Astronauts simulate working in the weightlessness of space in Houston’s Johnson Space Center, where they perform tasks on models in a giant pool; captured by German photographer Thomas Struth, the lab appears to be suspended in space and time, submerged as if in jelly or under glass. (At Marian Goodman Gallery on 57th Street through Dec 22nd).
Though the pool is enticing, this isn’t a tranquil summer scene. Eric Fischl’s ‘Daddy’s Gone, Girl’ suggests that the woman in the voluminous black dress is in mourning for an absent father and maybe a little unmoored. As an update on Fischl’s well-known 1984 painting Daddy’s Girl, it’s a meditation on loss and isolation. (At Skarstedt’s Chelsea location through June 24th).
This gorgeous reflecting pool by Japanese artist Noriyuki Haraguchi – an update on his iconic versions from the 70s – is the picture of serenity in the pristine upstairs gallery of Chelsea’s Fergus McCaffrey Gallery. Contrary to appearances, though, the pool is full of spent machine oil, a symbol of our attraction to a natural resource with not-so-beautiful byproducts. (Through Feb 21st).
Noriyuki Haraguchi, Oil Pool, steel, spent motor oil, 24 x 12 feet.
Greer Patterson’s new tropical landscape paintings at Marlborough Gallery were inspired by scenes from his Hawaiian shirts; the pool with two remote-controlled boats installed in the basement also uses materials at hand to create pleasant place. It’s not the Central Park boat pond, but on a cold January day, it’s nice to dream. (At Marlborough Gallery, Broome Street, through Feb 15th).
Greer Patterson, Partners in Crime, round metal frame pool with remote controlled boats, 30 x 144 x 144 inches, 2014.
