Don Voisine's formal humor and John Singer Sargent's light hand factor into this set of art picks from our 6/5 issue.
McKenzie Fine Art, 55 Orchard St., through June 9th
In his latest solo exhibition, Don Voisine presents a fresh body of paintings in which readily legible levels of limitedly chromatic, sharp-edged compositional seriousness are occasionally leavened by jarred strata of ocular jest. Blocky layers of black stack atop, nudge against and interact with one another, while strips of variant colors, breadths and margin-bound juxtapositions referee their rather pacified pushes and pivots from the sidelines. The works are staid, to an extent. Ascetic, then not. For they are, overall, effectuated, active. The various verbs in Voisine's titles thus read like winkingly clever punchlines.
Mitchell-Innes & Nash, 534 West 26th St., through June 29th
Lured and attuned to the simulative properties and potentials of a rather curious range of materials and mechanical processes, Lefcourt creates works—call them objects, call them items, call them paintings—that leave viewers questioning how much deeper or more detailed their envisioned origins might run, how much further their eventually depicted apertures might open, how many more machines and manual 'modelings' could be incorporated into the artist's procedures of representation and simulation. They beg such questions, of course, because they are themselves so alluring, themselves finely tuned, though not without a fair share of grit. That certain of the artist's works can be labeled something like, ultimately, 'paintings on canvas' becomes thus all the more beguiling.
JOHN SINGER SARGENT WATERCOLORS
Brooklyn Museum, 200 Eastern Parkway, through July 28th
Levels of refinement, chromatic array, procedural underpinnings and—given the many different sorts of landscapes and outdoor settings—flora and geography offer plentiful points of visual intrigue and divergence among Sargent's watercolors, yet there is one point at which they all converge: the works are simply stunning. They are technically telling, however, as well, for the master's trademark richness of flair and light are on full display even in this most unforgiving medium. His consummate light touch in oil paintings, in other words, results from a truly light hand. In this show, to wit—and on various levels, exhibitional included—oil and water do readily mix.
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.
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