Recent Paintings, Hollywood Boulevard is Van Sant’s first solo painting exhibition in New York. On view is a series of large-scale watercolors on stretched linen that collapse dreamlike impressions of urban Los Angeles with specific narratives inspired by the people and events Van Sant has observed since establishing his home in the city in the 1970s. Recent Paintings, Hollywood Boulevard is on view through November 1 at Vito Schnabel Projects 43 Clarkson Street, New York. photographs courtesy of Vito Schnabel Projects
Viken’s paintings describe the human psyche in bold and unflinching terms. On view is a selection of the artist’s small format works from her Diary Notes series. Originally intended as a visual daybook of self-portraits, over time it has evolved into a larger body of paintings that explore the medium's ability to convey interior moods and fantasies. The exhibition also showcases new large-scale paintings by Viken that have never before been shown in the US. Unmasked is on view through October 12 at M+B 612 North Almont Drive Los Angeles. photographs courtesy of M+B
Good paintings, those with intrigue, appeal and tension, ask us to hold competing and simultaneous understandings in mind, and contend with synchronized yet oppositional forces. At odds with the unexpectedness and complexity of Egan Frantz’s works is an effortlessness, an instinctive ease, vital in producing an image that is at once seemingly familiar and impossible to place. This is a show of new images, adamantly straightforward yet enigmatic, that manifest a proprietary power and charged presence. Paintings is on view through October 5 at Team (gallery, inc.) 83 Grand Street, New York. Photographs courtesy of Team (gallery, inc.)
Simone Fattal: Works and Days brings together over 200 works created over the last 50 years, featuring abstract and figurative ceramic sculptures, paintings, watercolors, and collages that draw from a range of sources including ancient history, mythology, Sufi poetry, geopolitical conflicts, and landscape painting. Fattal’s work explores the impact of displacement, as well as the politics of archaeology and excavation, constructing a world that has emerged from history and memory. Both timeless and specific, Fattal’s work straddles the contemporary, the archaic, and the mythic.
Simone Fattal: Works and Days is on view through September 2 at MOMA 11 West 53 Street. photographs courtesy of MOMA
Jonas Wood combines art historical references with images of the objects, interiors, and people in his boldly colored graphics. In his new paintings and works on paper, Wood translates the three-dimensional world around him into pure color and line. The artist composes these works through a process of layering and collaging, using photography, projection, drawing, and then painting. Wood confounds expectations of scale and vantage point, causing the flat picture plane to bristle with an abstract charge.
Jonas Wood is on view through July 19 at Gagosian 555 West 24th Street, New York. photographs courtesy of Gagosian
The Chicago Paintings is a selection of paintings on canvas and phone books all made over the past 7 years. After being bought out of his New York apartment, Geraldo Perez moved to the suburbs of Chicago, Illinois and purchased a house, where he was able to convert his entire basement into his studio. The Chicago Paintings present a survey of memories lived and experienced from Perez’s birth in 1962 in the Dominican Republic, to his family’s emigration to New York six years later, and to his day-to-day experiences with intimacy, family, and transition. The paintings reflect on a chance encounter with Basquiat at Danceteria, studying under Jack Whitten and Dore Ashton at Cooper Union in the 2000’s, war and death in the DR, being a father, being brown, seeing the MOMA for the first time, making love, and so much more. The Chicago Paintings is on view through June 23 at East Hollywood Fine Art 4316 Melrose Avenue, Los Angeles. photographs by Lani Trock
Debuting a suite of new large-scale paintings, Lorna Simpson’s Darkening finds the artist returning to and building upon themes and motifs at the center of her practice: explorations focused on the nature of representation, identity, gender, race, and history. For more than 30 years, Simpson’s powerful works have entangled viewers in an equivocal web of meaning, drawing upon techniques of collage through the use of found materials, often culled from the pages of vintage Jet and Ebony magazines. In ‘Darkening,’ Simpson continues to thread dichotomies of figuration and abstraction with vast and enthralling tableaux that subsume spliced photos and fragmented text, abstracted beyond comprehension. Equally arresting and poetic, the paintings engage viewers with layers of paradox, capturing the mystifying allure of an arctic landscape in inky washes of blacks, grays, and startling blues. Darkening will be on view through 26 July at Hauser & Wirth 548 West 22nd Street, New York. photographs courtesy of Hauser & Wirth
