Fred Wilson at Pace Gallery

Fred Wilson continues to consider African diasporic populations of the Mediterranean in a selection of recent work commissioned for the 15th Istanbul Biennial, currently on view at Pace Gallery in Chelsea.  Uncharacteristically dark-toned Iznik tile walls include the text ‘Black is Beautiful’ and ‘Mother Africa’ in elaborate Arabic script while chandeliers combine black Murano glass from Venice with metal elements that evoke Ottoman design.  Wilson’s installation merges diverse traditions with dramatic flair and elegance, suggesting complexity in the histories his art investigates. (On view through August 17th).

Fred Wilson, installation view at Pace Gallery, July 2018.

Fred Wilson in ‘GLASS’ at Pace Gallery

Using found objects, Fred Wilson tells a story of a man – in the form of a classic Greek bust – who lies broken before a stoic young African woman in the artist’s 2005 ‘Love and Loss in the Milky Way.’ Surrounded by glowing white milk glass objects (plates and various vessels) with two motherly figures positioned behind them, their disastrous encounter becomes a racially charged rendition of Romeo and Juliet. (At Pace Gallery on 24th Street in Chelsea through Aug 19th).

Fred Wilson, Love and Loss in the Milky Way (seen in detail), 1 table with 47 milk glass elements, 1 plaster bust, 1 plaster head, 1 standing woman and a ceramic cookie far, 77 ¾ x 92 x 43 7/8 inches, 2005.
Fred Wilson, Love and Loss in the Milky Way (seen in detail), 1 table with 47 milk glass elements, 1 plaster bust, 1 plaster head, 1 standing woman and a ceramic cookie far, 77 ¾ x 92 x 43 7/8 inches, 2005.

Fred Wilson at Pace Gallery

Fred Wilson seems to bait his viewers by draining his show at Pace Gallery of color, presenting two austere bronzes in black and white, monochromatic flags from African and African diasporic countries, and more. The oversimplified dichotomy between black and white clashes with the variety of cultures represented by the sculpture and flags, encouraging a more nuanced engagement with racial difference. (In Chelsea through October 18th).

Fred Wilson, The Mete of the Muse, bronze with black patina and bronze with white paint, 2006.

Derrick Adams at Louis B. James Gallery

Brooklyn-based artist Derrick Adams’ grid of glittery men’s shirts and ties looks fabulous and conformist at the same time, recalling Fred Wilson’s early 90s guard uniforms that pointed out how uniformity leads to anonymity.   A trophy-like chalice placed just out of reach on top of this wall-mounted sculpture seems to offer a lofty reward for someone who’ll step out from the crowd. (At Louis B. James on the Lower East Side, through Oct 19th).  

Derrick Adams, He Him, They, Them, tempera, painted faux brick paneling, glitter, textured spray, 2008.