A Gallery Resurgence in Chelsea

A Gallery Resurgence in Chelsea

After a number of months of compelled inactivity due to the pandemic, New York’s artwork galleries are again, with a vengeance. Since Labor Day, they’ve collectively mustered one of many higher fall seasons of the final a number of years, with extra to come back within the weeks forward. Sure, there have been adjustments. Sadly, some galleries have closed, whereas others are being worryingly gradual to reopen. But fewer have gone lacking than appeared doubtless in March or April. Others have sought new leases on life by relocating from Chelsea to TriBeCa, or from SoHo to the Higher East Facet, and so forth.

Within the face of the financial unknowns, the collective message from galleries sounds one thing like: we’re not taking this mendacity down.

The sense of resurgence is very tangible in Chelsea, the place my working record of reveals to see has reached 74. An excellent quantity type a fractious dialog about portray.

The differing viewpoints in regards to the medium might be dizzying, ricocheting off one another. They vary from Pieter Schoolwerth’s demonically choreographed “Shifted Sims” sequence at Petzel Gallery — the place figures and interiors from the Sims video video games, printed on canvas, intersect with mannered functions of paint, forming a disturbing netherworld of social and art-making rituals — to Julian Schnabel’s newest forays into Romantic abstraction at Tempo. In them, nice thrives of white and blue unfurl throughout barely formed stretchers with a dusty pink tarp serving as canvas. And they’re bookended by reveals of crisp new Minimalist work from Robert Mangold, and Yoshitomo Nara’s unendingly cute, wide-eyed innocents, introduced forth with consummate ease in paint and coloured pencil.

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