Summer group exhibition round-up II. Barely two years old, Fake News is increasingly threatening our pillars of civil debate and cultural tolerance. Evidence, a group show organized by Josh Kline, brings together a diverse group of artists who examine how the creeping spread of misinformation is undermining democracy and inflames animosity between nations. The line-up include works by Paul Chan, Otto Gillen, Josh Kline, Liz Magic Laser, Gloria Maximo, Paul Pfeiffer and Allyson Vieira. Dominating the gallery space is Liz Magic Laser’s Primal Speech installation where, in a nod to Arthur Janus’ Primal Therapy, in a padded isolation chamber patients regress to their earliest childhood in order to produce a scream exposing subconscious expectations towards politicians. They generate subjective, unrealistic, infantile and commercial assumptions that invite ruthless exploitation by only the most callous of leaders. At Metro Pictures through July 27.

Summer group exhibition round-up, I. Gladstone gallery ponders the malaise of the American cultural and political landscape with a group of artists that engage with Vito Acconci’s seminal installation “Voice of America (1975). The fall out is dystopian, as expected. The world and America at its apex has grown darker. Paul Chan leads the pack with one of his manically animated Breather sculptures, a plum colored nylon construction coming to life via a noisy fan. But rather than offering sexy car deals, the creature beckons towards Dante’s purgatorio. Sharon Hayes’ Lesbian Scenography takes up the back room with a fabric on acrylic all-American landscape that has little progress to show for itself in the past 20 years and Rikrit Tiranija wants us to get a whiff of the odious smell of truth (2018) with a pile of t-shirts on a mirror. But no-one captures the sour taste of misogyny, inequality, blatant consumerism and fake news better than Barbara Kruger with her prophetic text work from 2016. At Gladstone through July 27.

No one can accuse the German sculptor Ursula von Rydingsvard for pusillanimity. Breath-taking and grand, her work touches upon the monumentality of the spirit and the limitless voracity of the human ambition. Several new works aim to harness the intense corporeality of nature by wresting arteries, cavities, and gigantic florets out of cedar wood and channelling them into awe-inspiring burst of movement. They remind of the authority of nature and the conspicuous smallness of man. At Galerie Lelong through June 23.

Myths & Mortals, the achingly beautiful exhibition by Marlene Dumas at David Zwirner, contains a series of small oil paintings depicting tightly cropped body fragments and facial close-ups that float contextless in her famously inauspicious washes of blues and greens. Sexuality, mortality, and shame have always been the hazy undercurrent in Dumas’s oeuvre, yet her new works take a decidedly gentler, kinder and ultimately melancholy view of humanity. In “Kissing” (2018), a small gem tucked away in a corner of the clinical White Cube, two faces meld together in color, form and texture into a magnetic singularity that transcends the seemingly endless corruption of the human condition. At David Zwirner through June 30.

Conventional, verging on the boring, yet oddly captivating. Charles Rays’s sculptures reward prolonged viewing. Three new works in a five-work show at Matthew Marks pick up on art historical references, two others depict the work and study of a craft; yet they all meld the artists’ meticulous study of traditional sculptural practices with ideas that are firmly positioned in the present. Ray asserts his conceptual intention by manipulating the expected with the unfamiliar. Like most of his sculptures, “Mechanic I” and “Mechanic II” are painstakingly carved from stainless steel, but then Ray subverts scale and surface in a way that propel both figures into the uncanny: You have seen it before but yet something is off. At Matthew Marks through June 16.

Impeccably executed, Matthew Cerletty’s paintings shimmy on the intersection between reality and apparition. Ordinary objects like sweatshirts, footballs, or a box of sleeping pills are transformed through color into frozen, hyperreal things. Taking a large page out of the playbook from advertising and print media, Cerletty’s works exhibit a brilliant directness and clarity that play with the subconscious and leave behind a vivid imprint on the mind. At Karma through June 16.

Jenny Saville is mainly known for her oversized oil paintings depicting opulent fleshy nudes whose enormous size at once convey a robust intensity and a delicate intimacy. In a new exhibition at Gagosian, Saville sets nudes on plinths in classical postures with overemphasized feet and hands in front of heavily graffitied studio walls.  They radiate a visceral beauty that demonstrates Saville’s mastery of the female gaze. In this show, however, it is her drawings that shine. The translucent quality of the medium allows the overlay of multiple bodies and complex perspectives where limbs variously stretch, contract, and relax. A tender Pieta-like composition is a masterly contemporary correlative to last year’s blockbuster show of Michelangelo’s drawings at the Metropolitan Museum of Art. At Gagosian through June 16.

Coming to Paris on a GI bill and with a painting practice firmly rooted in figuration, the American painter Al Held arrived at the renowned Académie de la Grande Chaumière in 1951 and immediately switched gears to a highly impastoed abstraction. Al Held Paris paintings are now subject to a small but focused show at Nathalie Karg Gallery. Almost entirely done in a broodingly dark color palette, (except for one autumn brown Paul Klee-like patchwork painting) the works display a viscous apocalyptic rawness interspersed by horizonal eruptions of bright color that supply bursts of vivacious energy. Accompanying ink studies of the works suggest barbed wire or Japanese symbols gone awry. These early works are a poignant reminder of the relentless innovation and about-faces of Held’s multi-faceted painting oeuvre which ranged from social realism to hard-edged geometric abstraction and throughout which he never lost sight of a deep commitment to the perceptual, spatial and ocular elements of painting. A selection of Al Held’s paintings that cover the years from 1954 until 1959 will be shown at Cheim & Reid through July 6. At Nathalie Karg through June 15.

Each of the twelve five feet by seven feet paintings in Terry Winters’s new show are pure visual delight. Cellular forms, cosmic organisms, and biomorphic shapes coil into scrolls or float ambiguously on seas of particles or fields of tiny squares that morph into patterns of infinite possibilities. Set on color schemes of sea foam, midnight blues, and flaming orange, these forms summon the kind of mysterious motion that fuels spirituality and the calm that underlies rhythmic vibrations. Beautiful, emotional, and cerebral, they hint at the wonders of science and the unexplained beauty of the human existence. At Matthew Marks through June 16.

Carroll Dunham’s new works delve into the world of joint locks, pins, and grappling holds. That these and other traditional wrestling moves are performed in the nude and set in lush, vibrant settings add to the ambiguity of the subject matter as it relates to entertainment vs competitive sport, pleasure vs. pain, and brutality vs. virtue.  Composition, color and texture vie, like his sparring partners, for the ultimate superior position. At Gladstone through June 16.

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