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.

Condo New York round-up II. Chapter New York is hosting Adams and Ollman Gallery, Portland OR, with a group exhibition featuring Julie Béna, Julie Curtiss and Joy Feasley. Julie Curtiss pairs dark humour with contemporary surrealism. Her psychologically charged paintings play with the female grotesque and subvert notions of feminine culture and deeply-ingrained gender roles. Curtiss distils the observed world into tightly cropped compositions of hair, female breasts, and claw-like fingers that magnify form to emphasise color and shape. Her paintings tap the imagination of the unconscious and slyly corrupt notions of modern femininity. At Chapter through July 27.

Condo New York round-up I. Simone Subai Gallery is hosting Sadie Coles Gallery, London, with a group of paintings by German artist Daniel Sinsel. The rectangle, with its four straight sides and four right angles, forms the overt and implied framework in much of Sinsel’s unfussy work. Geometry serves as formal reference points to sensual biomorphic shapes and other figurative vocabulary and offsets illusion with order. The artist’s attention to surface materiality and how it contributes to the viewer’s engagement is manifest in his pre-occupation with the natural world and includes linen, beeswax, cherry stones, and mastic. Sinsel’s compositions seduce with playful sexual undertones and confound with a quiet brilliance that lace material with meaning. At Simone Subai through July 27.

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