Born only a few months after the Chernobyl Disaster in 1986, Romanian artist Mi Kafchin was inundated as a young child with fear-driven remedies that would help to cure the invisible but pervasive radioactive toxins that enveloped her region and in effect her being. Trust in aspirational progress or the security of big government would dissipate into that same air. The chemtrails that crisscrossed the sky above represented a direct and constant communication of this reality but banalized into a sublime of the everyday. This toxic cocktail of aluminum, barium and strontium militaristically seeded into our atmosphere successfully keeps society under control… at least, that is, until the EMF from 5G begins to vibrate our delicate bodies. This legacy of trepidation from sources governmental, paranormal and extraterrestrial has festered into a menacing ideological vortex of possibility, one looming large in the work of Mi Kafchin and mapped out here in her second solo exhibition at Nicodim Gallery. Chemtrails is on view through June 1 at Nicodim 571 South Anderson Street, Los Angeles. photographs by Agathe Pinard
Wendy White’s first solo exhibition in Los Angeles, Racetrack Playa, features new paintings, sculptures, pigment prints, and a site-specific installation. The exhibition takes its name from a three-mile dry lakebed in Death Valley National Park where sliding rocks or “sailing stones” have inscribed mysterious linear imprints on the landscape. Using this scarred landscape as a metaphor for our current times, the works in Racetrack Playa explore power, entitlement, and imperialism via the aesthetics and evolution of American car culture. Racetrack Playa is on view through May 25 at Shulamit Nazarian 616 N La Brea Avenue, Los Angeles. photographs by Oliver Maxwell Kupper
Guy Yanai’s practice is fueled by fables, stories and hymns - each painting is a reflection of the pragmatic side of our life. In his isolated moments, one may find a smiling child, a big splash, a lonely banana, a bristling cactus, a modernist lamp, a singing bird or a tiny boat gliding on placid waters below a clear sky. These individual vignettes bleed into one another and could continue forever, suspended in time and forming a timeless ensemble. Many of Yanai’s subjects are intentionally recognizable and commonplace, rendered in a pixelated appearance. The Conformist is on view through May 25 at Praz Delavallade 5 rue des Haudriettes, Paris. photographs courtesy of the gallery
Robert Duran: 1968–1970 presents a selection of Duran’s earliest paintings, which were born from a time when the then young artist concurrently experimented in minimalist sculpture. Closely examining Duran’s practice within these years, one can recognize the forms and structures of his sculptures loosely illustrating the paintings surfaces, as if tracing the evolution from his sculptural pursuits to the lyrical style of painting that he became known for. Robert Duran: 1968–1970 will be on view through March 31 at Karma 188 E 2nd Street New York
Silke Otto-Knapp’s Land and Sea presents six watercolor paintings that wrap around the walls of the gallery like a sweeping horizon line. Spaced apart from each other, and installed low on the wall, the paintings achieve a weighted physical presence, and depict a group of seascapes. In the center of the gallery, a configuration of freestanding walls display vertically oriented multi-paneled paintings scaled in relation to the human form. One tableau features numerous figures activating the pictorial plane in their engagements with geometric shapes. Another larger work portrays a sequence of dancers in different positions. Each composition shifts between alternating positive and negative figure-ground relationships, creating the illusion of movement. Land and Sea is on view through March 30 at Regen Projects 6750 Santa Monica Boulevard, Los Angeles. photographs by Evan Bedford, Courtesy of Regen Projects, Los Angeles
Breaking the Prairie is Koak’s first solo exhibition in Los Angeles. “Prairie is not a term that seems to need breaking, not some bit of grassland, unknown and freshly wild, but rather a thing already tamed. To me the Prairie is barely a place of nature at all, not a field of today’s land that we could visit. In fact, it seems barely a place of the physical world. Instead, the Prairie is a vision, a fictional utopia of Americana or the long dead dream of vacancy waiting to be grabbed. The Prairie is a thought with its back already broken.” - Koak. Breaking The Prairie is on view through January 19 at Ghebaly Gallery 2245 East Washington Boulevard Los Angeles. photographs by Lani Trock
Claire Colette’s Mountains, Time, and Other Devices is a solo exhibition featuring new paintings by the Los Angeles based artist. Mountains, Time, and Other Devices is an investigation into darkness, light, time, and mysticism. A series of quiet, abstract landscapes consider concepts of interconnectedness relating to land, the cosmos, and the self. Like the Transcendentalist painters of the 20th century, Colette links external and internal realities, and infuses her paintings with influences from tantric symbolism and elements referencing nature.
