The beguiling new paintings of Sao Paolo based artist Caetano de Almeida exude a vivacity and buoyancy that remind of his rich Latin American cultural heritage in music, textile arts, and modern architecture. De Almeida’s paintings are inspired by the grids of bustling Brazilian cities and descend from his fascination with the intricate webs of textile and cane weavers. Motivated by the graceful forms of landscape architect Roberto Burle Marx’s and the color exuberance of Beatrice Milhazes, de Almeida’s works are effervescent yet rigorous studies of rhythm, tempo and color. At 11R through March 26.

The found painted rocks on Torey Thornton’s painting hail from disparate places such as Waring Avenue and El Centro in Los Angeles, the Van Wyck Expressway and 106th Avenue in New York, and North Avenue 52 and Lincoln Avenue in Louisiana. Two rocks were purchased from the craft exchange Etsy and from the Westbeth flea market. They converge on a steel saw blade akin a violently mad constellation of stars where the center holds but the fringes mean obliteration. Thornton’s work inspires readings into subject matter ranging from political commentary on extremism to sexual violence but it is his firm grasp of the formal aspect of painting that makes this work stand out. Thornton is a relentless pioneer of the tactile possibilities of varied surfaces such as paper, wood and steel. He is a master of the perimeters of pictorial space and a skilful colorist. Simply titled Painting, the work is part of the scintillating new Whitney Biennale and proves Thornton’s rightful place as one the most brilliant new young American contemporary artists. At the Whitney, through June 11.

The sexual ambiguity of the person at the BBQ grill in Henry Taylor’s monumental painting The 4th, is vexing. The stance, heft, clothes and a traditional penchant to ascribe men to the BBQ, all point to a male figure but on closer inspection the pearl necklace, long painted nails and dainty fingers suggest that a woman sneaked into the picture. Taylor’s towering diptych, part of the brilliant new Whitney Biennale, represents a tour de force in new American painting. The lower half of the canvas is almost entirely occupied by the crowded surface of a round BBQ grill where meat and coals blend into each other in an indeterminate disarray. The top of the work is dominated by the BBQ master in a white generic t-shirt; a barren prison yard looms in the background.  An outline of a child’s head in profile finishes the symmetry of the composition. Taylor’s grasp of color is superb – the ternary horizontal color bands owe emotive homage to Rothko and Barnett Newman – his choice of pine green against the white of the t-shirt underlines its crispness. Taylor usually paints his friends and acquaintances yet the painting’s close proximity to Taylor’s other masterpiece The Times Thay Aint A Changing, suggest a ‘what if’ to the senseless murder of Philando Castile. Likewise, the placement of the work high on a wall in a large room commends a divine reverence – an honour that the painting and artist most certainly deserve. At the Whitney through June 11.

This week, sixty-three artists are showing America how it looks and feels today outside the overbearing news cycle. Selected by the dynamic young curator duo of Christopher Y. Lew and Mia Locks, and sprawled over two and a half floors amid the bright and lofty Whitney Museum, this year’s Whitney Biennale shows a country that is at times anxious and hopeful, burdened by racial tension and violence, weighted by working class angst and geo-political division, yet multi-cultural, spiritual and charismatic as well as aggressive and oppressive. No new ground is broken in regard to new art forms; instead there is lots of representational painting, immersive installations, gripping video works, and ambitious sculpture. Several works stand out: photographer Deana Lawson and painter Henry Taylor point to deep-seated racial tensions, Jordan Wolfson’s virtual reality video underlines the numbing effect of real and virtual violence, Raul de Nieves bejewelled faux stained glass wall finds beauty in the esoteric and spiritual and Samara Golden’s disorienting multi-storey installation illustrates the unnerving effect of insipid architecture and urban sprawl. Here is Henry Taylor’s “The Times Thay Aint A Changing, Fast Enough”, a chilling reminder of Diamond Reynolds’ video that captured her fiancée Philando Castile’s final moments after being shot by a police officer in July 2016.

