Seung-taek Lee at Canal Projects

Prominent Korean artist Seung-Taek Lee’s untitled stone and rope installation at Canal Projects occupies but does not dominate the center of the art institution’s large SoHo space.  Shaped by the cords that have bound it, each hanging stone represents time and human intervention in nature; hung by ropes that form lively V patterns, the arrangement is minimal but dynamic. Inspired by environmental movements of the 60s and 70s that emerged as South Korea transformed the basis of its economy from agriculture to industry, Lee has created performances with the wind and harnessed fire to creatively collaborate with nature.  The earth itself – in the form of a huge painted vinyl balloon resting on the gallery floor – has joined Lee on a bike ride through Beijing, appeared in various natural spots and on earth day this year will be used in a performance on Governors Island. (On view on Canal Street in SoHo through May 22nd).

Seung-Taek Lee, (foreground) Untitled, stone, rope, dimensions variable, 1982-2022. (background) Earth Play, oil on vinyl balloon, 21’ diameter, 1989-1996.

Alicja Kwade at 303 Gallery

Gravity is an unnamed but ever-present material in Alicja Kwade’s symbolically (and literally) weighty sculptures.  On view in her current exhibition at 303 Gallery in Chelsea, a rocking chair cast in bronze is partially enveloped by stone and positioned in an enclosure made of glass bricks meant to represent the artist’s personal living space. Around the enclosure are mobiles titled ‘Heavy Skies’ that distribute the weight of various stones, a contrast to the lightness normally associated with such balanced arrangements.  Precarity meets inertia in the contrast between fragile glass and heavy stone, creating a tension that comes from wondering what change is to come.  (On view through Dec 17th).

Alicja Kwade, Stella Sella, bronze, stones, 38 5/8 x 19.69 x 39.76 inches, 2022.

Pedro Reyes at Lisson Gallery

Striking in her streamlined beauty, ‘Tlali’ greets visitors to Chelsea’s Lisson Gallery, where Mexico City based artist Pedro Reyes’ latest solo show draws inspiration from pre-Columbian aesthetics.  Translated as ‘earth,’ Tlali has been created in volcanic stone, a material that Reyes links not just to the land but to sustenance (as it is used to create mortar and pestles).  In this photo, behind Tlali, a scribe represents the preservation of knowledge while an abstract tower of reddish tezontle stone was inspired by temple supports resembling Toltec warriors. (On view through June 18th.  Masks and social distancing required.)

Pedro Reyes, Tlali, volcanic stone, 32 ¼ x 26 ¾ x 39 ¼ inches, 2020.

Niki de Saint Phalle at Salon94

Titled ‘Joy Revolution,’ Salon94’s exhibition of late French-American artist Niki de Saint Phalle’s painting, sculpture and work on paper celebrates color, pleasure and play.  Just inside Salon94’s stunning new 89th Street location, a 17,500 square foot former mansion built by philanthropist Archer Huntington, two lions originally intended as garden decoration greet visitors.  Intended to entice kids to climb them, they serve here as guardians and greeters.  (On view through April 24th).

Niki de Saint Phalle, Guardian Lions, polyurethane foam, resin, steel armature, ceramic tiles, glass, tumbled stone, and fused millefiori glass inserts, 88 x 132 x 112 inches, 2000.

Bennett Vadnais in ‘Cityscapes’ at George Billis Gallery

New York painter Bennett Vadnais’ ‘House’ is a standout in George Billis Gallery’s summer group exhibition of cityscapes. Several of the show’s paintings zero in details of urban life – a water tower, a segment of a bridge – but Vadnais adds a focus on the passage of time by contrasting buildings from different eras.  (On view in Chelsea through July 22nd ).

Bennett Vadnais, House, gouache on panel, 7 x 11.5 inches.