Decay never looked as good as it does in Finnish photographer Esko Mannikko’s photograph of this mossy ceiling and orange curtain, typical of his photos of abandoned or derelict houses, cars and public places. (At Yancey Richardson Gallery in Chelsea through March 14th).
New York-based German photographer Vera Lutter continues to makes beautiful, ghostly images with room-sized camera obscura, capturing scenes like this of an ephemeral Empire State Building in contrast to more stolid brownstones in the foreground. (At Gagosian Gallery’s 976 Madison Ave address through March 7th).
Iconic 20th century sculptor Louise Nevelson famously maintained that the color black – in which she painted many of her assemblages – “…is the most aristocratic color of all. You can be quiet and it contains the whole thing.” This untitled piece from near the end of her life goes beyond black, mixing the blue of a mass produced dustpan with homier wood tones and an industrial roller, combining items from home life and beyond. (At Pace Gallery’s 534 West 25th Street location through Feb 28th).
With few exceptions, ground floor Chelsea storefronts are occupied by galleries, so young Israeli artist Maayan Strauss’ installation of sinks at Andrea Meislin Gallery – looking like a showroom for kitchen fixtures – comes as a momentary surprise. The installation of seven running sinks, connected in one huge countertop is pristine (for now) and attractive, and effectively turns the gallery into a commercial showroom. (In Chelsea through Feb 28th).
Maayan Strauss, installation view of ‘Seven Sinks’ at Andrea Meislin Gallery, Feb 2014.
Inspired by Jan Brueghal the Elder’s flower genre paintings, London-based photographer Ori Gersht photographed versions of Breueghal’s arrangements, seen in a mirror as it’s being shattered. Gorgeous and violent at the same time, the photos are a disturbing reminder that nothing lasts forever. (At Chelsea’s CRG Gallery through March 14th).