The largely man-made utopian cities of the United Emirates are the subject of Sarah Morris’ new metropolitan abstractions. Morris distils her minimalist paintings of urban networks, maps, and people into sharp-edged fragments and colourful grids, outlined by black swaths of erasure. Executed in her signature household gloss paint, her works are dynamic city puzzles that show people on the move, nature in flux and ancient architecture being replaced by mega malls. At Petzel through April 8.

Walk into the new show “Bibelots” of ceramics master Nicolas Guagnini and you will find the floor littered with leaflets of an admiring review of the artist’s work by curator and critic Jenny Jaskey. The text “I love Nic” recounts how the curator and the artist met, how Guagnini insisted on the review being printed and distributed on to the gallery floor as a protest to the know-towing of artists to the White Cube, and delves into affectionately humorous details of the artist’s cerebral practice. This time Guagnini’s works are on the wall. His Bibelots are “ceramic paintings” that straddle the boundary between sculpture and painting and represent a new form of experimentation with glazes that riff on techniques used around the inception of the industrialist/capitalist era. Combine that with the leaflets and you have a popper anarchistic revolution on your hands – right in the middle of the most capitalist art centre in the world. At Bortolami through March 25.

Elliot Green paints stunning abstract landscapes of jagged rocks and mountain formations set amid washes of pale blues, sea foam greens and vibrant reds. The paintings perceive as three-dimensional collages of forces of nature battling between serene tranquillity and crushing violence. Their strata-like horizontality reminds of rock schisms and geological excavations that proffer important questions of the evolution of time and the elusiveness of memory. At Pierogi through March 26.

Recalling the cosmos and our metaphysical relationship to space and time, Jack Whitten’s Portals series are visual reminders of the slippery threshold between science and metaphorical perception. Whitten began the series in 2015. They culminate in the large, shimmering, square “Quantum Man” works that introduce, for the first time, new materials such as lead, oak and various precious woods. The works are stunning yet humbling to behold. They remind the viewer of the insignificance of the human existence in relation to the metagalagtic space and the seductive power of things unknown. At Hauser and Wirth through April 8.

In an interview with OCULA magazine from October 2014, Heinz Mack, recalls how in the 1950s he sought out the studio of Brâncusi in Paris: “When I got there, the door wasn’t really closed, and for me, it felt like discovering Tutankhamun’s tomb, standing absolutely alone in this huge studio as Brâncuşi had left it before he died. It was dusty and dirty, but everything was in its complete original state. I was so impressed. This is when I started making the move towards being more of a sculptor than a painter.” Although Mack never completely abandoned painting, the experience propelled the artist on a life-long path toward experimentation with color and light as it relates to space and movement. Within the context of the ZERO group, which Mack co-founded with Otto Piene, Mack became a sponge for new ideas. He soaked up kinetic theory from artists like Jean Tinguely and Lucio Fontana and evolved the concept of the immateriality of color pioneered by Yves Klein. A fine, museum-like show of Mack’s work from 1955 until today at Sperone Westwater shows the extraordinary range and complexity of his practice. Through March 25.

In 1951, American artist William Nelson Copely, threw his lot in with the rowdy artist bunch who liked to hang around the Impasse Ronsin and Longpont-Sur-Orge in Paris. He became intoxicated by the Surrealists and assorted Dadaists which influenced his unique blend of American Pop mixed in with a healthy dose of European Surrealism; all weighted by the color and pattern legacy of Matisse. A recurrent subject was the nude, painted innocently at first in pastel colors but morphing quickly into bawdy scenes of women and faceless men and culminating in the softporn “X-Rated series” during the 1970s. A fine selection of Copley’s fleshy nudes are currently on view at Paul Kasmin gallery. Tamed by time, Copley’s nudes have long lost their shock effect but still exude a nostalgic eroticism and are important for their superb background compositions, surefooted handling of the line to demarcate movement and stasis, and a deft understanding of color as an emotional circuit. Through March 25.

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