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| Just opened: Paula Wilson's The Light Becomes You at Denny Dimin. Gallery Link |
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| Wilson, seen here in two guises, the daughter of a sociologist, comments with subtlety on the infiltration of media in our lives. |
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| The artist lives in Carrizozo, NM, and runs a residency there I attended earlier this year. Her environment matches the paintings and prints: cobbled together from odds and ends. Brick and iron and metal make walls, in the way that iPhones, canvas and color make a painting. |
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| A relationship between Wilson's stained glass reflections and Matt Bollinger's film still paintings. |
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| Jen Mazza's Disobedience Is Not Careless at James Gallery, CUNY . Gallery Link |
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| Mazza's paintings of books are enchanting. |
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| The surfaces look like plaster, slathered on so the touch of the brush glides softly over. |
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| The most gorgeous painting. |
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| Source material (there is also a library of carefully chosen readings)~ |
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| and its influence. |
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| Jennifer Riley's Machine Series Paintings, presented by Silas Von Morrisse at CHASHAMA, midtown. Gallery Link |
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| Riley is not looking at early American landscape per se, but her inversions contain their buoyant light and space. |
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| She is working with large metal components as superimposed shapes she then works around. |
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| Lisa Yuskavage at Zwirner uptown. Gallery Link |
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| As her work becomes less distorted by her own subjective desires, it becomes tricker compositionally. |
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| The padded walls remain, the wine a shocking color note, as the implied opening of the reflected shirt. The paint is accomplished, confident, blithely scraped away or slathered on. |
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| I think of Bronzino's tense moments of contact that feel heated despite their seeming quotidian nature: opening a book, or holding a letter. |
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| This painting was shocking for its deep red space, reminiscent of Yuskavage's 1993 series Bad Girls, and especially the man's creepy, glass-like eye. |
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| His standing leg disappears into the black hole his eye protrudes from. Scaffolding creates a fretwork for plants that takes us right back to 1960s suburbia. Stockings meet ground turn in chromatic rainbow frenzy. |
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| Always the hands, block like, intertwined, creating staccato meeting points. |
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| Next door, the Gutai show at Hauser and Wirth. Gallery Link |
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| Thick, joyous enamel freely brushed on. |
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| Or piled. |
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| Such calligraphic freedom in these works, their marks piling on, yet distinct in their articulation. |
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| From the transparent blue pour top right to the density of middle, the substance of paint transforms. |
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| Bars of burlap create striations like rice fields on a cliffside, scaffolds for paint to address. |
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| Glue hangs heavy in the pearl white world of Matsutani. |
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| There's a beautiful film about this Japanese artist who lives in Europe, and his work with glue is no less compelling for its expansive sense of time. |
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| A spellbinding performance of light and shadow. |
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| Seen from side. |
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| First work as you enter the gallery. |
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| Jennifer Packer, Quality of Life at Sikkema Jenkins. Gallery Link |
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| Interspersing portraits of 'bodies I love' with flowers to memorialize those struck down needlessly. |