As I Travel is the title of Nassim Hantezadeh’s exhibition. “Since I moved back to the United States from Iran, making daily works on paper where I draw my everyday emotions and sentiments is a way to deal with the isolation and the alienation that the situation initiated to my body. Sometimes the outcome of those drawings is abstract and may prevent a read based on the semiology of the visual system that our eyes are educated with. Other times it is direct enough to make links to familiar forms, such as objects, body organs, and figures.” The exhibitions are on view from September 15 to October 27 at Ochi Projects 3301 W Washington Blvd, Los Angeles. photographs by Lani Trock
Death and Dreams is the new solo exhibition of Tadanori Yokoo. Featuring the complete 1980 series Back of Head, the 2010 series Falling Woman, and the Mystery Woman series started in 2016, Death and Dreams examines the fascinating progression of the artist’s dialogue with portraiture, repetition, and appropriation of Japanese and Western popular culture over the course of four decades. On view from September 6 through October 13 at Albertz Benda 515 W 26th street New York
Through their very gothic and physical imagery of mutation, fragmentation, disintegration and masquerade, the works in Beside Myself position themselves as objects in opposition to the self-same body; by presenting themselves as its shadow. This show demonstrate the ways in which art maintains not just the historical but also the magical ability to conceive of expansive and malleable identities in the midst of all those that society and culture prescribe. Beside Me is on view through August 3rd at JTT Gallery 191 Chrystie Street New York. photographs by Adam Lehrer
Myths & Mortals is Marlene Dumas' first solo presentation in New York since 2010, features a selection of new paintings that range from monumental nude figures to intimately scaled portraits. Alongside these works, Dumas is debuting an expansive series of works on paper originally created for a recent Dutch translation by Hafid Bouazza of William Shakespeare’s narrative poem Venus and Adonis (1593). In these drawings—tender and erotic with hints of violence—the artist renders the story of Venus, the goddess of love, and her tragic passion for the handsome youth Adonis in her singularly expressive ink wash. Myths & Mortals is on view through June 30 at David Zwirner 537 West 20th Street New York. photographs by Adam Lehrer
‘Memory Remix,’ Mary Heilmann’s first Los Angeles solo exhibition in over 20 years, is a survey of paintings, ceramics, and furniture in which the artist’s unwavering dedication to abstraction merges with sly references to her favorite landscapes, songs, movies, and Mexican weavings. This preeminent American artist is acclaimed for her unique ability to deploy the analytical geometries of Minimalism with the spontaneous freehanded spirit of the Beat Generation from which her generation emerged, and for her weaving of pop culture influences into a wholly original and pioneering oeuvre. Heilmann’s deft handling of paint and spatially dichotomous compositions have exerted a profound influence upon a younger group of artists.
Grounded in the soul of California, Mary Heilmann’s work draws from her memories of the distinctive colors and lines of the West Coast’s landscape and surf culture. Throughout a childhood accompanied by the radio’s ubiquitous soundtrack, Heilmann often watched the ocean tumble to the shore, rode the ‘mountain waves’ at Manhattan Beach, and read Allan Ginsberg’s ‘Howl’ and Walt Whitman’s ‘Leaves of Grass,’ which stoked her great admiration for poetry, jazz, and the idea of the Beats. Under these influences and through the deceptively simple means of painting – color, surface, and form – Heilmann physically manifests nostalgic impulses, memories, and allusions to popular culture that remain accessible on both personal and universal levels. In this way, her work transcends the seemingly opaque structures of geometrical abstraction by infusing it with the content of daily life. ‘Memory Remix’ is on view through September 23 at Hauser & Wirth 901 E 3rd Street Los Angeles. photographs by Oliver Kupper
Pace Gallery presents the first exhibition of Jean Dubuffet’s Théâtres de mémoire series in New York since 1979. The exhibition is curated by Arne Glimcher, the founder of Pace Gallery. “These gigantic collages are composed of overlapping papers, layer upon layer, where Dubuffet has tested their placement by moving the elements, adding, rearranging, and deleting images until an eventual perfect coalescence of the interlocking parts satisfied the artist,” says Glimcher. The Théâtres de mémoire is one of Dubuffet’s most important series of works, and contains some of the largest paintings he ever made. Each work is made up of smaller paintings, which the artist cut out and glued to the canvas. The paintings depict abstractions, landscapes, scribbles and figures from Dubuffet’s mind. For Dubuffet, each of the Théâtres de mémoire is a collection of actual places and scenes that crowd and conflict in our memory. The exhibition is on view through June 29th at Pace Gallery 510 West 25th Street New York. Photographs by Adam Lehrer
This show features large-scale paintings from Carroll Dunham's Wrestlers series, which demonstrate Dunham’s continued exploration of and fascination with interpretations of the nude body with particular attention to the male form. Made over the last year, these paintings reflect a clear new direction for the artist through the lens of the distinctive approach to painting that Dunham has employed and tinkered with throughout his career. Using the visual language of mythological depictions of wrestling, mined from art historical sources and his own memory, these paintings propose new through lines in Dunham’s practice that are both formal and autobiographical in nature. The exhibition is on view through June 16 at Gladstone Gallery 24th Street New York. photographs by Adam Lehrer