Josef Albers at David Zwirner Gallery

Just months before color theorist, abstract art pioneer and teacher Josef Albers passed away, a book titled ‘Sonic Design’ paid homage to his mid-century abstractions that could be discussed in musical terms.  In particular, his series of shapes outlined against a dark background appeared simple but, like music, shift over time in how they might be read, with planes receding at one moment and coming forward the next.  The book delighted Albers and inspired David Zwirner Gallery’s current show, which brings together select pieces of glass work from Albers’ time at the Bauhaus in Germany, paintings from his iconic ‘Homage to the Square’ series and more, to consider how color, shape and sound might relate. (On view through Feb 16th).

Josef Albers, Structural Constellation, machine-engraved plastic laminate mounted on wood, 17 x 22 ½ x 7/8 inches, c. 1950.

Gregor Hildebrandt at Galerie Perrotin

What do you do as a tune-loving artist with no talent for making music?  German artist Gregor Hildebrandt’s answer has been to make art with music-related objects, creating walls with records pressed into clam-shell shapes and ‘paintings’ with cassette tape replacing brush strokes or lines.  In the background of this installation view, VHS tape stretched against the wall creates a fluttering surface, as ephemeral as a musical note.  (On view on the Lower East Side at Galerie Perrotin through Dec 22nd).

Gregor Hildebrandt, installation view of ‘In My House, There are Many Rooms,’ at Perrotin, New York, Dec 2018.

 

Charlotte Moorman in ‘The (Partial) Autobiography of an Art Gallery’ at Leslie Tonkonow Artworks and Projects

Charlotte Moorman’s renown as a performing artist who bridged the worlds of fine art and music via her cello is represented by her neon instrument from 1989. (At Leslie Tonkonow Artworks and Projects in Chelsea through August 25th).

Charlotte Moorman, Neon Cello, acrylic and neon, 50 x 16 x 13 inches, 1989.

Richard Misrach and Guillermo Galindo at Pace Gallery

After years of traveling to the U.S./Mexico border, photographer Richard Misrach and experimental composer Guillermo Galindo joined forces to create sobering images and sculpture inspired by struggles of migrants determined to overcome the border’s many obstacles. This installation view of their exhibition at Pace Gallery in Chelsea features an instrument made by Galindo of items recovered from the region and Misrach’s photos of tires drug behind border patrol vehicles to make a path in which footprints can be detected. (On view through August 18th.)

Installation view of ‘Border Cantos’ by Richard Misrach and Guillermo Galindo at Pace Gallery, June 2017.

OSGEMEOS at Lehmann Maupin Gallery

Twice a day for ten minutes, gallery staff at Lehmann Maupin Gallery switch on this magical instrument, constructed by Brazilian street art twins OSGEMEOS. The gallery fills with an eerie melody in keeping with the dream-like setting constructed by the duo, transporting visitors far away from the everyday. (In Chelsea through Oct 22nd).

OSGEMEOS, O Beijo (The Kiss), musical instruments, mechanical and electrical equipment, wood, metal, steel and fiberglass resin, 90.55 x 57.09 x 70.87 inches, 2015-16.
OSGEMEOS, O Beijo (The Kiss), musical instruments, mechanical and electrical equipment, wood, metal, steel and fiberglass resin, 90.55 x 57.09 x 70.87 inches, 2015-16.