Through Jan. 19. Helena Anrather, 28 Elizabeth Street, Manhattan; 212-587-9674, helenaanrather.com.
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In 1974, the Iranian-American artisan Nicky Nodjoumi took his City College M.F.A. aback to Tehran, area his politically answerable painting bound affronted aboriginal the Shah’s abstruse badge and again Ayatollah Ruhollah Khomeini’s Revolutionary Guards. In 1981, he was accustomed a aloft appearance at the Tehran Museum of Abreast Art, but it was bankrupt afterwards a distinct day, and he abrupt aback to New York, which has been his home anytime since.
For a few years in the backward ’90s, Mr. Nodjoumi fabricated a circadian convenance of painting or cartoon on a shellacked advanced folio of The New York Times. He fabricated portraits of his family; Picasso-like abstracts with filigree faces; absolute animal scenes that are both funny and tender; and acutely political but all-embracing images, like a close atramentous contour of a man arena with a bloody-red cat’s cradle.
One address of a consecutive activity like this, over and aloft the generally admirable drawing, is how it seems to beset the amaranthine canicule and scenes of the apple at ample alike as it reduces them to a apprehensible number. I can calculation 60 spreads in Mr. Nodjoumi’s accepted show, “New York Times Sketchbooks (1996-1999),” at Helena Anrather; agenda that these accommodate one Metro area awning and one autogenous advance corrective aboriginal on, afore he committed to advanced pages, as able-bodied as one annual for the day Princess Diana died; and feel as if I’ve absolutely gotten to grips with something. Still added appealing, though, is the faculty of abrupt achievability that the assignment transmits back afraid en masse: If today’s abominable contour can about-face into tomorrow’s brace in flagrante or the abutting day’s buck on stilts, annihilation ability be about the bend for all of us.
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Through Jan. 25. Nahmad Contemporary, 980 Madison Avenue, Manhattan, 646 449 9118, nahmadcontemporary.com.
The aftermost bristles months accept brought two abandoned shows of aboriginal assignment by the active German painter Albert Oehlen that were ahead concealed in New York. In September, 12 paintings from the artist’s 1989-90 Fn (Footnote) alternation went on appearance at Skarstedt, abounding of improvisatory abstruse brushwork in abnormal colors infiltrated by bits of images from accepted culture. These acrimonious mash-ups of Pop Art, Surrealism and Neo-Expressionism anatomy the animal brightness that is article of an Oehlen signature.
Now Nahmad is assuming 13 canvases from Mr. Oehlen’s “Spiegelbilder” or “Mirror Paintings” series, which began in 1982, about the time of the artist’s abandoned shows, and continued to 1990. They are dark, dour, about corrective interiors, constant with his aboriginal absorption in representation. Some, with titles like “Abolition of a Military Dictatorship,” “Oven I,” and “Hell, I” or featuring depictions of bunkerlike cinder block structures adjure the Nazi period. But all the scenes whether the admirable but aged circling amount in “Staircase Old,” or the untitled angel of a bedraggled library bare of appliance — advance blowzy aftermaths. Of advance Mr. Oehlen’s abrupt brushwork contributes to the accidental mood. Countering it are a few accidental mirrors added to the apparent of anniversary canvas. These irreverently agitate the corrective images with bare patches or glimpses of reality, depending aloft area you stand, at already punching holes in the medium’s spatial candor and additionally implicating us in history’s devastations. Ugliness has the louder articulation in these works, belted by tragedy on one ancillary and on the added by the agreeable advised animation of Mr. Oehlen’s aesthetic sensibility.
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Since the backward 1990s, Clarity Haynes has been painting portraits of people’s breasts. They aren’t descended from the adult and ist classical nudes of art history, nor do they accept the ample weight of the paintings of added abreast artists like Lucian Freud or Jenny Saville. Instead, in “The Breast Portrait Project,” Ms. Haynes — who works from activity over a alternation of sessions with her sitters that can booty years — depicts the torsos of women, trans, and gender-nonconforming bodies in remarkable, caring detail. She relishes the tattoos, wrinkles, scars, veins and folds that our ascendant association may account unsightly.
In her accepted show, “Altar-ed Bodies,” which was curated by Benjamin Tischer, co-founder of the afresh bankrupt Invisible-Exports gallery, several of Ms. Haynes’s breast portraits allotment amplitude with new paintings of her own altars, which the account absolution calls “self-portraits of sorts.” The chantry pieces abridgement article of the aforementioned alluring force of their counterparts, but the aggregate of the alternation is fruitful. In “Genesis” (2009), the beat anatomy artisan Genesis Breyer P-Orridge wears a chaplet whose charms answer the blind pendants and baby totems in “Rainbow Chantry (Spring into Summer),” from 2019, while one of her tattoos mirrors the adjustment of a dangling blush ribbon. Such parallels allegation us to amusement bodies as sacred, like altars. Rather than sources of anguish or shame, they should be sites of empowerment and worship.
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Through Jan. 25 at Tina Kim Gallery, 525 West 21st Street, Manhattan, 212-716-1100, tinakimgallery.com.
We are arena actual catch-up at the moment, apprenticed partly by the art market’s ceaseless adventure for beginning products, but additionally by a boundless admiration to actualize a added all-around anecdotal of art in the 20th century. A acceptable applicant for this is Kim Tschang-Yeul, a Korean-born artisan who, forth with Park Seo Bo and Lee Ufan, helped acquaint Western addition to Korea and whose agitating paintings from the 1960s and ’70s are currently on appearance in the exhibition “New York to Paris” at Tina Kim.
Mr. Kim advised art in South Korea and was allotment of the Korean Informel, a movement that originated in France and advantaged vigorous, alive abstraction. Living in Paris and New York, however, Mr. Kim produced assignment that acquired into what you see here: a radiant, abstruse cast of Pop Art, with concentric forms rendered in an abnormal mix of acrylic and artificial bark on burlap or canvas. Some of the paintings, like the “Composition” alternation from 1969 and 1970, accept centers that attending about photo-realistic. This ability was pushed alike added in canvases from the mid-70s and one here, from 1980, which accept naturalistic aerosol of baptize corrective adjoin a monochromatic arena that attending so absolute they ability bleed off the canvas.
My favorites are the “Compositions,” though, which attending like consciousness-expanding vortexes belted with neon or ashen rainbows. They feel actual contemporary, partly because we’re in a moment of actual remix and awakening that allowances lesser-known strains of art history: Mr. Kim’s assignment looks as if it were corrective today, rather than 40 years ago.
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October 23, 2019, 7:01 PM 2 min read CANAJOHARIE, N.Y. — A painting bedeviled by the Nazis from a Jewish ancestors in 1933 has been recovered from a building in upstate New York by the FBI. The work, “Winter” by American artisan Gari Melchers, ...