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Jason Bailer Losh: Plow Louise

Anat Egbi

Last Chance - February 27 through April 4, 2015

Jason Bailer Losh, who might use bowls, balls or shrink wrap to make his sculptures, is a frequent thrift store shopper and scavenger. His objects still have a formal look to them and, according to the somewhat poetic press release, grapple with big ideas like "presentness" or "simplicity" versus "complexity."

Osang Gwon: New Structure

Baik Art

Last Chance - February 28 through April 4, 2015

Osang Gwon makes three-dimensional photographs, by collaging together photographic prints until he has, say, a dimensional bouquet that could go in a real vase, or a human figure that's made of assembled prints but still able to stand up.

Malick Sidibé: Studio Malick, Bamako, Mali

Maloney Fine Art

Last Chance - February 28 through April 4, 2015

Malick Sidibé opened his Studio Malick in the 1960s in Mali, and people started hanging out there while he worked on portraits and documentary photographs. This show mostly consists of vintage images Sidibé took of social ceremonies or sporting events, and the glass frames have been hand-painted.

Claire Anna Baker: Transitive Horizon

Moskowitz Bayse

February 21 through April 11, 2015

Claire Anna Baker does romantic, landscape-informed abstract paintings and is interested in those really tangible, painterly things, like touch and surface. She paints on polyester with synthetic ink, and she's the first artist Moskowitz Bayse gallery is showing.

Christine Frerichs: Serenade

Klowden Mann

March 7 through April 11, 2015

Christine Frerichs is working in pairs. Her canvases belong in sets of two, and are thick and hazy, because she uses heavy layers of oil paint, acrylic and wax. As in her previous work, this series grapples with "memory, relationships and the construction of personal identity."

Carolyn Marks Blackwood: On The Edge | Catherine Howe: Supreme Fiction

Von Lintel Gallery

March 7 through April 18, 2015

For "On the Edge," Carolyn Marks Blackwood, who also writes screenplays, photographed air, ice and water but gives no sense of perspective -- so it's just sunset-colored "air" or an expanse of ripples. Catherine Howe, who previously painted lush still lifes, is abstracting vases and making splotchy marks in her new paintings. Both artists work in New York.

Theodora Allen | Daniel Lefcourt

Blum & Poe

March 7 through April 18, 2015

Theodora Allen, who works and lives in L.A., does eerie, minimal but also new age-ish paintings on linens. They have titles like The True Believer, No. 2. New York-based Daniel Lefcourt based all the work in his new show on "small cultivated accidents" that happened in the studio, like the spilling of glue or dropping of paint.

Matthew Swarts: Processing - Beth and the Alternatives | Blake Little: Preservation |

Kopeikin Gallery

March 7 through April 18, 2015

Break-up albums are pretty much ubiquitous but break-up exhibitions are rarer. Matthew Swarts show is about all the weirdness of breaking up and then starting a new relationship, and it includes blurred images that "are a metaphor for the uncertainty and complexity of forging a new relationship." Blake Little, who's showing at the same time, covered his portrait subjects in gallons of honey.

And There Is an End

Roberts & Tilton

March 14 through April 18, 2015

Meant to be iconoclastic and to "scrimmage with trends," this group show with a biblical title includes imprecise, figurative painting, some easy abstraction and comical sculpture made of serious materials.

Between Forms: The Nature of Painting and Photography

Sonce Alexander Gallery

March 14 through April 25, 2015

Layered paintings by Jonathan Apgar and more abstract, textured paintings by Donel Williams are paired with portrait photographs by Carrie Yury and process photographs by Colin Patrick Smith. It's all about the relationship between figuration and abstraction and painting and photography.

Crude Alchemies

Loudhailer

March 14 through April 25, 2015

Aline Cautis, Barry Johnston and Nick Kramer all have an intuitive, unwieldy approach to their materials. Cautis has merged digital with analogue sensibilities in paintings that recognize "their own absurdity." Johnston, who has made art out of bedsheets and burned books, will be showing "decorations." Kramer has "infused" collages with liquid resin.

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