Brooklyn Museum’s eye-popping ‘Killer Heels’ exhibition isn’t just for ladies who teeter. As well as design feats (pun intended) and works of art, the show includes architect Zaha Hadid’s NOVA shoe, created from vacuum-casted fiberglass with chrome plated external uppers. Vaguely resembling the sloping exterior of her first New York building currently under construction on the High Line in Chelsea, the shoe might be seen as a mini architectural rendering. (Through Feb 15th).
Reconstructed images from the Internet form the basis for Brooklyn artist Daniel Gordon’s riotous digital still life collages at Chelsea’s Wallspace Gallery. Vivid color and abundant patterns rival Matisse’s most energetic interiors in this delightfully wacky artistic accumulation of imagery. (Through Dec 20th).
Daniel Gordon, Root Vegetables and Avocado Plant, chromogenic print, 60 x 50 inches, 2014.
A shaved ice cart, community notice board in the form of an equestrian sculpture and more project-based artwork characterizes Brooklyn Museum’s brief survey of some art trends coming from local artists. Miguel Luciano’s ‘Amani Kites’ – pictured here – originated in a kite-making workshop he directed for kids in Nairobi, Kenya. (Through Jan 4th).
Installation view of ‘Crossing Brooklyn: Art from Bushwick, Bed-Stuy and Beyond,’ at Brooklyn Museum, Nov 2014. Featuring: Miguel Luciano, Amani Kites, paper, string, wooden dowels, photograph on vinyl, Kanga cloth, video, 2012-14.
New York artists Mira Dancy and Sarah Peters compliment each other’s interest in picturing female bodies in a joint show at Asya Geisberg Gallery that pairs Dancy’s energetic expressionist painting with Peter’s pleasingly strange mannerist sculptures. Here, an erotically posed nude in shades of pink, peach and a vivid yellow contrast a composed character exuding thoughtful calm. (In Chelsea through Nov 26th).
Mira Dancy, Dream of the Unicorn Tapestry, acrylic on canvas, 44 x 40 inches, 2014 (left) and Sarah Peters, Portrait with Long Neck, plaster, 13 x 9 x 8 inches, 2014 (right).
A never-ending scroll of words runs on all four walls of Metro Pictures‘ upstairs gallery, naming National Security Agency and Government Communications Headquarters surveillance program code names, gathered and presented by New York artist Trevor Paglen. Minimal and in black and white, the piece resembles a memorial, perhaps to freedom from observation. (In Chelsea through Dec 20th).
Trevor Paglen, installation view of ‘Code Names of the Surveillance State,’ November, 2014 at Metro Pictures.