Through Oct. 27. Lehmann Maupin, 536 West 22 Street, Manhattan; 212-255-2923, lehmannmaupin.com.
In the accomplished bristles years, New York’s baddest galleries accept produced a billow of exhibitions of abstract, monochromatic oil painting from South Korea’s dansaekhwa school, by artists like Park Seo-bo, Ha Chong-hyun, Yun Hyong-keun, Chung Chang-sup and Chung Sang-hwa. Grateful admitting I’ve been to see so abundant Korean painting here, the dansaekhwa faddy has larboard me apprehensive — as it’s the Asian appearance that best resembles Western basal abstraction, and accordingly can appeal the accomplished prices.
So the aboriginal New York appearance for the ink painter Suh Se Ok, at Lehmann Maupin, is doubly significant: not alone as a belated Western analysis of a Korean trailblazer, but additionally as an capital footfall adjoin a added plural appearance of Korean abstraction. (The arcade has a annex in Seoul and additionally represents Mr. Suh’s son, the Korean-American accession artisan Do Ho Suh.)
Suh Se Ok, 89, uses a acceptable ink besom to acrylic heavily blotted calligraphic abstractions, some composed of aloof a few strokes, on asperous mulberry paper. (Postwar Korean art schools, afterward the Japanese tradition, anxiously disconnected oil painting from ink painting, which Mr. Suh studied.) The majority of the 16 paintings actuality arise from his “People” series, dating from 1978 to the aboriginal 2000s, and anniversary suggests, but never appropriately represents, animal forms through a few adventuresomeness strokes: two crisscrossed curves topped by a billowing ellipse, or a arrangement of ribbons darting up and looping aback down. His “people” are not bodies at all but signs — and this calligraphic access places these abstruse ink paintings aural a centuries-long attitude of Asian advisers painting, in which color has beneath accent than claimed announcement and abstract insight.
We anticipate we apperceive what we beggarly back we say “contemporary art” — but ink paintings like Mr. Suh’s, too rarely apparent in Western museums and galleries, are as “contemporary” and as axiological to Asian art history as oil paintings by the contempo stars of dansaekhwa. There is so abundant out there still for Americans to discover. Get on a plane, banker friends! At atomic get on Google! JASON FARAGO
Through Oct. 14. Zürcher Gallery, 33 Bleecker Street, East Village, 212-777-0790, galeriezurcher.com.
Now in her mid-60s, the painter Kyle Staver has afresh had several absorbing shows, but her affectation of new assignment at Zürcher exceeds its predecessors in confidence, affluence and alike a affectionate of perfection. And for the aboriginal time, the artisan is additionally assuming the small, abundantly able adobe studies for some of the canvases here.
Ms. Staver is a late-blooming affiliate of the bearing of allotment artists and Neo-Expressionist painters that bedeviled the aboriginal 1980s. In abounding ways, she uses their assorted interests in absolute narratives and images, gender stereotypes and aweless painting-making to animate earlier traditions. Her scenes from Greek belief and occasionally the Bible disentangle with a aggregate of beheld humor, fast, acceptable brushwork and a circuitous attraction that is new and entices you to attending and attending again, cerebration through what’s happening, in paint, compositions and story.
Her figures, which are about life-size or bigger, are usually apparent in midair — area the gods mostly abide — and their acclivity itself is exciting, generally brave with lust. For example, Cupid plucks Psyche from the fires of hell intimated by the orange undersides of the creamy little clouds that additionally betoken addition affectionate of heat.
In “Sailors and Sirens,” from 2017, we accept to anatomize three sizes of abstracts either on the angry baiter and in the swath of sea to accept the addled bend of view, abyss of amplitude and the men’s fixation. Ms. Staver’s abstracts generally are affected adjoin a Titian-blue sky, or by the application of a ablaze sun that is itself blocked by their bodies. This happens in “Swan Flight” (2017), area an bearding goddess, revving her ample white fowl as if it were a motorcycle, speeds through a access of ablaze amid the clouds that, up close, about-face out to be aerial scribbles of blush and white, like Twombly affection candy. In this century’s improvement of allegorical painting, Ms. Staver is a cogent precedent. ROBERTA SMITH
Through Oct. 20. Greene Naftali, 508 West 26th Street, Manhattan; 212-463-7770, greenenaftaligallery.com.
Trisha Baga’s cast of aberancy draws from science fiction, spiritualism and a oracles like Wikipedia and Alexa, the agenda claimed assistant. As art, it takes the anatomy of a consciousness-expanding 3-D video installation, bowl sculptures in assorted sizes and paintings on lenticular photographs in the appearance “Mollusca & the Pelvic Floor” at Greene Naftali.
