Solo shows of new works by Gatson, Wilson, Munson and Ballou are the art picks compiled for our 4/24 issue.
RICO GATSON: THE PROMISE OF LIGHT
Ronald Feldman Fine Arts, 31 Mercer St., through May 25th
Rico Gatson's extensively multi-media solo show spans both of the gallery's exhibition spaces and features paintings, sculptures, video projections, digital prints and installations. Inspired in part by The Warmth of Other Suns, by Isabel Wilkerson, and in part by personal ties and ancestral tales, Gatson deploys narrative progressions, variable abstractions and the power of chromatic associations in the telling, retelling and reformulating of histories of mid-20th-century African American migration out of the US South. Get a glimpse of the promises Gatson's lights hold in store, and of how glimpses of hope are furled into the folds.
LETHA WILSON: LANDMARKS AND MONUMENTS
Art in General, 79 Walker St., through June 30th
This Brooklyn-based artist's mergings of sculpture, photography and architectural contexts amount to consistently engaging set pieces not only because of the general uniqueness of such works, but also because of the artist's keen skills in each specific medium and ever-cleverer methods for combining them. That Wilson's subject matter in the photographs tends toward landscapes makes her juxtapositional operation all the more curious, alluring and jarring—and all the more effective as commentary.
Brooklyn Museum, 200 Eastern Parkway, through July 7th
Mike Ballou has a great deal of fun crafting all sorts of sculptures of all sorts of animals—the more the merrier, and the bigger the better. Now the Brooklyn Museum, as part of its Raw/Cooked series, has given the Williamsburg-based artist free reign, if not free range, to fill up various types of a gallery spaces with his faunal curiosities. Light and sound installations are part of the zoo, too, as are some collaborative efforts with a number of different fiction writers.
PORTIA MUNSON: REFLECTING POOL
P.P.O.W., 535 West 22nd St., 3rd Floor, through May 4th
Portia Munson's richly colorful, ever-so-slightly irregularly patterned meta-photographs of sorts merge the greater and lesser delicacies of curio-cabinet intrigue with the black-backdropped haunt of snipped, snapped, scanned and reconfigured forms of flora and fauna. The results are boldly embellished, mandala-like works that praise Mother Nature while questioning if it is a red or white flag she might be wont to raise.
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