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).
The colors of Gustav Klimt’s famous portrait of Viennese girl Mada Primavesi (in the Met’s collection) inspired this lush painting by British artist Ian Davenport, seen here in detail. In Klimt’s original, Mada’s slim figure barely stands out against a background of white, lilac and pink color; here, Davenport allows the colors to take over fully. (At Paul Kasmin Gallery through Oct 22nd).
Hands down, the best views from any piece of New York real estate are to be had from a tiny, isolated shack on the side of a hill overlooking New York Bay. You can’t actually enter Rachel Whiteread’s ‘Cabin,’ for which she cast a small structure in concrete, but the surroundings are more the point anyway. With Manhattan’s skyscrapers in view to the north and the Statue of Liberty looking over from the east, this new permanent public artwork is both isolated and at the center of the city. (On permanent view on Governors Island).
British artist/designer Richard Woods has applied mock Tudor façade to a shopping mall in Seoul, fake flagstones to a cottage in Finland, and now brings a collection of woodblock tabletops to Friedman Benda Project Space in Chelsea. Presented as both tables and wall-mounted works, the exhibition’s vibrant color and patterns celebrate the places where we eat, work and commune. (Through Aug 19th).
Susie MacMurray’s stately ‘Medusa,’ dignifies the maligned mythological character by refashioning her imposing figure in a beautiful surface of tiny, interlocked copper rings. (At Chelsea’s Danese Corey Gallery through May 21st.)
