The arc of the Lower East Side gallery scene bends toward youth. It is probably home to the greatest number of starting-out dealers showing the works of emerging artists in New York. This gives the art scene in this neighborhood and the ones developing around it — in NoHo, East Village South, Chinatown or Little Italy — a certain lightness of being. We’re often looking at first, not necessarily mature or final, artistic statements. It helps that the area lacks the dwarfing juggernaut of big-name, property-proud galleries and blue-chip artists that give Chelsea or the Upper East Side their weight. Most of the shows reviewed here emphasize youth in various forms.
The new work in Arcmanoro Niles’s third solo show in New York in three years and his second at Rachel Uffner comes with the vulnerable overall title “My Heart is Like Paper: Let the Old Ways Die.” The works depict members of a family, including the artist at home, usually lost in thought, even sad as suggested by titles like “Longing for Change (“I’ve Given up on Being Well),” or “Does a Broken Home Become a Broken Family.” The paintings are dark in mood, which Mr. Niles’s distinctive palette elevates with a dark, glorifying radiance that evokes a modern Byzantium. The brown skin of his figures often hints at gold, and their hair is rendered in dense coats of hot pink glitter, suggesting halos. The paintings have an unexpected gravity and grandeur that is almost religious. “My Heart is Like Paper” shows the artist alone in a gold-and-pink bathroom, wearing an orange undershirt. He is a man who has come to a turning point, a momentous choice. I’m not sure what the ghostly sex scenes outlined in red, or the gremlin-like stuffed dolls wielding knives, add, but they add something. Through April 28 at 170 Suffolk Street; 212-274-0064, racheluffnergallery.com.
Some shows aren’t so much about youth as youthfulness, an ageless state. This seems to be the condition of Sharon Horvath’s show at Pierogi, “Where Owls Stare at Painting’s Busted Eyeballs.” Whatever the title means the artist is showing a substantial number of beautiful new paintings, which often conjure vistas in outer space, including “Out There Or In Here,” her largest canvas to date, whose green and black forms seem to show the enormous wraparound control board of a cockpit. In addition, she has transported virtually her entire studio to the gallery, laying out in vitrines everything she uses to make or inspire her art. It is a great deal of material, much of which is from her parents, who were artists, and her sister. This is a dense novelistic show that lays before us the important ways memories and especially family memories can figure in art-making. Through May 5 at 155 Suffolk Street; 646-429-9073, pierogi2000.com.
In Julia Rommel’s fourth show at Bureau, “Candy Jail,” she continues her brand of corrupted formalism, exploring ways to revivify Minimalist abstraction with a non-Minimalist, piecemeal sense of process. Ms. Rommel works on her paintings in stages, as they are stapled to ever-larger stretchers. This gives them an almost cinematic sense of growth and expansion. The monochromatic surfaces of earlier, smaller paintings shift about, becoming squares or rectangles within larger compositions — except that their edges are weirdly raised. The new efforts have more layers, which makes them less legible, as does the increase in arbitrary brushwork that is not related to the central process. There is sometimes an echo of the work of Richard Diebenkorn that she needs to resolve. But Ms. Rommel’s color is as beautiful as ever, especially in simpler works like “Volvo 240,” where two orange squares both divided by and edged in green rivet the eyes. Through May 5 at 178 Norfolk Street; 212-227-2783, bureau-inc.com.
Aria Dean, who graduated from Oberlin College in 2015, is having her second show in New York. Her works weave the gallery space into a web of intersecting, sometimes contradictory languages and perspectives, as suggested by the show’s title “(meta)models or how I got my groove back.” (Not to mention the double remove of “meta” and “models.”) A video monitor in the middle of the gallery shows a camera dancing around a pedestal made of mirrored, or two-way glass, familiar to viewers of police procedurals. This pedestal sits on a New York sidewalk, providing chaotic, fragmented views of houses, cars and pavement. It’s a “non-site” — recalling Robert Smithson’s 1970s use of mirrors in small, temporary earthworks — except urban, in danger of being broken, a pedestal awaiting an artwork. We hear what appear to be three young men, identified as D.J.’s (it’s actually a single actor), move effortlessly between street talk and a kind of Beckettian theory-talk — riddling observations about a nothing that can be something but is ultimately a void, a form of invisibility. (The dialogue borrows from, among others, the writings of Heidegger, Robert Morris and Fred Moten.) Around the screen, on the floor or attached to the wall, four vaguely figurative shapes cut from the mirrored glass add to the disorientation. They are blank nothings but they also suggest leaping ghosts, Saturday morning cartoons (Casper) and the silhouettes of the bodies of murder victims, outlined in chalk on the street. Through May 5 at 249 East Houston Street; 646-850-7486, chapter-ny.com.
