Check out these new works before their gallery openings this month

Kelly Reemtsen, On Point, 2016, Oil on panel, 36 x 36 inches
In this new series of paintings, Kelly's women take on the "glass ceiling". Armed with sledge hammers, axes and a purpose, these female figures ascend ladders and climb on chairs to attack that annoying social prejudice. 

Kelly Reemtsen, Outstanding, Oil on panel, 2016, 60 x 60 inches
Kelly Reemtsen is an American painter, known for her iconic images of well-dressed women doing what it takes to get the job done, usually with a power tool in their hands. Strikingly feminine at first glance, with their bodies adorned in fashionable designer dresses and runway-worthy accessories, Reemtsen's women are not simply pin-up girls or arm candy. Rather, the women, while dressed to the nines, undertake household, and often, traditionally masculine tasks. The objects they hold range from domestic to menacing, and yet, as a body of work, address the question of the proper role of the contemporary woman.  
Over It opens September 17th at the David Klein Gallery in Detroit.
Kelly Reemtsen, Presentation, Oil on panel, 2016, 44 x 44 inches


Rodney McMillian, Untitled, 2016, detail of larger installation
Rodney McMillian uses a range of material, formal, and conceptual strategies to explore the complex and often tenuous historical narratives and social systems that shape our lives.
 In his latest series, one of the predominant works in the exhibition focuses on the legacy of Shirley Chisholm (1924-2005) who was a seven-term (1969-1983) Congresswoman and the first black and first female person to campaign for the Democratic Presidential Nomination (1972). Notably, in contemporary political discourse and much written history of the 20th century, Chisholm's accomplishments are conspicuously absent.
Chisholm's Reverb opens September 10th at Vielmetter Projects in Los Angeles.
Jacob Hashimoto, The First Known Map of the Moon (detail), 2016, acrylic paper/dacrpn and wood
With their arrangement of discs suspended from string, Jacob Hashimoto's works - occupying a place between painting and sculpture - bear resemblance to models of a complex planetary system. For his latest exhibition, Hashimoto builds on this correlation to meditate on mankind's enduring fascination with creating order of the world. The quest for knowledge represented in ancient celestial maps and bygone charts of the unknown serve as inspiration for new imagery and a new color palette.
The First Known Map of the Moon opens September 8th at Mary Boone Gallery in New York.
James Richards, #256, 2015, Acrylic on polypropylene rope, cloth, plastic fencing, and wood, 84 x 25 x 12 inches
James Richards' new works refer to the concept of questioning the standard notion of what a painting is and how it is made. The work in his latest show explores new iterations of the material components of a painting and how they are assembled.
James Richards, #259, 2016, Acrylic on polypropylene rope, nylon rope, yarn, chenille, cloth, and wood, 38 x 36 x 5 inches
Several freestanding pieces have had their "stretchers" replaced by metal shelving units and plastic crates. The canvas has been hand woven into the structure using rope and strips of cloth creating a heavily textured surface upon which thick layers of paint are applied, creating the effect of encasing hours of activity in a plastic coating. 
James Richards, #250, 2015, Acrylic on polypropylene yarn, plastic crates, 
61 x 28 x 12 inches
Hook the Analog opens September 10th at the Shoshana Wayne Gallery in Los Angeles.