Nathaniel de Large at 247365

The chemical smell of ‘Stockpot’ – a Porta potty on rockers – hits immediately at Nathaniel de Large’s solo show at 247365 on the Lower East Side.   This surprising sculpture opens a show inspired by de Large’s time spent camping in a Brooklyn parking lot. Further in, the artist displays a puffer jacket the size of a camper (which serves as a screening room) and freshly poured concrete ‘sidewalks’ into which friends have carved their marks. (On view through March 10th).

Nathaniel de Large, Stockpot, Porta potty, steel, aluminum, motor, shirt, concrete, 42 x 82 x 99 inches, 2017.

Johannes VanDerBeek at Marinaro

Johannes VanDerBeek’s thick aqua-resin paintings at new Lower East Side gallery Marinaro look like highly colored views from under the microscope. Looser than Joan Miro and freer and more abstract than Yves Tanguy, the work still channels Surrealism and early 20th century abstraction. (On view through March 19th).

Johannes VanDerBeek, Medieval Blossom, aqua-resin, fiberglass, steel, clay, silicone and paint, 65 x 45 inches, 2017.

John Finneran at 47 Canal

Though he has focused on the female form in past, pared down representations, a large, pink-hued highlight of John Finneran’s latest solo show at 47 Canal features three kings. Resembling archaic designs and featuring universal geometries, they appear both ancient and contemporary. (On the Lower East Side through April 2nd).

John Finneran, Kings, oil and charcoal on linen, 66 x 74 inches, 2017.

Richard Mosse at Jack Shainman Gallery

Richard Mosse pictures European refugee camps like you’ve never seen them in monumental new photos taken with a military grade telephoto camera. Normally used for combat and border surveillance, the camera detects thermal radiation, turning individuals into ghost-like presences. (At Jack Shainman Gallery’s 20th Street location in Chelsea through March 11th).

Richard Mosse, (detail of) Idomeni Camp, Greece, digital c-print on metallic paper, 40 x 120 inches, 2016.

Uta Barth at Tanya Bonakdar Gallery

Inspired by the light in her adopted home-city of LA and by the still life arrangements of Italian painter Giorgio Morandi, Uta Barth employs everyday glassware as lenses. Transparent objects in various shapes, colors and combinations shift light to harness the properties of nature in service of art. (At Tanya Bonakdar Gallery in Chelsea through March 11th).

Uta Barth, In the Light and Shadow of Morandi (17.03), face mounted, raised, shaped, Archival Pigment print in artist’s frame, 48 ¾ x 52 ¾ inches, 2017.