Cindy Sherman’s Tapestries at Metro Pictures

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

On the heels of iconic photographer Cindy Sherman’s latest solo show at Metro Pictures, the gallery recently hung three enormous tapestries by the artist in its back gallery.  Based on portraits created using filters and face-altering apps and posted to Instagram, the images don’t have the resolution to be printed large-scale but work wonderfully as tapestries, in which pixels translate to thread.  More profoundly distorted and infinitely creepier than Sherman’s printed photos, the tapestries dramatically move Sherman’s vision from screen to wall.  (On view at Chelsea’s Metro Pictures Gallery.  Masks and social distancing are required.)

Cindy Sherman, installation view of three tapestries at Metro Pictures Gallery, Nov 2020.

Shari Mendelson at Tibor de Nagy Gallery

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The centuries and cultural divides melt away like hot glue in Brooklyn sculptor Shari Mendelson’s replicas of ancient artifacts from China, Egypt, Mesopotamia and elsewhere at Tibor de Nagy Gallery.  Using plastic bottles gathered near her studio, Mendelson cuts and glues together forms, using acrylic resin to make patinas that transform trash into ancient artworks.  Here, she creates a Tang Dynasty court lady from recognizable consumer plastics, subtly nodding to the material’s long life.  (On view on the Lower East Side through Dec 5th).

Shari Mendelson, Praying Lotus Woman, repurposed plastic and mixed media, 17 x 10 x 11 inches, 2020.

Brian Calvin, Composite Sketch at Anton Kern

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As artists continue to present bodies of work created during the pandemic, Californian painter Brian Calvin’s best new paintings at Anton Kern Gallery stand out for concisely capturing a feeling of disorientation.  Here, a female figure’s parted lips convey cluelessness or surprise and a sense of vulnerability, yet at the same time, her other mouth – lips firmly pressed together – suggest composure.  Trying to separate the faces (and emotions) can literally hurt.  (On view in midtown through Dec 5th.  Masks and social distancing required).

Brian Calvin, Composite Sketch, acrylic on linen, 40 x 30 inches, 2020.

Pat Oleszko and Anthea Hamilton in ‘Living Things’ at JTT Gallery

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Whether it’s the wheezing, inflatable breast sculpture by Pat Oleszko or Anthea Hamilton’s sea-life encrusted boot near the entrance, the group exhibition ‘Living Things’ at JTT Gallery immediately feels set apart.  Though the artists hail from different generations and employ various media, performance and transformation is key.  Here, Pat Oleszko’s huge hammer costume appears in an accompanying film, ‘Tool Box,’ while Anthea Hamilton’s Papilio whip butterfly dominates the back wall with leather whips for antenna.  (On view on the Lower East Side through Nov 28th.  Masks and social distancing are required.)

Back wall: Anthea Hamilton, Papilio whip butterfly, printed fabric, Devore velvet, Ikat cotton, upholstery foam, leather whips, metal cable ties, 2018. Foreground: Pat Oleszko, Mike Hammer (from the Tool Jest), foam, fabric, paint, wire, 1984.

Sadie Laska at Canada New York

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Sadie Laska’s flags line the walls of Canada NYC’s Tribeca project room in a profusion of color and an abundance of possible messages. An evolving fish strides along with the message ‘go fund yourself,’ as if suggesting a fundraising campaign to finance future development.  Nearby, a quilted star hovers over the image of planet earth featured in the 1960s-designed Earth Flag, while a mysterious silhouette thoughtfully paces above it all.  With humor, Laska suggests more complex flag-flying.  (On view in Tribeca through Dec 5th).

Sadie Laska, Installation view of EREHWON at Canada Gallery, Nov 2020.

David Kennedy Cutler in ‘Masks’ at Klaus Gallery

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Why stop at masking your mouth and nose these days?  David Kennedy Cutler’s standout contribution to Klaus Gallery’s group exhibition, ‘Mask,’ shows the artist’s rack of cloned selves in the form of complete suits constructed by printing scanned images on cotton and plastic.  Designed to be worn in performances by multiple individuals, including the artist, each character manifests the digital self with ‘real’ self hidden beneath.  (On view on the Lower East Side through Nov 28th.  Masks and social distancing required.)

David Kennedy Cultler, Second Skins, inkjet on cotton and PETG, zipper, Velcro, deconstructed sneakers, performance detritus, wood rack, outfits: 79 x 22 x 12 inches, 2017-2020.

Stephanie Temma Hier at Arsenal Contemporary Art

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While most artists would choose between a ceramic sculpture or a painting for a given artwork, young Brooklyn-based Canadian artist Stephanie Temma Hier combines both in wall-mounted sculptures that frame representational paintings of fruit, vegetables, and flowers.  Surrounded by natural imagery, the artworks set up conversations between painting and crafted subjects that literally expand our thinking beyond the frame.  Here, fresh, clean and ready to cook greens meet both wild (hallucinogenic?) and chopped mushrooms offering a variety of pathways to consumption.  (On view at Arsenal Contemporary Art on the Lower East Side through Dec 20th.  Masks and social distancing required).

