heikemoras

305 articles written by heikemoras

Simone Leigh’s new ceramic sculptures are stunning. Largely shedding the heavy ornamentation of her earlier ceramic busts, the pared down simplicity of Leigh’s new architectural bodies augment the majestic dignity of her subjects. Leigh’s preoccupation with female African-American identity, architecture and ethnography point towards the matriarchal body centric and to a magnanimous domesticity that morphs women’s heads into vases and bodies into homes. Solid, sincere and rich they exude a quiet tenacity that proclaims: I am here; in my unique and rightful place. At Luhring Augustine through October 20.

A fine selection of brilliant geometric abstract paintings by the Brazilian artist Luiz Zerbini is currently on view at Sikkema Jenkins. The works are stripped of the meandering plants and urban imagery of Zerbini’s earlier works but instead fuse the pictorial language of Neo concretism with the colourful optimism of Roberto Burle Marx and the kaleidoscopic imagery of Beatriz Milhazes. They culminate in the monumental abstracted cityscape “Macaé”, after a neighborhood of Zerbini’s hometown of Rio de Janerio. At Sikkema Jenkins through October 13.

In Western culture the covered face of a woman often conjures up distress, bewilderment, or consternation. Japanese artist Tadanori Yokoo has been challenging the psychological impact of the male gaze via the concealment of the female face for the past forty years. Building on his seminal “Back of Head” watercolor series from 1980, and “The Falling Woman” series from 2010, Yokoo is presenting a new body of work where he subverts vintage pin-up images derived from Banshu-ori textiles and Harima matchboxes and supplants the face with random household objects and vegetables. The result is a subversive contemporary Pop-Dadaism that questions social norms, cultural authority, the objectification of women through advertising, and the challenges of privacy in an image saturated world. At Albertz Benda through October 13.

On the advent of her largest US museum survey at the Hirschorn Museum in Washington DC in November, Charline von Heyl is providing a small teaser of her enormous talent at Petzel gallery. Von Heyl delivers a rigorous and unapologetically cerebral approach to painting and continuously challenges assumptions on how painting is supposed to function. In her new work, she straddles several binaries simultaneously: a push/pull between abstraction and representation; the unanimity of wide, bold brushstrokes and the nomadic line; the blurring of high and low art; and the reconciliation between beauty and narrative. Energetic and restless, von Heyl is one of the most dynamic and innovate painters of our time. At Petzel through October 20.

The ceramic artist Kathy Butterly fires and glazes each of her molten vessels up to thirty times. That translates into thirty chances to add color and form; and thirty chances for a complete loss. The works that emerge from her studio, though, are stunning. Crumpled, twisted, with openings that resemble body parts, Butterly manages to make the solid appear liquid and the utilitarian sublime. She proves that the collapsed form has no need for pathos. Her colors range from decadently rich forest greens and buttery yellows to cracked paper whites and the details on her moderately sized pieces are thrilling. Kathy Butterly is one of the rarefied quiet voices in today’s art scene who places value over size and who makes art that is completely devoid of vain-gloriousness and instead brims with humor and confidence. At James Cohan through October 20.Ka

The recent purchase of Artemisia Gentileschi’s “Self Portrait as St. Catherine of Alexandria” by the National Gallery of London was a long-overdue correction of a male centric cultural climate that prevailed throughout art history and is only now getting much needed scrutiny. Seeking a contemporary kind of rehabilitation via traditional painting, Julie Heffernan’s nude self-portraits take the 19h century salon as backdrop for the revivification of the side lined, ignored, and ostracized. Channelling the confidence of Botticelli’s Venus, Heffernan pays homage to feminist forerunners such as Carolee Schneeman, Anita Hill and Ana Mendieta and offers a contemporary reading of Greek mythology and its underlying art historical passage towards a kinder, unbiased and more egalitarian way forward. At PPOW through October 6.

Barbara Takenaga’s cosmic and amoebic imagery trigger fantastical journeys into the realm of planetary constellations, underwater anemones, magical spheres of molten patterns, and the miraculous sperm race of human conception. Her dazzling tableaus are constrained by a color palette of elegant grays, foam greens, and seductive mineral hues and are explosive manifestations of the magical energy, intensity, and unspecified vastness of the human existence. At DC Moore through October 6.

Condo New York round-up V. Rachel Uffner is hosting Cooper Hole, Toronto and Night Gallery, Lost Angeles with works by Georgia Dickie, Dmitri Hertz, Gretta Johnson, Shawn Kuruneru, and Andy Woll. Shawn Kuruneru’s practice is informed by Chinese landscape paintings and the spontaneity and emotion of abstract expressionism. Dramatic movement is brought about via the careful application of ink beads that, when dry, get swept away. Alternating between design and chance, Kuruneru’s dynamic acrylic and ink paintings evoke the force of nature and the capriciousness of life. At Rachel Uffner through August 3.

Condo New York round-up IV. Van Doren Waxter gallery is hosting Grey Noise, Dubai, and Maisterravalbuena, Madrid/Lisbon with works by Fahd Burki, Caetano de Almeida, Joana Escoval, Néstor Sanmiguel Diest, and Maximilian Schubert. Ten small geometric and biomorphic abstractions by Spanish artist Néstor Sanmiguel Diest (b. 1949) confound with clarity of focus, comprehension of color theory, and mastery of restraint. Stripped to its most basic forms Diest’s symbolic vocabulary tames chaos in favour of logical order yet leaves the door open to subjective ambiguity. The simplicity of these works belie the artist’s keen interest in literature and philosophy as it relates to repetition, mathematics, and logic which he employs as tools to distil an enigmatic world to its most fundamental essence. At Van Doren Waxter through July 28.

Condo New York round-up III. Mitchell Algus Gallery is hosting Mary Mary, Glasgow with works by Rose Marcus and Sara Barker. Glasgow-based artist Sara Barker makes sculpture/painting combos. She paints figurative abstract tableaus with auto paint directly on geometric aluminium sheet configurations and morphs lines into three-dimensionality via protruding thin metal rods. Rose Marcus is a photographer of New York public spaces, signs, and architecture. Careful layering of easily recognizable imagery create blurry Richter-like effects; a nod, perhaps, to the current post-truth reality where nothing is what it seems and objectivity and rationality give way to emotions even when facts prove otherwise. As if to ground us to an earlier, less complicated world, the exhibition is sprinkled throughout with several exquisite black-and-white Body/Sculpture photographs by Hans Breder. At Mitchell Algus Gallery through July 27.

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