Youth in art doesn’t always mean newly made. It can also be an older artist’s early work that virtually no one has ever seen. So it is with “Mira Schor: California Paintings, 1971-73,” a stunning show of gouache on paper works that this leading feminist painter made while in graduate school at the California Institute of the Arts. She started out in Judy Chicago and Miriam Schapiro’s legendary feminist art program, but left to make these richly colored highly personal paintings about loneliness, longing and sexual awakening in which she frequently starred. The many works here have the flat, matte colors, deep space and lush greenery of Rajput painting and also call to mind the solitary women in the work of Leonora Carrington and Joan Brown. Historically, they form an unexpected addition to the early 1970s Conceptual offshoot known as Story Art, and also point to the return to painting the figure that transpired in the late 1970s and is once more ascendant. Through May 19 at 106 Forsyth Street; 646-484-5478, lylesandking.com.
The sculptures and wall pieces in Cameron Clayborn’s New York solo debut have both historical and contemporary references. His preferred materials are leather-like vinyl and glittered vinyl sewn into stuffing-filled shapes that evoke the soft forms of Post-Minimalist sculpture of the 1970s. But he often adds gleaming sharp-pointed hardware associated with late ’80s Neo-Geo art. He pushes this combination into the present with subtle and not-so-subtle suggestions of gender, drag, race and violence. The show’s first artwork puts you on alert: “Roompiercer With Tool” might be described as a phallus of two different skin tones hanging from a sharp, shiny spike. “Toolholder” is a drape of glitter vinyl, the color of white flesh, hanging from steel clamps. In the crux of the vinyl rests a solid steel lozenge about four inches long. It suggests a man in drag, distilled to abstraction. Not everything in this show is as effective or as promising as these works, but much of it is. Stay tuned. Through May 12 at 131 Bowery, second floor; 917-409-0612, simonesubal.com.B:
2017年香港天线宝宝总公司【这】【样】【的】【一】【闹】，【双】【方】【后】【面】【的】【谈】【话】【自】【然】【是】【不】【欢】【而】【散】。 【好】【事】【不】【出】【门】，【坏】【事】【传】【千】【里】。 【向】【天】【歌】【与】【龙】【腾】【队】【续】【约】【谈】【判】【闹】【得】【不】【欢】【而】【散】【的】【事】【情】【不】【胫】【而】【走】，【一】【千】【二】【百】【万】【对】【龙】【腾】【队】【来】【说】【过】【于】【高】【昂】，【但】【是】【对】【有】【些】【球】【队】【来】【说】，【又】【不】【是】【个】【事】【了】，【特】【别】【是】【想】【要】【成】【绩】【的】【中】【超】【球】【队】【甚】【至】【是】【欧】【洲】【的】【球】【队】。 【第】【一】【个】【反】【应】【过】【来】【的】【还】【是】【广】【州】【恒】【大】，【他】【们】【的】【制】
【陆】【离】【想】【了】【想】【发】【现】【还】【真】【是】【这】【样】，【不】【好】【意】【思】【地】【笑】【了】【一】【下】，【又】【道】：“【那】【这】【四】【大】【神】【族】【也】【真】【是】【厉】【害】【了】，【厉】【害】【到】【连】【史】【书】【里】【有】【没】【有】【过】【多】【的】【记】【载】。” 【说】【完】【与】【王】【飞】【意】【味】【深】【长】【地】【对】【视】【一】【眼】。 【这】【时】，【方】【舒】【志】【找】【到】【树】【下】，【仰】【头】【往】【上】【喊】【道】：“【小】【陆】【哥】，【大】【飞】【哥】，【你】【们】【在】【这】【儿】【吗】？” 【王】【飞】【笑】【道】：“【小】【志】，【你】【不】【会】【是】【有】【夜】【盲】【症】【吧】？” 【树】【下】
