Opens Sun, Mar 2nd, 6-8p:
“Crosseyed and Painless”
Daniel Rios Rodriguez
Sargent’s Daughters, 179 East B’Way, NYC
Daniel Rios Rodriguez’s work combines the intensely personal with the historical in a manner both humorous and dark. The paintings begin with drawing into a thick layer of oil paint, and can include collage elements of raw canvas, linen and the scraps of old t-shirts onto the canvas. This is a means of recovery and reinstating a fresh surface, exploring the materiality and variety of textures a painting’s surface can have.
The subject matter of the work spans the immediate and classical: skulls, lemons and tall grass along a river are repeated- calling to mind the traditional vanitas pieces. The search is ongoing and the images are abundant.
- thru Mar 30
opens tonight, Fri, Feb 28, 7-9p:
The Lodge Gallery, 131 Chrystie St., NYC
Young’s reverse paintings, rendered on the underside of thick glass with automotive paints, are investigations of places and objects that are familiar to us yet feel foreign. The subjects in many of Young’s paintings are iconic rooms and objects associated with bustling activity. The spaces are presented devoid of people and out of context; the empty set of television’s The Price is Right, NASA’s Control Room, and CERN’s Large Hadron Collider are captured in rare moments of inactivity. We are left with an opportunity to examine these rooms and objects closely, to inspect the complex details offered within them, and through this process garner a greater understanding of their purpose and the people, out of frame, who put them to use. Young also depicts objects of historical or personal significance that are captivating in their graphic qualities, starkly and consciously superficial, attractive yet repelling. Abraham Lincoln’s soiled death pillow is presented alongside portraits of a stained bathtub, an open filthy refrigerator, and a previously frozen TV dinner.
“Italian Futurism, 1909-1944: Reconstructing the Universe”
Guggenheim Museum, 1071 5th Ave., NYC (at 89th St)
The first comprehensive retrospective of Italian Futurism in a U.S. museum, the exhibition traces the full development of Futurism in Italy, from its inception with F. T. Marinetti’s publication of the Futurist manifesto in 1909 to its demise at the end of World War II. Featuring more than 360 works, including noted paintings and sculptures such as Giacomo Balla’s Paths of Movement + Dynamic Sequences (1913) and Benedetta’s Syntheses of Communications (1933–34), which has never before been presented in America, the exhibition also examines the Futurists’ efforts to refashion everyday life through advertising, architecture, design, fashion, film, music, photography, poetry, and theater.
Gino Severini, Blue Dancer (Ballerina blu), 1912
Futurist Manifesto from 1909 (photo: Suzanne DeChillo/NY Times)
Benedetta Cappa (photo: Suzanne DeChillo/NY Times)
Ardengo Soffici, Simultaneity and Lyrical Chemistry, 1915 (photo: Suzanne DeChillo/NY Times)