Celebrated Romanian painter Victor Man is known for courting the unknowable in his paintings, creating a sense of mystery. In this painting, the oddness is profound. Abstract hair meets meticulous realism on the face, a youthful face contrasts a mature neck and the third eye keeps things in constant movement. (At Chelsea’s Barbara Gladstone Gallery through April 18th).
Victor Man, Grafting/or Lermontov Dansant Come Saint Sebastien, oil on wood, 8 ½ x 6 3/8 inches, 2014.
In the digital age, Alison Rossiter is an artist who still finds plenty to explore in the analogue photography world. Using expired photo papers (some of which date back to the 19th century), Rossiter pours or dips liquid developer on the papers, putting them together in austerely beautiful constructions like this one. (At Chelsea’s Yossi Milo Gallery through April 4th).
Alison Rossiter, From the series Splits, Haloid Military, expired October 1957, processed 2015 (#3), four gelatin silver prints, 24” x 20” each element, unique.
‘How Iraqi Are You?’ asks the title of Iraqi born, San Francisco-based artist Hayv Kahraman’s current solo show of paintings at Chelsea’s Jack Shainman Gallery. Based on a 12th century text about everyday Iraqi life, Kahraman’s paintings loosely tell stories from her own life, including this piece, which refers to her experience of having been smuggled out of Baghdad to Sweden. (Through April 4th).
Hayv Kahraman, Kachakchi, oil on linen, 79 x 108 x 2 inches, 2015.
New York artist Yuken Teruya continues to craft amazingly meticulous works on paper from unlikely materials, including a series of floral growths from the front pages of the New York Times in his latest solo show. Here, a plant rises from a photo accompanying an article about illegal logging in the Amazon rainforest. (At Josee Bienvenu Gallery through April 11th.)
Yuken Teruya, Minding My Own Business (The New York Times, October 19, 2013), 9 newspapers, wire, glue, 2 x 12.5 x 12.5 inches, 2013-2015.
Young Brooklyn artist Lauren Luloff equates human bodies and surrounding vegetation in pieces like ‘2 Jenns in the Forest’ in her show ‘Water Vessels’ at Chelsea’s Marlborough Gallery. Using bleach on bedsheets, she creates ghostly images assembled as fragments on the stretcher. (Through March 28th).
Lauren Luloff, 2 Jenns in the Forest, bleached bedsheets and fabric, 111 x 118 inches, 2015.
