Despite her assertive pose, Dutch painter Hannah van Bart’s enigmatic young lady appears to literally blend into the background as a shape-shifting wall the color of her dress manifests over her chest. (At Marianne Boesky Gallery through Feb 4th.)
Hannah van Bart, Untitled, oil on linen, 39 3/8 x 25 5/8 inches, 2016.
Chelsea Wolfe is supporting Ministry in spring:
3/22/18 - Anaheim, CA - House of Blues
3/23/18 - Ventura, CA - Ventura Theater
3/24/18 - Las Vegas, NV - Brooklyn Bowl
3/26/18 - Sacramento, CA - Ace Of Spades
3/28/18 - Portland, OR - Roseland Theater
3/29/18 - Vancouver, BC - Vogue Theater
3/31/18 - Edmonton, AB - Union Hall
4/1/18 - Calgary, AB - Palace Theatre
4/3/18 - Missoula, MT - The Wilma
4/5/18 - Lincoln, NE - The Bourbon Theatre
4/7/18 - Chicago, IL - Riviera
4/8/18 - Milwuakee, WI - Turner Hall
4/10/18 - Cincinnati, OH - Bogarts
4/11/18 - Grand Rapids, MI - 20 Monroe Live
4/12/18 - Indianpolis, IN - Murat Egyptian Room
4/14/18 - Toronto, ON - The Opera House
4/15/18 - Montreal, QC - MTELUS
4/17/18 - Boston, MA - Royale
4/18/18 - Portland, ME - Aura
4/19/18 - Long Island, NY - The Paramount
4/21/18 - Montclair, NJ - Wellmont Theater
4/22/18 - Buffalo, NY - Town Ballroom
4/23/18 - Baltimore, MD - Rams Head Live
4/25/18 - Atlanta, GA - Centerstage
4/26/18 - Orlando, FL - Hard Rock Live
4/28/18 - Austin, TX - Emo’s - Levitation Festival
‘Rest During The Flight Into Egypt’ broaches the subject of migration in Romanian artist Adrian Ghenie’s latest solo show at Pace Gallery in Chelsea. Here, two kids wait on a railroad track in front of a heaving, blood-red landscape wearing masks that disguise their faces but not the damage inflicted upon them. (On view through Feb 18th).
Adrian Ghenie, Rest During the Flight Into Egypt, oil on canvas, 7’ 10 ½ inches x 9’ 6 ¼ inches x 2 inches, 2016.
Best known for ‘paintings’ composed of hundreds of cut pieces of colorful cloth arranged on the floor, Polly Apfelbaum has expanded to the walls with colorful, abstract ceramic panels that complement carpets bearing a graphic from a 1963 book titled ‘The Potential of Woman.’ Though the female heads on the floor have no mouth (having been spoken for in the book), the riotously colorful wall-mounted ceramic sculptures – which Apfelbaum explains are like portraits - have plenty to say. (At Alexander Gray Associates in Chelsea through Oct 21st).
Polly Apfelbaum, installation view of ‘The Potential of Women,’ at Alexander Gray Associates, Sept 2017.
I’ve only looked at the ‘HSPN’ tag in Tumblr twice ever, both times by accident; I guess it’s a combination of only having enough time to post and also it literally never occurring to me that anyone else used the tag. But the last time I glanced at it, I was surprised that not only had other blogs actually used it, but also that it was used exclusively to discuss Steve Holland. If the thing we’re best known for is our love of Steve Holland, that’s not bad.
The irony of this is, of course, that Steve himself would probably be mortified that anyone was paying attention to him, let alone documenting his every move and giving him a pictorial farewell tour. (To quote one of our best posts about him, ‘Even I don’t get this one, and I’m Steve Holland.’) At the recent trophy celebration, he seemed baffled that anyone would want him to make a speech. But he was–and is–just as much a part of our narrative as anyone there, perhaps even more so, given his longevity as a member of the backroom staff and across the club. His service deserves to be recognized and celebrated, even if it’s only by a blog about hair jokes.
So thanks for everything you did for Chelsea, Steve, the greatest man in recorded and unrecorded history.
Displayed on a lightbox, Canadian artist Rodney Graham’s staged photographs are enticing, glowing portals into the past. In this unlikely scenario, a jazz drummer from yesteryear uses his kit as a table for a traditional meal of Salisbury Steak. (At 303 Gallery in Chelsea through June 2nd).
Rodney Graham, Dinner Break (Salisbury Steak), printed aluminum lightbox with transmounted chromogenic transparency, 44 5/8 x 34 5/8 x 7 inches, 2017.
Polish painter Paulina Olowska’s series of female figures suggest strong personalities; this shadowy character is based on gardener Valerie Finnis, who confessed to having once put plants before people. (At Metro Pictures in Chelsea through Dec 22nd).
Paulina Olowska, The Gardener after Valerie Finnis, oil and acrylic on canvas, 86 5/8 x 70 7/8, 2016.
In her late 80s, late American sculptor and printmaker Elizabeth Catlett created this arresting print, now a highlight of her mini-retrospective at Burning in Water gallery in Chelsea. Here, Catlett synthesizes influences from African art, European modernism and more in a portrait that feels both cutting edge and connected to early 20th century avant-garde art. (On view through Feb 3rd).
Elizabeth Catlett, Black Girl, Lithograph on paper, framed, 22 x 15 inches, 2004.