#dc moore

Barbara Takenaga’s abstract paintings evoke natural phenomena – here, a polished cross section of a stone or a distant view of far galaxies. In the case of ‘Overview,’ a standout in her latest solo show at Chelsea gallery DC Moore, she electrifies the heavens with vibrant color and gratifying complexity. (On view through Oct 6th). Barbara Takenaga, Overhead, acrylic on linen, 37 ¾ x 35 9/16 inches, 2017.

Folds, Barbara Takenaga 2015 Courtesy of the artist and DC Moore Gallery, New York

The world fractures into patterns and planes in Chie Fueki’s energetic rendition of a redhead (painter Ellen Altfest) on her bike, a standout in DC Moore’s excellent summer exhibition. In other works by Fueki in the show, women take the wheel in futuristic vehicles that traverse otherworldly landscapes. (On view in Chelsea through August 10th.) Chie Fueki, Ellen, acrylic, ink and colored pencil on mulberry paper on wood, 60 x 72 inches, 2017.

Pleasure is the driving factor in Carrie Moyer’s eye-popping new work at DC Moore Gallery in Chelsea. Here, ‘Jolly Hydra: Unexplainably Juicy’ suggests the multi-headed hydra of Greek mythology as it encounters blocks and washes of bubble gum-bright color and sensually curving bodily forms. (On view through March 22nd).

Straight, D.C. Moore

New Yorker painter Yvonne Jacquette fell in love with the aerial view while on commercial flights, eventually chartering her own aircraft to make art from the sky. After a trip to Hong Kong in the early 90s, she incorporated various views of Hong Kong harbor into this piece, including a floating restaurant, speeding cars and reflections of neon on the water. (At DC Moore Gallery through Dec 17th). Yvonne Jacquette, Hong Kong Harbor with Floating Restaurant V, oil on canvas, 64 ¼ x 91 ½ inches, 1992-93.

Inspired by sublime landscapes she’s encountered on road trips, Claire Sherman pictures the majestic outdoors as studies in light and form. (At DC Moore Gallery through Nov 5th). Claire Sherman, Island, oil on canvas, 102 x 84 inches, 2016.

“It’s not about being a commodity, it’s about the pleasurable experience of looking,” explained Carrie Moyer to an interviewer recently, elaborating on how her once overtly political art practice has morphed into a subtle advocacy for enjoyment. (At DC Moore through March 26th). Carrie Moyer, Candy Cap, acrylic, glitter and Flashe on canvas, 72 x 96 inches, 2016.