This week’s artists use color to explore relationships in all of its forms.
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1. Tom Krumpak’s Bamboo tall, blue sky, a painted abstract picture, inside wooden room is comprised of a body of work, inspired by the relationship between Mid-20th-Century Modern architectural design and traditional Japanese Shoji screened dwellings found in the United States and Japan at Lora Schlesinger Gallery
2. Concrete Cuba is one of the first major presentations outside of Cuba to focus exclusively on the origins of concretism in Cuba during the 1950s, and will include important works from the late 1940s through the early 1960s by the twelve artists who were at different times associated with the short-lived group at David Zwirner
3. Zhu Jinshi All the works in the exhibition are accumulations of Chinese aesthetic and socio-political histories and hard labor, drawn from the artist’s experience growing up during the Cultural Revolution at Blum & Poe
4. The genesis of Agathe de Bailliencourt’s Couleurs du temps is rooted in a three month residency in Marfa, Texas in 2014. Marfa’s extraordinary landscape and desert environment had a profound impact on Bailliencourt’s notion of time, space and horizon. The new paintings produced in Berlin continue her reflections on these concepts, with the artist questioning ‘what does it mean to paint a landscape today?’ at Blain|Southern
5. In Odili Donald Odita’s The Velocity of Change, the artist “hope[s] to engage the intrinsic power of color in its ability to escape the definitions of language that limit and paralyze” at Jack Shainman Gallery
6. In Color Matters, the artworks examine how color relationships function, on many levels, with their own logic. By definition, the first, or root, level of color usage is the purely abstract manipulation of the element of color for its own sake. It can be perceptual, realistic, theoretical or symbolic at The Painting Center
