An teacher of mine once said not to worry about if something has been done before, but instead of what you think has not been done enough. Jackie Gendel looks to be a die hard fan of Henri Matisse and André Derain, and feels the work they started has not been finished. It’s interesting to see how a style which was so radical a hundred years ago that a critic claimed in contempt that the work had been made by “wild beasts,” yet painted today seems perfectly beautiful and comfortable. The radicalism is gone, yet Gendel carries their spirit of autonomy of lines and colors. If you like what you see, you can see more of it at the Jeff Bailey Gallery until November 10.
Eric Sall‘s paintings wild little worlds. Their use of graphic lines and bold colors invites you in with the fleeting impression of cartoon familiarity, but the second you come get into them you’re taken on a whirlwind tour of psychedelic movement and color. Sall’s paintings are a perfect mix of unreal, drug-induced, semi-spiritual visions with just enough familiar shapes and lines to keep you looking for something you know is there, like an epiphanic episode where you can’t quite put your finger on exactly what this life changing realization is that just came to you. As you’ll see after the jump, his installation style reminds me a lot of how Ed Templeton hangs his photography, but more so. If you have time, you should take the next fifteen minutes to really get lost in these.
Melanie Daniel explodes forms, objects, patterns, and color to make her paintings and the results are joyfully apocalyptic dreams. She gives us some recognizable forms–an arch, a fench, a tower, fish?– forms which make us turn much of the painting into a Rorschach test– Are those rectangle strokes cars? Are those squares buildings? Are those black lines woods that have overrun an industrial town? Or maybe they’re all just rectangles, squares, and lines, there to overwhelm us in this dreamscape. Whatever the case, her paintings are optical quick sand, making it difficult to stop looking and thinking about the worlds in front of you. Her show at the Asya Geisberg Gallery ends on the 20th, so try to stop by while you still can!
Mike Perry is of the artist/illustrator/designer/art director/teacher/typographer/zine-maker breed who have put all their energy into making a living off of creativity. Taking inspiration from Steven Harrington (an LA contemporary), cartoons, and mid century ad copy, Perry’s work is all about enjoying life and encouraging others to live more creatively à la Sister Corita. He has a show up right now until November 20 in Brooklyn called Wandering Around Wondering. I use the term “show” loosely, Because keeping in the spirit of 100% outward-directed positivity, it’s equal parts original work, workshops, and open community events, all of which are free. His press release describes it pretty well:
“Wandering Around Wondering is a free three-month community exhibition and series of events that will coincide with the launch of my monograph, published by Rizzoli. The event space will host workshops, screenings, gatherings, open discussions, and much more — conducted by me and a select group of design and illustration professionals. The space will become a dynamic environment for continuous creation, where visitors will be able to explore freely and create their own unique experiences.”
Natalie Frank‘s paintings are worlds in which both form and formality have been melted away. Faces have been disintegrated into their constituent parts, held together by goopy swathes of color; subjects are diving into free love, violent and vulnerable states. One thing you might notice when looking at her work is that however distended every other part of a body may be, at least one eye is always in sharp focus. This may or may not have to do with the fact that until this last summer, Natalie could only receive optical sensation from her left eye, causing her to see a two dimensional world. How you theorize about that information in relation her work is up to you, but if you want to do it in person, she has a show up at Fredericks & Freiser until November 3. Check it out!
Diana Al-Hadid is a Syrian-born artist who grew up in the US, and coming from such rich backgrounds, it is easy to see why her work deals with the disintegration of power and history. Melting statues and monuments, paintings that look like they were left out in the rain for centuries, the work in her show at the Marianne Boesky Gallery looks more like anthropological pompei-like discoveries than they do precious art objects, which is kind of the point. It encourages you to wonder what kinds of remnants our empires will leave behind for the future to dig up, or for others, maybe it is a call to arms to incite some cultural anarchy. Her show also closes on the 20th of this month, so stop by if you’re in the neighborhood!
Julie Heffernan‘s paintings take all the tropes of Northern Renaissance painting, combines them, and makes them into absurd works that feel like art history collages rendered by one of the masters themselves. She has a show coming up at the Mark Moore Gallery on November 3, so if you like what you see, make sure to check out her opening, it sounds great!
At age 72, Mernet Larson is having her first solo show in new york right now. Her show Three Chapters is slated to be shown in three consecutive bodies of work– Heads and Bodies, Places, and Narratives. The first two have already come and gone, but if you’re in the NY area you should check out her Narratives chapter at the Johannes Vogt gallery before it gets taken down on the 27th . “These works navigate the divide between abstraction and representation with a form of geometric figuration that owes less to Cubo-Futurism than to de Chirico, architectural rendering and early Renaissance painting of the Sienese kind. They relish human connection and odd, stretched out, sometimes contradictory perspectival effects, often perpetuated by radical shifts in scale.” - New York Times (via)