New York’s Heist Gallery, situated in the city’s steamy Lower East Side, is presenting the work of Chris Rubino, a versatile artist who has created a vast array of imagery through illustration, printing, graphics and photography. The simplicity and flattened forms that dominate his visuals capture pieces of our daily language in minimal forms. For his solo exhibition at Heist, titled Make Believe Maple Leaves, Rubino incorporates the written word into a complex world of iconic lexicon, drawing from process-oriented sketchbook drawings created over the course of one year. Rubino infuses his creations with color using pastel, paint, colored pencil and printmaking. Exuding a faster yet less mechanized energy, this body of work mirrors the way we process imagery and information today.

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I woke up early yesterday to go see the fantastic Gilbert and George show at the Brooklyn Museum before its closing on Sunday. You may have seen their work in art history books. Sure the prints look good, but you really have to experience their monumentally sized photo collages in person while you still can.

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This mini-museum is right next to that shining fortress of New York’s MOMA and always has interesting shows, is never crowded, and the works are sure to inspire you. The Folk Art Museum is best known for putting now-popular outsider artist Henry Darger under a huge spotlight. And they’re showing some of his masterpieces yet again. Don’t miss it!

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Stephen Doitschinoff, aka Calma (a Lost At E Minor banner artist), recently opened a solo exhibit entitled Novo Mundo at New York’s Jonathan Levine Gallery. The Brazilian street artist’s work is somewhat unusual and exudes an appealing spiritual vibe as he embraces the fantastical and dark imagery of churches painted in female wombs. Calma has developed his own unique language and style through imagery that creatively blends Afro-Brazilian folklore with Baroque religious iconography. ‘I personally see the church as an archaic institution that always aimed to control the masses. I think it is an appropriate symbol for corrupt modern institutions like big corporations, media channels and governments,’ he Calma. Novo Mundo is on show through until December 22.

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Well, it seems I’ve been in a vacuum of art since the spring. And now, its just a week or so out from the upcoming Young Blood exhibit, which features my paintings and opens at the Opera Gallery in New York. I find myself feeling both excited and nervous at the thought that this show is just around the corner. These past few months have seemed like one of the great feats of my lifetime. I have been working for five months on these two upcoming shows, immersed deeply in the studio, being on a complete mission to create what will be my debut show in Manhattan alongside a handful of other rising international artists. I would wake at once at 4:30 in the morning, to a strict regimen of coffee by five, and paint through the sunny summer days into late in the evening to complete these works.

This has left me with four paintings for the upcoming show at Opera Gallery — one of which is my largest to date at 96 inches tall — and six paintings for Open Studios in San Francisco. Every time I finish a body of work, I find myself depleted and wanting a break, and so I have been spending the past few weeks catching up with friends, my life, and my city, and resting my arms before I break into a new body of work this winter.

Inspirations for this body of work were largely calling to the political circus we have found ourselves in these past months, the rebirth of life in flowers after devastating wildfires that swept the California landscape, and the subtle beauty of my foggy days here in San Francisco. It is such a gift to be allowed to view and interpret the world I live in through art, and I grow stronger in my path and quest with each brush stroke. It has been an epic summer of painting, and I’m honoured to be showing these four pieces at the Opera Gallery

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One of our favourite artists, Balint Zsako, is showing his collages in an exhibition with his mother, Anna Torma (textiles), and father, Istvan Zsako (paintings,) at The Proposition Gallery in New York opening September 13 and running until October 18.

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Bond Street Gallery in Brooklyn, New York is having an opening reception for their new show, Young Curators, New Ideas this Wednesday from 6-9 pm. Curators include Alana Celii and Grant Willing (Fjord Photo), Michael Bühler-Rose, Jon Feinstein (Humble Arts Foundation), Laurel Ptak (I Heart Photograph), Amy Stein, and Lumi Tan (Why + Wherefore). Each curator has chosen a handful of fresh talent to be included in the show including some photographers that have recently appeared on Lost At E Minor, Alex Prager, Gerald Edwards III. [Photo by Hannah Whitaker]

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The intricate, surrealist paintings of Australian artist Cameron Hayes recall the work of Hieronymus Bosch in scale and detail, but the actual style of his images draws a lot from children’s books and folk art. The cheerful and dreamlike quality of his pieces contrasts with the seriousness of the topics he engages — his most recent show at the Ronald Feldman Gallery in New York tackles the impact of colonialism on his native country.

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I recently got to see David Byrne’s installation piece, Playing the Building, at the Battery Maritime Building in lower Manhattan. It was opening day, but I got there on the early side, and everything was pretty well organized, so it wasn’t too difficult or slow to get in. The piece is pretty straightforward – it’s an antique organ that is attached to the building via an array of pneumatic and electrical tubes that connects each key to a pipe, pillar, or metal beam. When you depress the keys, they make a percussive, whistling, or vibrating sound depending on what they’re attached to. The building itself was pretty impressive, and it was as breathtaking to see the historical architecture as it was to see a great piece made by the Talking Heads frontman.

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If you are thinking of New York Chelsea gallery hopping this weekend, don’t forget to stop by the Paul Kasmin Gallery because the Tseng Kwong Chi Self Portraits 1979-1989 show is ending tomorrow. You may have seen some of his photos in museums such as the Guggenheim or the San Francisco MOMA. But it is a whole another experience to see them all in one room neatly hanging from wall to wall. If you happened to miss the show, Paul Kasmin’s site has a generous collection for you to peruse.

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Sounds like a museum for grandma? Sorry, you’re wrong. The quiet neighbor of superstar MOMA, the American Folk Art Museum in New York in fact has lots of really cool, contemporary and edgy shows, sometimes even more so than the MOMA itself. Dargerism, a show that just opened up in mid-April features contemporary fine artists who are influenced and inspired by outsider art genius Henry Darger (1892-1973). It’s one of the most clever and fun shows I’ve seen in a while.

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The Kinz, Tillou and Feigen Gallery in New York is hosting an exhibition of recent drawings by Australian-born, Brooklyn-based illustrator Edwina White [above] and altered book sculptures by Brian Dettmer [below], in concurrent solo exhibitions. ‘Both artists breathe new life into the pages of found and vintage materials with a graphic sensibility that transforms them into unique explorations’. The exhibition opens on May 3 and runs until June 14.

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Eli Klein Fine Art Gallery in Soho is exhibiting Zhang Hui’s first showing in New York. The Beijing painter, Zhang Hui, is known for her portraitures of young girls with scars on their faces and guns in their hands. She pairs innocence with violence in a cartoon-esque style, making her work dark and disturbing, yet still capturing the brighter side of the darkness. Hui explains: ‘I live in Beijing. I’m a little kid. I want to become more beautiful and more fashionable. I want to have beautiful dresses. I want to have cotton candy. I want to be happy. Do you want to go back to being a child? My goal is to simply accept anger and sadness, while enjoying the happiness in my life’.

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I fell in love with Anthony Goicolea’s wonderful drawings and photographs a few years ago when I stumbled upon his show at Postmasters Gallery in New York. His world is both arousing and disturbing, as visions of childhood nostalgia and innocence intermingle with darker more abusive subject matter.

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