease pencil and crayon.  The resulting abstraction continues the artist’s exploration of the body, specifically what can and cannot be seen except through camera or mirror.  Represented as gouges at center, striped and scale-like patterns and asterisk-like marks, the physical and spiritual aspects of the body merge in a unique self-portrait.  (On view in Tribeca through Aug 26th).

Naotaka Hiro, Untitled (3 Rings), acrylic, graphite, grease pencil, and crayon on wood, 58 1/8 x 42 x 2 in, 2022.

Zinaida at Sapar Contemporary

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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

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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

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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

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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 at the FLAG Art Foundation

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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.

John Gerrard at Pace Gallery

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John Gerrard’s 18’ tall installation at Pace Gallery, picturing a flag-shaped gas flare rising from the South Pacific Ocean near Tonga, speaks to climate crises on a massive scale.  The artwork is based on photos of the ocean taken by artist and activist Uili Lousi, but quickly departs from fixed images, using game engines to generate always-changing, non-time-based simulations.  The show’s other pieces – a portrait of the last passenger pigeon in the world and a huge traffic jam in LA – question where our consumption of resources is taking us.  (On view in Chelsea through Aug 12th).

John Gerrard, Flare (Oceania), simulation, installation dimensions variable, 2022.

Barbara Kruger at David Zwirner

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Barbara Kruger’s iconic 1987 ‘I shop therefore I am’ image takes on new and damning forms in her powerful solo show at David Zwirner Gallery in Chelsea, where she updates the piece as a single channel video.  The graphic materializes as if composed of puzzle pieces which break apart and reassemble every 57 seconds with new, provocative texts, including, “I am therefore I hate” and “I sext therefore I am.”  Surrounded by wallpaper featuring hands holding imagery and messaging culled from the Internet, Kruger questions the values evidenced in contemporary culture and on-line discourse.  (On view in Chelsea through Aug 12th).

Barbara Kruger, Untitled (I shop therefore I am), single-channel video on LED panel, sound, 57 sec, 137 7/8 x 138 ¼ inches, 1987/2019.

Ahn Tae Won in Universes 5 at The Hole NYC

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Korean artist Ahn Tae Won wanted to take something everyday and make it surreal; he happened upon a cat meme and was inspired to create this quirky in-the-round sculpture titled ‘Hiro is Everywhere,’ a standout in The Hole’s summer group show in Tribeca curated by Sasa Bogojev.  Appearing to be digital yet obviously a 3-D manifestation, this intriguingly odd sculpture speaks to the unknowability of cats. (On view through Aug 5th).

Ahn Tae Won, Hiro is Everywhere, acrylic on resin, 2022.

Rose Cabat in ‘Painting in the Dark’ at James Cohan Gallery

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Rose Cabat’s small ceramic forms go against the grain, literally, with their textured glazes and invitation to touch.  Though it’s not possible to pick up the artist’s signature ‘feelies’ now on view at James Cohan Gallery in Tribeca, color-coordinated groupings of beautifully glazed stoneware vessels are a delight to the eye.  Part of a group exhibition showcasing ceramics that can be appreciated in similar terms to abstract painting, the gallery likens each vessel as a stroke in a pointillist composition. (On view through Aug 5th).

Rose Cabat, Collection of 7 Feelies, glazed stoneware, tallest: 4 1/2 x 4 1/2 x 5 1/2 in, shortest: 1 3/4 x 2 1/2 x 2 1/2 in., ca 2012-2013.