lower east side galleries

Angel Otero at Lehmann Maupin Gallery

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.

Guy Goodwin at Brennan & Griffin Gallery

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.

Nahum Tevet at James Cohan Gallery

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.

Aidas Bareikis at Canada New York

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.

Pieter Schoolwerth at Miguel Abreu Gallery

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.

Ali Banisadr at Sperone Westwater Gallery

From amid sweeping and energetic forms in Ali Banisadr’s painting ‘Myth’ emerge odd faces that suggest a camel (upper left) a clown with a tall, spotted cap (middle left) and a cast of slightly sinister characters. The Iranian born, NY-based artist explained that the paintings in his current show at Sperone Westwater were inspired by politics in the US; he suggests both mass migration and a barbed wire fence in the sky and a mass of menacing figures in the foreground. (On the Lower East Side through June 24th.) Ali Banisadr, Myth, oil on linen, 66 x 88 inches, 2016.