Letting Paint Do What It Will

Andrea Belag's buoyant exhibition of new paintings, Inheritance, at Morgan Lehman. Gallery Link

Belag has changed the surface of her work, as far as I have seen, to expansive, oil-ground linen substrates that hold each gesture or swipe with transparent clarity. 

The inheritance in this work is a freedom, expansiveness, and lightness that has achieves maximum velocity, celebrating life and those who have lived, in paint. Belag works in silence, processing recent deaths of those close to her. As I write, I am listening to her interview with Brainard Carey (accessible on gallery link). This exhibition continues the expansiveness of Belag's bold MTA station (U Station, F Culver Line).

Beautiful swipes that creates a geological strata under and over which paint flows and changes.

Guston-esque huddled shapes, over and under swipes. Belag uses six colors, works improvisationally, and often makes a painting a day (Carey interview).

 

A work on wood; a promise for the expanse on linen.

Installation view. This is a gorgeous show.

Bobbie Oliver's new exhibition, Residuals, at High Noon Gallery.  Gallery Link
These images are horrible! Please check link for more accurate views.

Oliver also attends to surface; the pours of color that she uses as a meditative focus in a time of great upheaval disperse in a variety of ways, enhanced by the substrate's weave and prime.

It is notable to me that Oliver, in her early artistic development, worked for Isauu Noguchi and LaMonte Young, masters of the minimal and elegant.

Paints and Prints, Flowers and Texts

Sangram Majumdar's first exhibition at Geary, Once, and Twice. Gallery Link

Detail

Dr. Jordan Amirkhani, American Univerity Professorial Lecturer in Global Modern History, writing on Majumdar's work, asks, " In what ways can painting reach and touch as bodies can?"

The exhibition impetus: an illustration from the 18th century tale Ramayana.

Lizbeth Mitty at M. David & Co. Gallery Link through 4/21/19

She exhibits here with her daughter, Dana James. The affinities in their works emerge despite James' liquidi and Mitty's sculpted surfaces.

Mitty

Mitty

Details of the above - incision and layering

Warhol at the Whitney, From A to B and Back Again. Museum Link

Josef Albers in the unexpectedly fantastic Programmed exhibition at the Whitney. Exhibition Link 

Meet Wave Hill and Neumeraki curator Eileen Jeng Lynch at the Lower East Side  Printshop,  where she curated an exhibition of artists working there, Awaken.  Lower East Side Printshop exhibition link

Yesuk Seo, In-Between, 2019, Screenprint on Asahi Bookcloth

Naomi Nakazato, nononononono, 2018, Screenprint

Sarah Faux Monotype

JC Lenochan's socio-political text works

Detail 

Nina Feigin Monotype, Lost Children, giving color, surnames and life to children mired in bureaucratic systems (20 x 16 inches)

JC Lenochan

Yesuk Seo in front of her works

In the Presence of Absence at EFA Project Space, curated by Jillian Steinhauer. Gallery Link
The exhibition examines states and conditions of grief.

Among the works are Edward Heap of Birds' viscosity prints, messages to and about indigenous peoples.

Nene Humphrey's braided metal and home-made table sculptural installation Circling the Center and video, If You Were to Peer Into the Mourner's Skull, that explore the neural pathways of emotion in the brain.

Jaamal Olawale Kosoko's Accidental Saint, (J.I.K.D.I.S.Y.G.I.B.), 2019, an altar to his murdered brother, with texts and references that provide a larger cultural context for the death. 

Taken from the chair provided, next to which is a copy of James Baldwin's On Being White...and Other Lies, 1984.