By Aug. 20. Tempo, 540 West 25th Road, Manhattan 212-421-3292,

The pictures of olive trees in California, Israel, and Italy that make up “For Now,” JoAnn Verburg’s present-day present at Speed, are resplendent, enigmatic, and a kind of feint Verburg’s authentic matter is time and how it is seasoned. The several body images and movie operates, lavishly textured and devotionally rendered, function as Delphic objects, portals to character. Of class, a climate-managed gallery is significantly absent from character, but the energy of Verburg’s photos is this sort of that even if they really do not particularly transport you to the stillness of the Umbrian countryside, you sense like they could, and the smaller gravity in between people ideas is momentarily erased.

The interplanar impact is heightened by a number of formalist thrives. Verburg, who returns to olive trees like Morandi to his bottles, makes use of a vintage large format digicam (the sort with bellows), which affords trippy swings in focus. History, foreground, and mid-ground change within the same composition. The gnarl of a tree trunk torques into velvet and sharpens again up. A near-up glamour shot of some young olive trees is so intimate as to be intrusive, although the cover line at the rear of them fuzzes out into broccoli florets, but in a sequential panel, the impact is reversed, a examine on photography’s declare on the decisive second. Below, as in actuality, there are countless means of searching.

The groves’ uninhabited air is also a sort of trick. These are doing work farms, tended to and fussed above. But people look right here only sparingly, obscured by branches, seemingly missing in believed. Their presence both equally disrupts the aspiration and offers a tether. Verburg is significantly less fascinated in capturing the real truth of any distinct second than producing the problems for that moment to exist in perpetuity. The movie functions primarily, with their birdsong and softly dissipating mist, propose the anticipatory vitality of some coming detail, which of class under no circumstances does. Time progresses and then loops back again on by itself. There is only you and the trees and the gallery attendant, for as prolonged as you’re all standing there.


Through Aug. 15. Mom Gallery, 1154 North Avenue, Beacon, N.Y. 845-236-6039,

Marshmallow-formed boulders roll up and down mountains or drift earlier misty waterfalls in the dozen tiny paintings of Joshua Marsh’s “Cascades” at Mom Gallery. Painted with only cobalt blue, permanent green, bone black and titanium white — alongside with some orange for the to start with and previous of the collection — they have an eerie impact. The blue, nevertheless vivid, is unplaceable — not rather sky, sea or even swimming pool — and the inexperienced evokes the two harmful gas and early video clip video games.

Marsh, who studied at Yale and now life around the gallery in Beacon, introduces the boulders in each individual of his four hues, creating them seem like steady phrases in a simple visual language. (The four essential boulders appear, neatly arranged, in “Shiii….”) But the scenery in which they are put quickly can make them ambiguous. Are the two boulders mounting a slope around a shimmering nocturnal pool in “Elevation” black, or merely in shadow? What about the pair in “Shh”? Noticed through a dense eco-friendly fog — or mirrored in a flat inexperienced puddle — they definitely seem environmentally friendly. But are they?

Five little but labor-intense drawings, displayed in an adjoining hallway, insert far more especially recognized purely natural landscapes to the boulder preparations — a fallen log, a distant fence, a pile of rotting fruit — presenting a bracing tonal distinction. (It is “Lord of the Rings” to the paintings’ Legend of Zelda.) By demonstrating how substantially his notion modifications when shifted from paint to pencil, Marsh also complicates his language even further, suggesting that any sensation of steadiness is only a passing illusion.


Via Aug. 20. James Fuentes, 55 Delancey Avenue, Manhattan, (212) 577-1201,

The legacy of Robert Earl Davis Jr., more frequently recognizable by his phase identify DJ Screw, proceeds to reverberate some two a long time soon after his dying in 2000 at age 29. In the early 1990s in Houston, he commenced making tapes of “chopped and screwed” remixes that slowed, distorted and recombined tracks from nearby rappers and pop radio to pioneer a genre of distinctively Southern hip-hop. His influence, which has been palpable throughout pop tunes, has trickled into the mainstream art environment, with a retrospective at the Up to date Arts Museum, Houston that closed this earlier spring.

At James Fuentes Gallery, an exhibition of eight collaged paintings by Cameron Spratley adapts Screw’s mash-up sensibility onto canvas, in literal and metaphorical means. Titled “In the Air Tonight,” right after Screw’s remix of Phil Collins’s 1981 chart-topping one, the exhibition demonstrates the fluency with which Spratley edits and rearranges found imagery of sundry items like blades, mechanical components and cartoons. All but just one of the pieces are huge in scale, inundating the viewer with levels of remarkably saturated photos, textual content and painterly aspects that cohere all around themes of hard-edge masculinity, violence and protest.

Chrome hardware and steel knives are a recurring motif, as witnessed in “Apocalypse Painting (Hunker Down),” from 2021, in which drawings and photographs of the sharp weapons are pockmarked by illustrations or photos of bullet holes. In “Strawberry Midnight” (2021), the screws and knives are layered atop an illustration of a spinal wire a cutout of a newspaper headline asserting the arrest of protesters is pasted alongside the appropriate of the canvas, alluding to the grievous accidents meted out by the police to quell modern day social actions. Spratley provides these juxtapositions with great reserve, making use of the visual arsenal that is American mass media.