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Acrylic Flowers Painting

Born in Brooklyn in 1935, Mel Leipzig advised painting at Cooper Union and Yale, area his absorption in realist delineation was beat by such eminences as Josef Albers. But he ashore to his vision, and back 1970 he’s been chronicling the lives and contexts of accompany and neighbors in Trenton, N.J. — area he accomplished for 45 years — with precision, affinity and a aggregate of detail that would beat a photograph.

That’s not to say that he’s literal-minded. Leipzig frequently distorts angle to fit things in, or to accent the axis of his capacity in their environments. He doesn’t compress from affective a couch, abacus a window or alike alteration the blush of the sky if it serves a painting’s all-embracing composition. He additionally glances adjoin as abundant painterly self-awareness as any adolescent artist. “Gregory at Arcade Henoch” catches an agent of Leipzig’s own arcade assuming in advanced of accession one of his portraits, and in “The Woodcut” (1994), Leipzig paints himself and his babe Francesca reflected in the bottle over his own 1957 block of his mother and sister.

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Through April 2. Arcade Henoch, 555 West 25th Street, Manhattan; 917-305-0003,

But what he’s consistently beguiled with is the amaranthine abundance of beheld actual presented by the absolute world. (“That’s the affair about realism,” he brand to say. “Everything is paintable!”) A annual of Louis Draper, with whom Leipzig aggregate an appointment at Mercer County Community College, surrounds the columnist with books, affidavit and acoustic beam tiles, all rendered with as abundant absorption as the man himself. WILL HEINRICH


Through April 2. Andrew Edlin Gallery, 212 Bowery, Manhattan; 212-206-9723;

Some underground comix creators of the backward 1960s and mid-1970s accept become boilerplate famous, like R. Crumb and Art Spiegelman. But abounding others helped appearance the rebellious, pathbreaking movement. Among them was Spain Rodriguez (1940-2012), whose assignment is featured in a mini-survey, curated by Dan Nadel, blue-blooded “Hard-Ass Friday Nite” afterwards one of the artist’s stories.

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Born Manuel Rodriguez in Buffalo, he was a self-described adolescent behind afore bottomward out of art school. He formed in a Western Electric bulb and rode with a motorcycle club. In 1967, he confused to New York City, area he began publishing comix and alive at the another bi-weekly The East Village Other. Two years later, he beyond the country to accompany the Bay Area scene.

Rodriguez’s left-wing backroom abreast his work. The brilliant of the appearance is Trashman, “agent of the 6th international,” who uses abstruse abilities and beastly backbone to activity absolutist armament in a post-apocalyptic world. There’s additionally Manning, a base cop; tales about his biker group, the Road Vultures Motorcycle Club; and one-offs like a absurd adventure about a arduous refrigerator.

Like abounding underground comix, the assignment is violent, and women are abundantly absent — although Rodriguez drew changeable leads that aren’t represented here. But his blocky, atramentous art, abundant cityscapes and adroit layouts are so engrossing, you’ll appetence to absorb time with them. What comes through best is Rodriguez’s bounce of appropriateness and connected analytic of the accustomed order. Alike with his aphotic spots, that’s annual admiring. JILLIAN STEINHAUER


Through April 2. Lomex, 86 Walker Street, Manhattan; 917-667-8541,

Cute, camp beastly antics on TikTok may be the alone affair captivation acculturation calm at this point. In the art world, H.R. Giger’s aphotic depictions of amative aliens and posthumans are the detached glue. His show, “HRGNYC,” organized with Alessio Ascari of Kaleidoscope media, is calmly one of the best accepted in city appropriate now. In accession to sculptures, prints, assets and photographs in the gallery, Lomex’s Instagram annual additionally abstracts bodies assuming off their Giger-inspired tattoos, tributes and costumes.

Giger (1940-2014) was a Swiss artisan who acclimated airbrush techniques to actualize “biomechanical” abstracts that alloyed bodies with machines and absurd a approaching in creepily gothic terms. His contributions accomplished a aerial point in his designs for films like “Alien 3” (1992) and Alejandro Jodorowsky’s abeyant adaptation of “Dune.” However, in accurate Swiss fashion, Giger was additionally bedeviled with wristwatches — a alliance of anatomy and automatic time — and these arise frequently in the show, like in a amethyst aluminum and brownish “Female Torso (1994) that is absolutely a architecture for a Swatch watch.

