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.
A selection of 365 dust jackets mounted to linen supports by Brooklyn-based Brazilian artist Valeska Soares at Eleven Rivington muses on the passing of time. Not only do the titles refer to temporality, but dated fonts and designs act as a measure of change over a few decades. (On the Lower East Side through Nov 23rd).
Valeska Soares, installation view of ‘Any Moment Now,’ at Eleven Rivington, 195 Chrystie Street, November 2014.
Known for fantastical, druggy, sci-fi environments created temporarily in art venues, Jonah Freeman and Justin Lowe’s current show at Chelsea’s Marlborough Gallery continues their practice of “…using the room as the vehicle for an ethno-fictional display of the remnants of the built world.” This claustrophobic space – one of several distinctly different rooms in the installation – combines store display with tacky domestic furnishings and dated technology (on the floor) to question what might transpire here. (Through Nov 29th).
Jonah Freeman and Justin Lowe, installation view of ‘Floating Chain (High-Res Toni) at Marlborough Chelsea, November 2014.