Using skins of dried, peeled paint as a collage material, Angel Otero adheres color to his canvas in fleshy pinks and mustard yellows that recall deKooning’s sensuous Pink Angels tempered by a cooler palette. (At Lehmann Maupin on the Lower East Side through Dec 31st).
Angel Otero, Come Sleep with Me: We Won’t Make Love, Love will Make Us, oil paint and fabric collaged on canvas, 96 x 72 x 2.5 inches, 2015.
Five years ago, Trayvon Martin was killed and the #blacklivesmatter movement was born. I was invited to a showing of a new art campaign called #NoMoreBlackTargets at the Richard Taittinger Gallery in Lower East Side, NY. Young black men are three times more likely to be shot. In a recent academic study published by University of Illinois, researchers examined whether race affects how likely a target is to be shot. The study found that people were quicker to shoot black targets with a gun, relative to white targets with a gun. Shooters weren’t just faster to fire at black targets; they were also more likely to fire at a black target. No More Black Targets is a collective of artists, diverse in backgrounds, ethnicities and nationalities, working in paint, digital media, patternmaking and also physical installations to bring new artwork to life and seeks to eliminate the use of the most popular target for shooters to learn to use their firearm: a menacing black silhouette.
Guy Goodwin’s large paintings on cardboard forms are among the most unusual and enticing in New York galleries now. Projecting over a foot from the gallery wall, they’re cross between painting and sculpture that the artist likens to a ‘plush booth’ where a visitor might rest and contemplate. (At Brennan and Griffin on the Lower East Side through June 18th).
Guy Goodwin, Flowers in the Grotto, acrylic and tempera on cardboard, 68 x 68.5 x 13.25 inches, 2017.
Mounting material and hand-dyed mop head strands onto vinyl, French artist and Mexico City resident Yann Gerstberger makes bold, nearly abstract textiles that suggest tantalizing stories and histories. (At Lyles and King on the Lower East Side through July 28th).
Yann Gerstberger, Ataralla, cotton, natural dyes (grana cochinilla), synthetic dyes, vinyl banner, 113.375 x 94.5 inches, 2017.
Alex Bradley Cohen in ‘Elaine, Let’s Get the Hell Out of Here’ at Nicelle Beauchene Gallery
Tariq’s multi-colored shirt and the explosion of lines on the wall behind him – not to mention his colorful crown – merge a man and an abstract artwork in young Chicago-based artist Alex Bradley Cohen’s painted portrait. (In ‘Elaine, Let’s Get the Hell Out of Here’ at Nicelle Beauchene Gallery through Aug 18th).
Alex Bradley Cohen, Tariq, acrylic on canvas, 44 x 40 inches, 2015.
Real time seismic activity interrupts the shifting abstract patterns on Daniel Canogar’s curving panels, merging art and distant, powerful forces. Peeling off the wall on flexible LED tiles arranged on an armature, ‘Echo’ strains for our attention and gets it. (At Bitforms on the Lower East Side through July 30th).
Daniel Canogar, Echo, from the series Echo, flexible LED tiles, power supply unit, media player, LED screen hardware, 129.5 x 96.5 x 25.4cm, 2016.
Brooklyn-based Lithuanian sculptor Aidas Bareikis continues to mine the world’s junk for his intense sculptural accumulations. Here, ‘Too Much Seaweed’ suggests a global warming meltdown or a calving of the planet. (At Canada New York on the Lower East Side through Dec 4th).
Aidas Bareikis, Too Much Seaweed, globes and fabric cut-offs on flower pot stand, 50.5 x 21.5 x 12 inches, 2016.
Nahum Tevet’s wall mounted sculptures are small-scale but full of action, a workout for the eye. Frames, furniture and machines come to mind amid patterning that recalls mid-century abstraction, cut outs that recall typography, colors that shout and mirroring that makes every element repeat. (At James Cohan Gallery’s Lower East Side location through July 28th).
Nahum Tevet, Double Mirror (SLDB), acrylic and industrial painting on wood, veneer, metallic mirror, 19 5/8 x 16 ½ x 13 3/8 inches, 2015.
How do you make representational painting in the digital age, when bodies no longer have to be near each other to interact? Pieter Schoolwerth ponders this in a multi-step process that involves photographing figures and shadows, drawing them, altering them in the computer, creating them in foam core or wood and printing and painting on canvas. The resulting images are convincingly attractive but unsatisfying - in this enigmatic relief sculpture depicting a student center, various figures are together but don’t connect. (At Migeul Abreu Gallery on the Lower East Side through June 28th).
Pieter Schoolwerth, Model for “Student Center,” enamel on wood, 54 3/8 x 47 ¼ x 7 ½ inches, 2017.