Amy Sillman’s polymorphous works on paper offer an innovative and sincere interrogation on the possibilities and technical complexities of drawing. Mostly sticking with a single format of 40 1/8 x 26 inches within simple white frames, Sillman offers a multitude of visual focal points. Dynamic, thick brushwork that veer from forceful to ambiguous are carefully laid over abstract color planes allowing occasional glimpses of delicate grids of silkscreen. Unconventional and challenging, Sillman’s formalist works display a brainy beauty and an enticing sense of color; as if by happy circumstance Sigmar Polke and Laura Owens decided to do a suite of drawings that they then called paintings. At Gladstone 64 through March 3.

A scintillating small exhibition in a tucked-away gallery at the Metropolitan Museum of Art brings together a group of stellar New York artists who, through a number of experimental processes found innovative ways to play with color, line, composition and texture and, along the way, often found a compelling story to tell. Among several other worthy artists, “Range: Experiments in New York, 1961-2007” takes the brilliant excuse to show some of the New-York-School artist and writer Joe Brainard’s wonderful works on paper. A small collection of simply framed gouaches, collages and cut-outs, provides a luminous depiction of ordinary things and dispenses a quiet, whimsical patina on the poetry of everyday life. At the Metropolitan Museum of Art through February 25.

The ghost of Jean Dubuffet echoes deeply in Ellen Gronemeyer’s sophisticated new oil paintings. Amid a beautifully melancholic color palette, Gronemeyer’s subject matter mainly relates to children and animals in various forms of play. The Berlin-based artist builds up her canvases with short but thick impasto strokes where clumps of paint still stick to the surface and where sometimes, like Dubuffet, scratches on black reveal a seductive build-up of colors. Whimsy and narrative collide into a psychologically charged surrealism where children and animals alike seem to ponder weightier issues than their age or inclination would suggest. At Anton Kern through February 24.

In a site-specific installation, currently on view at Metro Pictures, David Maljković is concerned with the perception of his art in the public view. The Croatian-born artist re-configures earlier works in a stage-like setting, complete with a microphone that disappears into the wall and floor-based glass vitrines, where the role of the performer is being shifted onto the viewer who crotch must down, crane his neck and sometimes even guess at the contents of rolled-up artworks. Perhaps the obsessive re-contextualization of his work stems from the disorienting fragmentation of Maljković’s native country. Be that as it may, Maljković need not question the autonomy of his work, nor does he need to hide it. His small oil paintings are delightful. Elegantly mounted on grey dibond, they inhabit graceful stains of seafoam, delicate pinks and washed out purples which are overlaid with faint laser etchings that spill out of their self-imposed frame. These quiet works hint at a larger purpose which no amount of re-orchestration can obscure. At Metro Pictures through February 24.

The birth of Johannesburg-based artist Serge Alain Nitegeka’s daughter was a stimulus to move away from a primarily black color palette and to introduce shreds of sky-blues, canary-yellows and berry-reds into his hard-edged geometric abstractions. In an immersive, site-specific installation at Marianne Boesky Gallery, Nitegeka plays with overlaying geometric forms on wood panels. Not content with the flatness of the picture plane, the artist strives for three-dimensionality. He achieves depth through expertly placed color and line configurations and by occasionally introducing additional wood panels. Other times he pivots the paintings off the wall entirely and finally culminates in a geometric obstacle course in the connecting hallway between the two galleries. Throughout, stark black arteries suggest strength, support and stability – a psychological anchor, perhaps, for the trauma of the artist’s forced migration from his native Burundi. At Marianne Boesky through February 24.

The six drawings of Richard Hawkins’s exhibition “Hotel Suicide” are devastating. A middle-aged man is seen in the aftermath of his suicide. CSI buffs will make note of the upturned stool, the untouched bed, and the potted palm on the balcony, suggesting a hotel room in a tropical locale. We don’t see the man’s face. Naked except for a fanny pack and the ubiquitous tourist sandals, he remains anonymous, yet we sense the guilt, shame, and pathos that led to his final act. With this set of drawings, and the accompanying painting, Hawkins is directing our attention to the sordid poison of sex tourism and the sexual exploitation that it breeds. According to a study from 2012 conducted by the Human Rights Council of the United Nations, sex tourism is now feeding a multi-billion-dollar industry and is exacerbating a scourge of child-trafficking and child-pornography….The final drawing in the series is perhaps the most disturbing. It shows the hotel room the day after; cleaned up, fresh towels on the rack and with a bottle of disinfectant on the bathroom counter – all ready for a new guest. At Greene Naftali through February 23.

For the last fifty years, the driving force behind Barbara Turner Smith’s multi-faceted art practice has been an unwavering devotion in seeking equal rights and opportunities for women and the exposure of manipulation of consumer culture via new technology. A performance piece from 1974 has special resonance in today’s world. For “Scan 1”, Smith sat one group of white-robed performers in front of television commercials that asked them, according to pre-determined signals embedded in the skit, to blow bubblegum, smoke or stick out color-painted tongues. A second observing group was challenged to decipher the codes that prompted the response. The piece, originally performed at the Woman’s Building in Los Angeles, is an eerily foreboding message from the past that seeks to rip us out of the mass hypnosis brought on by social media and a 24-hour breaking-news cycle. Documentation of “Scan 1” together with the performance piece “Longest Day of Night” from 1973 and “Outside Chance” from 1975 are currently on view at Andrew Kreps Gallery through February 24.

Although Charles Ladson’s paintings display the pretense of structure, the Georgia-based artist paints largely from intuition. Ladson plays with color and shapes, adding and subtracting until he reaches the point where, to quote Rembrandt “the painting is finished when the artist says it is”. Ladson’s moody settings are tinged with Surrealism where more often than not the subconscious trigger appears in the form of architecture or a peculiar perspective and where images that appear to be normal leave the viewer with a disquieting sense of unease. At Frosch & Portman through February 25.

Gianna Commito’s elegant geometric abstractions are kaleidoscopic fragmentations of every-day scenes seized from the artist’s daily routine. Commito’s geometric forms borrow confidently from Cubism and expertly employ a refined color palette that reminds of the free-spirited American ethos of Marsden Hartley. Stripes figure big in Commito’s work. They underscore vivid stylization of pictorial space and a heightened sense of color and composition. All-together they prove that life is worth living when viewed from different perspectives. At Rachel Uffner through February 25.

An accolade to color and shape. Nine of Tom Wesselmann’s monumental pop compositions, made between 1967 and 1981, currently grace the airplane-hanger-like halls of Gagosian Gallery. Comprised of individual stand-alone canvases, the groupings are lush vanity top scenes of a bygone consumer age replete with Mad-Man staples like cigarettes, pearls and cat-eye sunglasses. Their bold colors, sharp outlines, and unabashed why-not compositions exude an all-American optimism that these days is firmly relegated to the history books. At Gagosian through February 24.

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