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What to See in N.Y.C. Galleries in March

What to See in N.Y.C. Galleries in March


This week in Newly Reviewed, Holland Cotter covers the Studio Museum in Harlem’s residency outcomes at MoMA PS1, Sarah Grilo’s little-seen work at Galerie Lelong and Mary Lucier’s heartfelt video artwork at Cristin Tierney Gallery.

Through April 8. MoMA PS1, 22-25 Jackson Avenue, Queens; (718) 784-2086, momaps1.org.

In 1968, the Studio Museum in Harlem initiated a yearly residency program that offered a stipend and studio area for making new artwork, with, because the museum’s web site notes, “precedence given to artists working in nontraditional supplies.” This 12 months’s cohort of three younger members handily meets that formal criterion, as seen of their energetic topping-off present, hosted by MoMA PS1 whereas the Studio Museum’s new constructing is underneath development.

Two of the artists create imaginative worlds from discovered supplies. The very first thing you see in a gallery of labor by the Haitian-born Jeffrey Meris is a big suspended sculpture, “To the Rising Sun,” produced from dozens of outward-bristling crutches held along with C-clamps. The photo voltaic reference makes descriptive sense, although the piece additionally suggests a large coronavirus. Apocalyptic, trending Afrofuturist, is the vibe right here, within the presence of two silicone-cast human our bodies that appear to be melting, and a monumental collage referred to as “Imperial Strike” that catches a terrestrial Big Bang in progress.

A second various universe, this one a type of magical backyard of work and sculptures assembled by Devin N. Morris, is extra recognizably earthly, with its photos of landscapes and folks. But it’s formally much more unorthodox, combining commonplace artwork supplies (watercolor, pastel, oil paint) with scraps salvaged from Harlem’s streets: cube, mirror shards, electrical cords’ wires, bamboo reeds, plastic flowers, nail polish bottles and fentanyl check strips. Morris turns all of this right into a type of walk-through city Eden of grit and delicacy.

The set up by Charisse Pearlina Weston feels extra like an easy sculpture show, however this work too has its twists and contortions. Weston’s major medium is evident blown glass, usually slumped, collapsed or damaged, and, in some instances etched with barely readable photos and phrases. While staying summary it clearly alludes to authoritarian ways together with “broken-window policing.” And the work right here — organized by Yelena Keller, an assistant curator on the Studio Museum, and Jody Graf, an assistant curator at MoMA PS1 — alongside along with her 2022 solo on the Queens Museum, establishes her a exceptional expertise, and one absolutely arrived.

Through March 30. Galerie Lelong, 528 West twenty sixth Street, Manhattan; (212) 315-0470, galerielelong.com.

The painter Sarah Grilo (1919-2007) was born in Buenos Aires and spent most of her life in Europe. But a Guggenheim fellowship introduced her to New York City in 1962, and an eight-year keep right here remodeled her artwork, as demonstrated on this fantastic survey of little-seen work — “The New York Years, 1962–70” — organized by Karen Grimson.

Grilo arrived right here as a purely summary painter and stayed one for some time, because the 1963 “Green Painting,” with its brushy blocks of emerald and aquamarine, attests. But the United States, racially divided and headed towards battle in Asia, was in a manic temper, and New York was New York, all the time jacked to the max. Those environmental components, together with an artwork world during which Pop was big and abstraction in retreat, shook up her work.

Her paint utility started to get lighter and looser however wired. And she started so as to add a brand new factor: language, within the type of headlines minimize from information magazines. These phrases and phrases — “Our heroes,” “Win, it’s nice in your ego” — filter up from tangles of paint. In 2017 Grilo had a memorable second with the inclusion of a portray within the Museum of Modern Art exhibition “Making Space: Women Artists and Postwar Abstraction.” The work is on view within the museum’s everlasting assortment galleries, and it’s nice to have a context for it on this fuller sampling at Lelong.

Through March 2. Cristin Tierney Gallery, 219 Bowery, second ground, (212) 594-0550, cristintierney.com.

The experimental video artist Mary Lucier turns the medium that she pioneered within the Nineteen Seventies in a distinctly private route in an exquisite new set up referred to as “Leaving Earth.” The piece begins with a display screen scrolling quick, ruminative phrases excerpted from a journal saved by Lucier’s husband, the painter Robert Berlind, recording his ideas on his approaching dying in 2015.

These phrases additionally seem on a number of different screens affixed at totally different ranges to upright poles in entrance of the gallery’s west-facing home windows. But right here the phrases are interspersed with a succession of photos, nonetheless and transferring. Some are snapshot-like: faces of household and mates; the inside of the home in upstate New York that Lucier and her husband shared. Nature is ever-present in close-ups of breeze-touched discipline flowers and nesting birds. Mortality, repeatedly, intrudes: in a shot of floor zero on Sept. 11; in pitilessly sustained footage of a dying fawn respiration its final.

Lucier is silently current for all of this: Her face, passive, stares down from a high-up display screen. And her husband is current too, seen swimming underwater in a transparent stream. “Leaving Earth” is a deeply emotional piece, and a sophisticated one: a heartfelt lament, a stoic salute and a factor of nice magnificence.

See the February gallery exhibits right here.

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