The art is this week’s gallery picks is all about focus and shifts in practice and process.
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1. Steve Roden went a year without painting and then began again at Susanne Vielmetter Los Angeles Projects
2. Subliminal Shifts unveils an assemblage of artists living and working in New York, Berlin, Paris, and Chicago, all of who predominantly practice an abstract idiom, investigating paint through a lens that is entirely distinct at Tracy Williams, Ltd
3. In “Voyeur”, Vanessa Prager installs sixteen new paintings, some viewable only through a tiny peephole. Prager paints dense and furry oil paintings that relish in the peaks and valleys of extruded oil paint. With multiple colors of paint on the brush she blends pigment not just in the X or Y dimensions but gravity-defyingly outward into the Z. Her subject is the face, and her technique creates an image that hovers between figuration and abstraction in a sort of non-image at The Hole
4. Margo Wolowiec’s Double Blind expands upon her distinct woven practice with three new freestanding sculptures grounded by a large double-paneled wall work. In this body of work, the artist continues her examination of digitally sourced images while presenting the viewer with a conflicted field of doubles through the artist’s process of dye sublimation transfer onto polymer threads and weaving them together on a handloom at Anat Ebgi
5. Emanuel Röhss’ new works in Invitation to Love stem from the artist’s recent examination of the relationship between the Hollywood entertainment industry and the Ennis House in Los Angeles, designed by architect Frank Lloyd Wright. The exhibition’s title is borrowed from the name of a fictional soap opera which appears in the TV series Twin Peaks at Thomas Duncan Gallery
6. Further Notice presents new figurative and abstract paintings in Wayne Herpichs distinctly rigorous technique, one where he employs a series of reiterative horizontal, sometimes layered, wavelike forms across the surface of the canvas. In full command of his often bombastic decisions in pigment, patterning, and texture, Herpich creates masterful, dissonant, compelling, complex and innovative works that resist classification at Blackston Gallery