Stephanie Temma Hier, Beloved by the Caterpillar, oil on linen with glazed stoneware, 21.5 x 18 x 3 inches, 2020.

Jordan Nassar at James Cohan Gallery

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A rich array of colors make Jordan Nassar’s flame-worked glass bead sculptures at James Cohan Gallery an immediate and present pleasure, yet the experience of dislocation drives these abstracted landscapes.  Raised in the US, the young Palestinian-American artist grew up understanding aspects of his family’s culture at a geographical remove.  Here, he creates points of entry into imagined landscapes through transparent grids of glass beads.  (On view on the Lower East Side through Nov 21st.  Masks and social distancing required.)


Jordan Nassar, Bab Al-Amoud (Gate of The Pillar), hand-flamed glass beads, steel, wire, 12 x 29 x 10 inches, 2020.

Inka Essenhigh, Forever Young at Miles McEnery

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Inspired by a multitude of sources from Dali to Disney, Inka Essenhigh continues to craft fantastical scenarios as intriguing as they are bizarre.  Here, a curvy female figure (seemingly crafted from a single orange/green material from her hair to her off-kilter shoes) primps in front of a shattered mirror that reflects a monster-like apparition.  Are we seeing reality?  Will she continue to transform before our eyes?  Essenhigh’s rich stories leave us wanting more.  (On view at Miles McEnery Gallery on 22nd Street in Chelsea through Nov 14th).

Inka Essenhigh, Forever Young, enamel on canvas, 60 x 42 inches, 2020.

Emma Kohlmann at Jack Hanley Gallery

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The long-armed embrace offered by the central figure says it all in this acrylic on canvas painting by Emma Kohlmann at Jack Hanley Gallery on the Lower East Side.  Kohlmann explains that viewers who venture out to galleries during the pandemic should encounter an oasis, or a place to be distracted from turbulent times.  Caring couples, harmonious relationships between humans and nature, and references to Matisse’s colorful painting abound in a show that will take the mind to happy places.  (On view through Nov 14th).

Emma Kohlmann, When I Found My People, Acrylic on raw canvas, 60 x 60 inches, 2020.

Amy Sillman at Gladstone Gallery

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One ambiguous figure appears to break into multiple forms in Amy Sillman’s irresistible ‘Split 3,’ shifting to the side as if to walk off the canvas.  Dominant yellow, green and red colors draw the eye back into the painting’s depths but thick, dark horizontal lines of paint block the viewer’s journey.  Coming and going, inviting and refusing, in motion yet static, the contradictions in the canvas reward pondering.  (On view in Chelsea at Gladstone Gallery through Nov 14th.)

Amy Sillman, Split 3, acrylic and oil on linen, 72 x 60 inches, 2020.

Billie Zangewa at Lehmann Maupin Gallery

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Titled ‘Wings of Change’ rather than ‘winds,’ Billie Zangewa’s new body of work at Lehmann Maupin Gallery speaks to the importance of personal renewal and of hope in the face of difficult times.  Created by hand-stitching pieces of silk together on larger, fragmentary surfaces, perfection is not the goal.  Rather, each work acknowledges life’s messiness (all were made during the pandemic) and features Zangewa and her son continuing to build their life together at home.  (On view in Chelsea through Nov 3rd).

Billie Zangewa, Heart of the Home, hand-stitched silk collage, 53.5 x 43.25 inches, 2020.

Anders Oinonen at The Hole NYC

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It’s often hard to read a visage by Canadan artist Anders Oinonen, whose cast of odd characters is currently making faces on the walls of The Hole NYC on the Lower East Side.  This figure has turned his or her architectural face sideways, allowing cotton candy hair to float along the top of the canvas.  Though partially obscured in shadow, the face looks anxious, making this individual a perfect representative of the election anxiety faced by many Americans today.  (On view on the Lower East Side through Nov 15th).

Anders Oinonen, Untitled, oil on canvas, 30 x 24 inches, 2020.

Ariel Orozco at Spencer Brownstone Gallery

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No detail of urban life is too mundane for Mexico-City based conceptual artist Ariel Orozco, whose minimalist panels at Spencer Brownstone Gallery uncover a hidden choreography in the metropolis.  Finding himself trailing 18 wheelers through city traffic, Orozco recorded the patterns of blinking lights on the rear of the trucks, then recreated the same flashing sequences with lights embedded into canvas.  The effect is humorous and surprisingly engaging…and viewers don’t even have to deal with diesel exhaust.  (On view on the Lower East Side through Nov 8th).

Ariel Orozco, installation view of La cabeza el los pies (Head on feet), truck tail lights, electrical hardware, circuit box, canvas on panel, 90.5 x 78.5 inches, 2020.