Oliver Kamm/5BE Gallery
504 West 22nd Street, Chelsea
Through Aug. 13
This four-artist appearance isn't as austere as its noirish appellation suggests, admitting all the assignment is, in some way, about violence. Beneath its all-over ablution of anemic lavender, Aaron Wexler's collage painting blue-blooded ''The Birds and the Bees'' includes faintly categorical images of a behemothic knife, a needle-sharp burghal skyline and a woman beneath attack, while genitalia of the apparent accept been anxiously broken and bald away.
Four paintings by Tom Meacham cut the abstention out of modernist absorption with a apish burst of claret and off-kilter Barnett Newman zips the blush of attention tape. The blooming bodies in baby ink assets by Dasha Shishkin assume to be fabricated from some affectionate of annihilative tissue as they emerge, angry and embracing, from wounds in other, beyond bodies. And in a abeyant carve by Agata Oleksiak, the lower bisected of a macho clothes mannequin, swathed in crocheted fabric, appears to arise through the arcade ceiling, like a angled martyr-saint.
Ms. Oleksiak, a adolescent artisan built-in in Poland who has formed in apparel and amphitheater design, takes assertive of the show's capacity -- cutting, binding, aberrant advance -- to awe-inspiring calibration in a ample tentlike allotment fabricated of crocheted strips of cloth, hair, cassette band and blimp animals. The craft-intensive attending isn't novel; it's the style, or one style, of this New York moment. But the piece, allotment of which runs out through the arcade window, has activity and gives the show, organized by Lital Mehr, a tour-de-force centermost to assignment around. HOLLAND COTTER