April Gallery Roundup in Chelsea


Peter Saul @Mary Boone

William Bailey @Betty Cunningham

Hernan Nas @Lehmann Maupin

Katherin Opie @Mitchell-Innes & Nash

Mauricio Ancalmo @James Cohan

Amy Feldman

Gino Rubert @Clare Oliver

Peter Saul @Mary Boone

The Spirit Level @Barbara Gladstone

Donald Moffett @Marianne Boesky

Donald Muffett @Marianne Boesky

Nigel Cooke @Andrea Rosen

Jim Shaw @Metro Pictures

Jim Shaw @Metro Pictures

Michelangelo Pistoletto @ Luhring Augustine

Viviane Rombaldi-Seppey @Mixed Green

Mary Beth Edelson @Accola Griefen

Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen
Mary Beth Edelson @Accola Griefen


I went around a few streets in Chelsea last Saturday taking advantage of sunny spring weather despite some gusty chilly winds.  There were many more painting exhibitions this time around than sculpture or installations.  I included all the photos of the exhibitions that I found interesting.  Among them, Donald Moffett‘s oil-painting/sculpture combine is cerebral & tactile at the same time (Marianne Boesky Gallery). I enjoyed some sweet abstract paintings by Ron Gorchov (Cheim & Read) and Adolph Gottlieb (Pace Gallery), whose work from 1954-1972 still looked very fresh.  I also found some connections between psychedelic, punk, figurative paintings by Nigel Cooke (Andrea Rosen Gallery) and Hernan Bas (Lehmann Maupin).  At James Cohan Gallery, Mauricio Ancalmo’s monumental Dualing Pianos: Agapé Agape in D Minor(2011) was visually and aurally stimulating. The piece consists of two player pianos facing each other, with a word processor separating and mediating the two instruments and a large loop of paper moving slowly between the machines, fueling a three-way conversation. According to the Press Release, “Gilles Deleuze’s theory of communication as a rhizome—not growing root to tip but with multiple and mutating entry and exit points—was also critical to the work’s conception; the word processor superimposes a text about Deleuze over the original player piano scroll, affecting the sound of the work as it passes through.” And the last but not the least, the pioneering feminist artist Mary Beth Edelson’s mini career survey at Accola Griefen Gallery is a must-see to appreciate the artist’s career but also her playful take on feminist history and pop culture.

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