Liz Larner’s As Below, So Above is a selection of new works that demonstrate her ongoing examination into sculpture, painting, drawing, and ceramics. The environment – the personal and the entrenched – are set together in these artworks that reach for an understanding of vulnerability through what is and has been considered low and directed, made capital of, and endangered. As Below, So Above will be on view through June 22 at Regen Projects 6750 Santa Monica Boulevard, Los Angeles. photographs courtesy of the gallery
Helen Frankenthaler (1928-2011) is one of the most important and influential postwar painters, whose abstract compositions, featuring brilliant expanses of color and light, have inspired generations of artists and changed the course of art history. She led the way from Abstract Expressionism to a new and vital form of painterly lyricism that heralded the Color Field movement. On view in this exhibition are some twenty major large-scale paintings that celebrate the New York-born artist’s formidable, six-decade career. A classic Frankenthaler work, Swan Lake II (1961), filled with ethereal pools of electric blue, grays, and deep red, against a neutral ground, is a quintessential example of her unparalleled achievement. Helen: Frankenthaler: Selected Paintings will be on view through May 18 at Yares Art 745 5th Ave.
“Get Used To Us” echoes a historic LGBTQ rights slogan "We're here! We're queer! Get used to us!” Nadine Faraj’s fluid wet-on-wet technique abstracts erotic scenes to reflect an essence of sexual freedom that celebrates the mutability of gender and identity. The artist’s expressive application of pigment creates a blurring of boundaries between her subjects in a way that mirrors the suspension of self when provoked by passion. Get Used To Us will be on view through April 6 at Anna Zorina Gallery 532 West 24 Street, New York. photographs courtesy of Anna Zorina Gallery, New York City.
Ornament and crime are not synonymous to Zhou Yilun, however. His influences begin with the Western, Judeo-Christian canons he studied and was trained to emulate in school, but skew more heavily to the laborers he saw building, tearing-down, painting, and repainting the structures in the city surrounding him, and the American basketball players, hip-hop stars, and black celebrities he grew up mythologizing and imitating. Zhou lifts and distorts techniques inherited from the Renaissance, Baroque, and Romantic eras, revisiting, perverting, and parodying their ideas for the new globalist regime. Each of his artworks is formed from the same bricolage of identity—the sum of stretcher, wood, and canvases painted, deconstructed, and constructed again. Zhou’s practice is alive with Chinese bones and Western sinew and flesh, torn down and built back up with the same materials again and again, so that the elements that once existed as ornament are now integral to the identity and essence of each artwork itself. "Ornament and Crime" will be on view @ Nicodim Gallery 571 S Anderson Street Ste 2 until February 17. photographs by Oliver Kupper