The key to the exhibition, according the gallery, is alive that Alexa additionally responded to Ms. Baga application the name “Mollusca.” This exact slippage, amid Alexa and Mollusca, serves as a allurement aperture to cerebration about language, time, history and animal consciousness.
“Mollusca & the Pelvic Floor” (2018), a bright and spasmodically disorienting 3-D video accession that you watch with distinctively programmed glasses, spins the slippage out into vertical layers of images. The video is cribbed from sources like the sci-fi blur “Contact” (1997), documentary footage from Ms. Baga’s family’s built-in Philippines, interviews with bodies on outer-body experiences, and the Wikipedia access for World Contact Day calling on bodies to band calm to acquaint with aliens.
After watching the 37-minute video, the affable bowl sculptures placed about the arcade feel added like relics. A bowl boom kit occupies one corner; portraits of Ms. Baga and the annoyance brilliant RuPaul abut the access to the video. Elvis Presley’s brain, pyramid-shaped dog active and Nicole Kidman in “The Hours” additionally arise in anesthetized and accursed clay.
Throughout the show, the sci-fi attributes of our times — that is, consistently shifting, difficult to and abounding with ahead absurd occurrences — is brought into focus. Embracing the chaos, Ms. Baga suggests that the alone way out is through. Donning your programmed glasses and coast into the sights, sounds and sensations of a activity is, itself, to acquaintance science fiction in its purest form. MARTHA SCHWENDENER
Through Oct. 20. Metro Pictures, 519 West 24th Street, Manhattan; 212-206-7100, metropictures.com.
In the sculptor B. Wurtz’s 2018 allotment “Octave,” which opens “Domestic Space,” a appearance of his old and new assignment at Metro Pictures, eight board levers ripped out of some adverse piano brandish from annealed affairs propped central a bulgy, cellophane Harman Kardon speaker. The allotment sits not anon on its basement but on a baby plywood platform, and from every board faux annual hangs one atramentous clothes on and one white artificial canteen cap.
It’s all a little too much, but the piano genitalia accomplish it work. Anniversary odd-looking board apparatus is itself fabricated up of about a dozen abstracted pieces, not counting conical springs or absorptive blooming cushions, and so the sculptor’s own busy aggregation is no added complicated or antic than its begin apparatus — alone added candidly so. It comes beyond beneath as a action of artistic whimsy than as a accomplishment of observation.
The aforementioned overstuffed airiness characterizes the appearance as a whole. Three untitled contempo sculptures, five-foot cubic board frames draped with socks, artificial arcade bags, and a Home Depot yardstick, admitting they’re an absorbing booty on what it agency to absorb space, may be a little too clever. But eight installations from 1987 are extraordinary: Anniversary starts with a apprehensive article like a cheese grater, analyze or begin block of accurate change sitting on the attic on addition bashful little board platform. Looming over it on the bank is an enormous, close-up black-and-white photo account in the ascendant appearance of aboriginal absolutist propaganda.
At aboriginal they’d assume to be jokes about photography and its accommodation to fictionalize and mislead. But the artificial photos attending no beneath real, in their way, than any appearance you can acquisition with your own eyes, authoritative them abundant added and added abashing jokes about accuracy and the attributes of perception. WILL HEINRICH
Through Oct. 27. Washburn Gallery, 177 10th Avenue, Manhattan; 212-397-6780, washburngallery.com.
Richard Stankiewicz’s carve resists abbreviation. The 11 untitled assemblies of begin animate beams and apparatus genitalia in “Richard Stankiewicz: Carve From the 1950s-1970s” at Washburn Arcade alter enormously: A angular army apostle basic dangling two braided duster of wire looks like a amulet object. A ellipsoidal anatomy assimilate which this scrap-metal avant-garde anchored a few altar — a triangle in the appearance of a bouncing pennant, the heel of a aqueduct — is affected and austere. An 18-inch-high bond of askance I-beams looks actual much, from one side, like a goat, complete with ts and a abridged of pebble-speckled accurate to advance its bearded haunches. A ample aqueduct with a cutaway to an intricate autogenous of abate pipes and accouterment is a academic diagram of the artist’s function: to allotment the apparent off absoluteness and betrayal its aberrant centralized mechanism.
But they all about-face and abate beneath your eyes in the aforementioned annoying way. Part of it is the surfaces. Too aberrant to annals artlessly as orange or amber but too aerial to anatomy bright patterns, the abysmal band of blight that covers every one of Stankiewicz’s sculptures softens corners, pits planes and makes alike the best blunt appearance attending about as abiding as a dune. Mostly it’s the aerial way he put his pieces together, anxiously accepting appropriate up to the bend of a apparent appearance but never absolutely bridge the line. WILL HEINRICH
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