【姚】【元】【均】【两】【日】【后】【便】【到】【了】【蓉】【城】【的】【学】【府】【城】，【颜】【梦】【引】【着】【他】【见】【了】【书】【院】【院】【长】【容】【昱】，【至】【于】【军】【事】【学】【院】，【好】【吧】，【原】【谅】【她】【没】【有】【找】【到】【合】【适】【的】【院】【长】【人】【选】。 【如】【今】【西】【南】【学】【府】【城】【已】【基】【本】【建】【成】，【剩】【下】【的】【也】【只】【是】【配】【套】【设】【施】【和】【招】【商】【的】【工】【作】，【颜】【梦】【将】【其】【丢】【给】【刘】【二】【这】【个】【采】【购】【大】【管】【事】【后】【便】【与】【孟】【轩】【昂】【潇】【洒】【的】【走】【了】。 【刘】【二】【这】【些】【年】【历】【练】【的】【越】【发】【成】【熟】，【想】【要】【在】【他】【手】【上】【占】【得】
【武】【慧】【儿】【觉】【得】【自】【己】【好】【像】【比】【之】【前】【更】【加】【危】【险】【了】。 【忽】【然】【听】【到】【李】【元】【修】【喊】【自】【己】，【武】【慧】【儿】【愣】【了】【愣】，【看】【着】【李】【元】【修】【的】【笑】【容】，【感】【觉】【似】【乎】【非】【常】【特】【别】【不】【怀】【好】【意】。 【武】【慧】【儿】【眨】【了】【眨】【眼】【睛】，【然】【后】【猛】【地】【摇】【头】：“【不】【是】，【我】【觉】【得】【三】【兄】【会】【打】【死】【我】【的】！【二】【兄】【和】【宁】【王】【叔】【不】【在】，【没】【人】【拦】【着】【他】，【他】【真】【的】【会】【打】【死】【我】【的】，【李】【元】【修】，【我】【觉】【得】【你】【得】【派】【人】【保】【护】【我】！” 【武】【慧】
【宋】【如】【是】【进】【门】【的】【时】【候】，【天】【上】【已】【经】【亮】【起】【了】【第】【一】【颗】【星】。 【这】【前】【院】【里】【头】【安】【安】【静】【静】，【她】【于】【是】【循】【着】【声】【音】【进】【了】【后】【院】。 【这】【一】【进】【后】【院】，【就】【瞧】【见】【立】【在】【厨】【房】【的】【窗】【棂】【底】【下】，【攀】【谈】【的】【正】【是】【热】【闹】【的】【两】【人】。 【那】【两】【人】【说】【的】【正】【热】【闹】【间】，【桑】【叶】【脸】【色】【微】【红】，【也】【不】【知】【是】【红】【了】【脸】，【还】【是】【被】【那】【烛】【光】【映】【衬】【的】。 【而】【石】【娘】【面】【上】【则】【带】【着】【诡】【异】【的】【笑】【容】，【口】【中】【不】【知】【说】【着】【什】2017年香港天线宝宝总公司【姜】【城】【表】【现】【出】【一】【副】【对】【此】【兴】【致】【缺】【缺】【的】【样】【子】，【然】【而】【实】【际】【上】【他】【也】【在】【竖】【起】【耳】【朵】【听】【着】。 【从】【边】【际】【世】【界】【开】【始】，【邪】【神】、【表】【世】【界】【以】【及】【各】【种】【危】【险】【就】【一】【直】【如】【影】【随】【形】，【这】【次】【里】【世】【界】【发】【生】【的】【这】【些】【离】【奇】【的】【事】【件】【更】【是】【让】【姜】【城】【感】【觉】【到】【一】【种】【前】【所】【未】【有】【的】【危】【机】【感】。 【神】【谷】【凉】【真】【和】“【蜉】【蝣】”【的】【战】【斗】【让】【姜】【城】【见】【识】【到】【了】【这】【个】【世】【界】【顶】【尖】【的】【战】【力】【到】【底】【是】【什】【么】【样】【的】，【而】【对】【于】
【厉】【战】【低】【头】【看】【了】【她】【一】【眼】，【光】【着】【脚】，【也】【不】【穿】【鞋】。【他】【眉】【头】【皱】【了】【一】【下】，【将】【她】【抱】【起】，【放】【在】【床】【上】，“【以】【后】【每】【天】【都】【要】【和】【我】【视】【频】，【知】【道】【吗】？【不】【然】【我】【就】【会】【死】【在】【那】【里】，【回】【不】【来】【了】。” 【余】【晚】【晚】【闷】【笑】，“【我】【知】【道】【了】。” 【厉】【战】【低】【头】【轻】【轻】【吻】【了】【她】【一】【下】，“【那】【我】【走】【了】。” “【我】【送】【你】【啊】。” “【别】，【看】【到】【你】【又】【舍】【不】【得】【走】【了】。【我】【走】【了】。” “
【作】【为】【一】【只】【老】【练】【且】【身】【经】【百】【战】【的】【哥】【斯】【拉】，【羽】【戊】【良】【经】【常】【嘲】【讽】【敌】【人】，【说】【各】【种】【各】【样】【的】【骚】【话】，【扰】【乱】【敌】【人】【的】【思】【绪】【等】【等】。 【一】【般】【来】【说】，【效】【果】【还】【算】【不】【错】，【主】【要】【是】【羽】【戊】【良】【的】【那】【些】【骚】【话】【够】【恶】【心】【人】，【能】【够】【引】【起】【敌】【人】【的】【不】【良】【反】【应】，【其】【实】【那】【就】【算】【是】【成】【功】【了】。 【综】【上】【所】【述】，【一】【只】【经】【常】【嘲】【讽】【敌】【人】【的】【哥】【斯】【拉】，【在】【受】【到】【敌】【人】【的】【嘲】【讽】【时】，【必】【须】【能】【够】【看】【透】【这】【种】RZ
【韩】【冰】【打】【定】【了】【主】【意】，【顿】【时】【变】【运】【使】【气】【血】，【连】【连】【攻】【击】【青】【铜】【大】【钟】。 【霎】【那】【间】，【棍】【影】【满】【天】【遍】【地】。 【而】【另】【外】【一】【边】，【李】【默】【闭】【目】【吐】【纳】【之】【后】，【仍】【然】【没】【有】【丝】【毫】【反】【应】。 【任】【由】【韩】【冰】【攻】【击】，【似】【乎】【对】【那】【口】【青】【铜】【大】【钟】【信】【心】【十】【足】。 【根】【本】【就】【不】【在】【意】【他】【的】【攻】【击】。 【韩】【冰】【眼】【见】【他】【这】【种】【态】【度】，【心】【头】【怒】【火】【顿】【生】。 【只】【是】【连】【连】【攻】【击】，【却】【只】【是】【激】【起】【层】【层】【波】【澜】