It's a Plane! Part 2: Steven Alexander, Taro Suzuki, Sven Lukin
Al Held from the Sixties, through January 29, at Ameringer McEnery and Yohe. I wrote about his more compositionally and chromatic later work here
This post, the third of three to look at planarity in the galleries right now, is a mixed bag of interesting painting and sculpture. The thread is simply the appearance--illusion or reality--of planes in space.
Held in the the back gallery at Ameringer. Look up and you'll see the bottom of the skylight . . .
and below you can look up into the skylight, with its view of the planar abstraction on the mini storage building next door
The mini storage plane within a plane leads us to the work of John Stezaker at Friedrich Petzel, up through February 12
Another Stezaker in two views, above and below, with the planes extending slightly away from the wall
An unexpected find: Amy Park's architectural watercolors on paper in the project room at Morgan Lehman Gallery
Large detail (an almost full view) of the middle work, below
We move slightly off the wall with the planar sculptures of Richard Bottwin. I've written about Bottwin's work here and here. Over his dimensional constructions he uses veneers which he paints or stains. The placement of the grain, sometimes this way and sometimes that, creates a slightly veriginous view of work that holds space in its own idiomatic way.
Richard Bottwin at OK Harris, in a show that is now down. Installation view above is from the front of the gallery looking back
The work you see below is next to last in the line of works shown above. The perspective of my camera lens creates more acute angles than the work actually has
Below: Another view of the work under consideration, second from front, as well as another perspective of the installation--from the back looking toward the front of the gallery
At Mitchell-Innes and Nash, up through January 29, Virginia Overton works reductively and very large, defining the space between two support pillars as well as creating a new planar dimension. Here, Untitled (Triangle), 2010, douglas fir in variable dimension.
A Robert Morris felt sculpture from 1976, Untitled (White Felt), folds onto itself, adding a slight dimension --and sensuous form--to its planar presence
At I-20 Gallery through February 19, minimalist Don Dudley, showing work made between 1966 and 1979. Above a view of the gallery's two spaces
Below, Red Corner, 1969, acrylic on homosote, each segment secured to the wall with a nail
Moving into fully dimensional space, we come to Tatjana Busch's sculpture at Gallery 532 Thomas Jaeckel on 25th Street, shown in full view above. This fabulous piece, not part of the show, happened to be out because Jaeckel was preparing to show it to a collector. I love the way color and form conspire to define and hold the space within and without
Details above and below