Hai-Hsin Huang in ‘Ref-er-enced’ at Danese Corey Gallery

Phones, cameras and iPads outnumber art objects in Hai-Hsin Huang’s mash-up of Metropolitan Museum of Art treasures, ogled by visitors jockeying for snapshots and selfies. In this detail, a massive, 2,300 year old marble column from the Temple of Artemis at Sardis fails to attract much attention, begging the question of a museum’s purpose in today’s photo obsessed culture. (At Danese Corey Gallery in Chelsea through Feb 4th).

Hai-Hsin Huang, (detail) The MET #1, pencil on paper, 53 x 117 inches, 2014.
Hai-Hsin Huang, (detail) The MET #1, pencil on paper, 53 x 117 inches, 2014.

Max Beckmann at the Metropolitan Museum of Art

Don’t let the cat fool you. Despite her somber dress and downcast eyes, this actress – who was never identified in this 1926 portrait by Max Beckmann – isn’t relaxing with her pet so much as she seems poised to transform into a new role before our eyes. An intensely colored yellow wall and orange-upholstered chair in the background promise something electrifying as our bolt upright subject leans in towards us. (In ‘Max Beckmann in New York,’ at the Metropolitan Museum of Art through Feb 20th).

Max Beckmann, The Old Actress, oil on canvas, 1926.
Max Beckmann, The Old Actress, oil on canvas, 1926.

Velazquez at the Metropolitan Museum of Art

This 1651-54 portrait by Velazquez of the presumptive heir to the Spanish throne, Maria Teresa, as a fresh-faced young teen is a standout in the Met’s current seven-painting show of work the famed Spanish court painter. Framed by an elaborate wig with butterfly ribbons, Maria Teresa’s round features glow with an innocence that would vanish with her future marriage to French King Louis XIV. (At the Metropolitan Museum of Art through March 12th).

Velazquez, Maria Teresa, Infanta of Spain, oil on canvas, 1651-54.
Velazquez, Maria Teresa, Infanta of Spain, oil on canvas, 1651-54.

Cornelia Parker’s Transitional Object (PsychoBarn) at the Metropolitan Museum of Art

British artist Cornelia Parker merges the all-American image of the red barn with the equally iconic exterior of Norman Bates’ house from Hitchcock’s Psycho in her delightfully eerie Roof Garden commission at the Met. Constructed from an old barn and consisting of only two facades, the home invites comparison to the largely vacant 432 Park Ave that dominates the skyline in the background. (At the Metropolitan Museum of Art through Oct 31st).

Cornelia Parker, installation view of ‘Transitional Object (PsychoBarn)’ at the Metropolitan Museum of Art, Roof Garden Commission, through Oct 31st.
Cornelia Parker, installation view of ‘Transitional Object (PsychoBarn)’ at the Metropolitan Museum of Art, Roof Garden Commission, through Oct 31st.

Alex Katz at the Metropolitan Museum of Art

Alex Katz’s towering painting of his wife, Ada, in red coat, hat and lips dominates a selection of paintings by the artist at the Metropolitan Museum of Art. As bold as an advertisement but with no product to sell, this arresting painting celebrates Ada’s allure. (Through Nov 6th).

Alex Katz, Red Coat, oil on canvas, on loan from the American Contemporary Art Foundation, Inc. Leonard A. Lauder, President, 1982.
Alex Katz, Red Coat, oil on canvas, on loan from the American Contemporary Art Foundation, Inc. Leonard A. Lauder, President, 1982.