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Giger’s artful is the criterion for a array of communities. The aperture for “HRGNYC,” for instance, brought calm associates of the bandage Slayer as able-bodied as Comic Con devotees. Abundant like Tom of Finland’s over-the-top fantasy depictions of gay men cruising, Giger’s dejected assets angular against kitsch — but kitsch that’s become culturally accordant in these dystopian times. For best of the attendees here, it’s a not-so-guilty pleasure. I’m added of a recent, if afraid convert. MARTHA SCHWENDENER


Through April 2. JDJ Tribeca, 373 Broadway, B11, Manhattan. 518-339-6913;

Think of paintings of angels, and art-historical images apparently arise to mind: fair-skinned, changeable Renaissance abstracts accessory to a babyish Jesus. In Lucia Love’s paintings, angels are shape-shifting characters that may arise cartoonish or statuesque. They accept absorbing wings, but no heads; instead, amphibian aloft their bodies are rings of stick abstracts with abutting arms, a attribute that ability anamnesis a logo for a nonprofit alignment or two alongside crowns.

But the better change may be that, as the appellation of this appearance — “Angel at the Wheel” — suggests, actuality the angels accept gone from sidekicks to protagonists, and they’re harnessing some catholic forces. In “Saint George and the Dragon” (2022), an angel on horseback vanquishes a reptilian animal headed by Walt Disney, who’s accustomed the Nazi aerospace architect Wernher von Braun and amidst by smirking Mickey Mouses. “Excelsior” (2021), rendered in a appearance I appetence to alarm surrealist left-wing realism, could be a accolade to the marvels of air travel, except the planes assume assertive to bead bombs on us admirers bottomward below.

Previous paintings by Love, a Brooklyn-based artisan whose influences accommodate Peter Saul and Neo Rauch, accept sometimes acquainted awe-inspiring aloof for the account of it, but this appearance has a conceptual adherence that strengthens the work. I acclaim account the zine Love fabricated answer the apologue of anniversary piece, but alike if you don’t, you can still get absent in these absolutely consciousness-expanding images of airy beings that assume alone as acceptable as the bodies who ability them. JILLIAN STEINHAUER


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Through April 2. Hauser & Wirth, 542 West 22nd Street, Manhattan; 212-790-3900,

In post-World War II Japan, a accumulation of artists alone attitude to actualize an art that emphasized alone abandon and the activity of making. Under the banderole of Gutai — “gu”meaning apparatus and “tai” anatomy — they prefigured the actualization of achievement art in the United States by decades.

The paintings actuality appearance Takesada Matsutani, already one of the Gutai group’s youngest members, still alive at the age of 85 with the vinyl cement he began experimenting with in 1961. Now Paris-based, Matsutani assault air with straws or admirers beneath the apparent of the cement as it dries, creating canvases with aerial annular protrusions. As you access the gallery, attending carefully at the egg-yolk chicken painting on the awning of his 2019 Centre Pompidou attendant archive on the arcade desk. It displays “Circle Yellow-19” from that aforementioned year but in a actual altered accompaniment than the painting now in the gallery: The aggrandized abscess on its apparent has back partly collapsed. At some point — on the alike from France, as it was unloaded in the midwinter algid of Chelsea? — the painting has exhaled the artist’s breath.

This is painting apprenticed to an acute limit, or ashore in a cul-de-sac. Several works actuality echo variations of aphotic near-black dejected or amethyst vinyl featuring a bisecting band on white, creating abstractly floral constructions. Are flowers admirable alike back they are bent and dying? JOHN VINCLER

Greenwich Village

Through April 3. Alyssa Davis Gallery, 2 Cornelia Street, No. 1102, Manhattan. 401-263-4093;

Abby Lloyd’s appearance “Goodbye Dolly” consists of absolutely one work: a huge, 12 foot-tall rag baby that colonizes an absolute end of the gallery, an 11th-floor prow-shaped accommodation in Greenwich Village. Lloyd has frequently alternate to dolls for her accountable matter, authoritative detailed, abashing sculptures in assorted media that adjure the generally alarming genitalia of childhood. Here, though, Lloyd’s baby is simple and straightforward, a archetypal children’s toy scaled to awe-inspiring proportions, cut from apprehensible bolt and abounding with packing peanuts.

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Lloyd began the assignment afterwards the afterlife of her mother, whose own adolescence Raggedy Ann and clothespin dolls she came beyond back acclimation her effects. It’s an able appearance of the way affliction can ample an absolute room, sucking up its oxygen — a Raggedy Ann bled of color, about blotting out an absolute window’s annual of daylight. (The gallery’s calm ambience adds to the effect, acceptance access into someone’s clandestine interiority.)

In its tender, acquiescently rendered affect, it’s like an anti-KAWS: unpolished, lumpen, assuredly human. All dolls are hardly creepy, but Lloyd’s shades beneath adverse than vulnerable. Its altered button eyes and missing clothes, instead of jarring, advance a affection of actuality angrily loved, and accompany to apperception the roadside memorials that gradually become in the sun and decay. The bolt average usually invites an assay of ability and women’s work, but actuality the anguish overpowers any appetence for symposia. Lloyd’s baby smiles acquiescently with its amazing accoutrements outstretched, cat-and-mouse for an embrace that can never absolutely be returned. MAX LAKIN

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