THURSDAY
Anoka Faruqee: “Future Perfect” at Koenig & Clinton
January 23 – March 1
Opening: January 23, 6-8pm
459 West 19th Street
Faruqee manually conjures the generative principle of interference, as expressed in wave formations, magnetic fields, and computer screens, by employing a wide range of customized trowels. Layer by layer, the artist rakes one selected paint color over the canvas and then later sands the dry surface to erase all resulting grooves and ridges before raking the next set of overlapping lines.
Minjung Kim: “The Room” at Oko
January 24 – March 1
Opening: January 23, 6-8pm
220 East 10th Street
Appearing at first glance to be monochromes, the paintings of Minjung Kim gradually reveal themselves as intricately accrued surfaces. Early, intensive study of East Asian calligraphy endowed Minjung with a vision of our world as not merely a collection of physical objects, but as an infinite universe of processes.
Sol LeWitt: “Horizontal Progressions” at Pace Gallery
January 24 – February 22
Opening: January 23, 6-8pm
508 West 25th Street
Sol LeWitt used the cube to create structures in a myriad of variations usually in series, over the course of his more than 40-year career. Pace will bring together seven structures from 1991 in this rare exhibition of a complete series.
FRIDAY
Ena Swansea: “untitled nightlife” at Friedman Benda
January 21 – February 15
Opening: January 24, 6-8pm
515 West 26th Street
Swansea’s signature technique, like the club experience itself, makes indistinguishable the line between protagonist and voyeur, while the works also slip between abstraction and representation. Known for applying graphite powder as a base for colored compositions, she creates vaguely celluloid effects.
SATURDAY
Joel Shapiro at Paula Cooper Gallery
January 25 – February 22
Opening: January 25, 6-8pm
534 West 21st Street
Joel Shapiro began working in the late 1960s. His first one-person shows, at the Paula Cooper Gallery in 1970 and 1972 and at the Clocktower in 1972, included intimately scaled sculptures of abstracted and at times anthropomorphic forms. Often mimicking shelves, ladders, house, chairs and coffins, Shapiro’s small sculptures reintroduced recognizable objects into a fiercely anti-referential sculptural field.
