Four paintings hang against chain link fencing at David Zwirner Gallery in Chelsea, inaccessible to the public except by a narrow corridor between the fence and the wall, which has been painted with towering figures of sinuous dancers, themselves depicted behind a painted fence. The show is titled ‘Paradise Lost’ and follows Ofili’s ‘The Caged Bird’s Song’ at London’s National Gallery, for which the artist alluded to the practice in his adopted home, Trinidad, of raising caged songbirds. Here, aggressive fencing suggests that it is not the song of the caged bird that is sweeter. (On view through Oct 21st).
Chris Ofili, installation view of ‘Paradise Lost’ at David Zwirner Gallery’s 533 West 19th Street space, Sept 2017.
Kathryn Andrews’ ‘June 21’ is strangely cheerful, though balloons that were fresh on June 21st (the day Perrotin Gallery’s summer group show opened) have turned to a commentary on the passage of time. (On the Lower East Side through August 18th).
Kathryn Andrews, June 21, chrome-plated steel and balloons, 167.6 x 60.3 x 26.4 cm, 2017.
Robert Lazzarini, at Marlborough Gallery, Jan 2013.
Nothing else in Chelsea looks remotely like Brooklyn-based sculptor Robert Lazzarini’s latest sculptures at Marlborough Gallery (through Feb 16th). Partly inspired by the 1973 movie Badlands, they and evoke an American roadtrip gone badly wrong.
Robert Lazzarini, at Marlborough Gallery, Jan 2013.
This fence was welded together from over two-hundred individually cast steel pieces. Lazzarini’s attention to detail goes far – he even made the barbed wire. It’s the most impressive piece in the show not only in terms of how much work went into it, but in how Lazzarini reimagines a metal fence blowing as if it were a cloth or flag gently flapping the in breeze.
Robert Lazzarini, at Marlborough Gallery, Jan 2013.
Lazzarini called this melting liquor sign the ‘most profound piece in the show,’ saying, ‘It speaks to a damage within society that is not easily seen.’ In person, the sculpture’s text is surprisingly difficult to read, as if we had had one too many. Its towering, ghostly presence is a highlight of the show.
Robert Lazzarini, at Marlborough Gallery, Jan 2013.
Vaults, blown open and empty, are such a Hollywood staple that this twisted lockbox looks strangely familiar. Finding it twisted in the corner, as if in a fun-house mirror, is not so expected. While struggling with that not-quite-clear sense of déjà vu, check out the sculpture’s most amazing feature – its perfectly skewed lock.
Robert Lazzarini, at Marlborough Gallery, Jan 2013.
