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Sylvia Plimack Mangold is the sort of admirable artist who discusses cobalt violet oil paint as if it were as tasty as crème fraîche.
Anya Janssen has an unusual muse-Ivy, a girl who lives with her mother in a red mobile home in rural Holland. In this isolation, Ivy's imagination runs at full gallop. A nearby forest is full of monsters. Water droplets contain universes. Bugs and mushrooms take on monumental significance.
Locust Projects will soon relocate to a new space in Miami’s Design District. The slated demolition of the current building necessitated the move, but Locust’s revoked occupancy presented the opportunity of a lifetime to Ruben Ochoa: the gallery did not have to survive his exhibition intact.
Bill Scott’s paintings have an atmosphere of ease, but consideration and reconsideration of beautiful form churn within them. Two or Three Nudes in a Landscape (2010) summarizes Scott’s endeavor, its delightful title alluding to an image that somehow is richly descriptive while in fact depicting nothing. Maybe a white-over-blue passage turns into a patch of sky, and the lollipop shapes become trees, but that’s as specific as it gets. The rest of the painting consists of colors that you would use to paint figures in a landscape if you adored Matisse.
One does not so much enter into the landscapes of Ying Li as collide with them. Brushed impastos accrete on her canvases like minerals on the walls of a cave. Discerning the scenes can require an act of imagination, but they reward the viewer's efforts with a luscious physicality and surprising palette.
Mel Kendrick has native Brancusian sensibilities, but he came into artistic maturity in the 1970s, "when process was everything," as he puts it. Two opposing impulses, one to invent his own geometric forms, another to honor the given geometries of his materials, have been informing his work ever since. Two recent exhibitions—a review of the past 16 years at David Nolan and a display of months-old monumental works at Mary Boone—showed Kendrick's path and its culmination to date.