Tag: chart gallery

Whitney Oldenburg at Chart Gallery

A sculpture titled ‘Feeding Frenzy’ – three giant chrysalis forms studded with red paper admission tickets – announces Whitney Oldenburg’s first New York solo at Chart Gallery as an energetic and ambitious debut.  In addition to suggestive titles, unusual materials hint at storylines – Feeding Frenzy mixes in ear plugs, helmets to bring to mind a raucous concert. Composed of molds of ‘Feeding Frenzy’ along with row after row of generic acetaminophen, ‘High Tide,’ pictured here, alludes to medicated states.  Also resembling a shell big enough for Venus to arrive on, the sculpture remakes the natural world through human materials as eclectic as lollipop sticks and tiki wall, one of Oldenburg’s idiosyncratic works that beg a closer look. (Gallery opening hours change during the holidays. Check opening hours before visiting.  On view in Tribeca through Jan 6th).

Whitney Oldenburg, High Tide, molds of Feeding Frenzy, metal, clay, lollipop sticks, tiki wall, generic acetaminophen, leather, linen, resin, 60 x 51 x 28 inches, 2023.
Whitney Oldenburg, (detail) High Tide, molds of Feeding Frenzy, metal, clay, lollipop sticks, tiki wall, generic acetaminophen, leather, linen, resin, 60 x 51 x 28 inches, 2023.

 

Carrie Schneider at Chart Gallery

Mariah Carey’s head dominates Carrie Schneider’s solo show at Chart Gallery in Tribeca; smiling and nodding, it is featured in a large 16mm color film projection, a still image and two impressively huge photos printed on paper rolls that total 400 feet in length.  Sampled from an interview in which Carey says in response to a question about Jennifer Lopez, ‘I don’t know her,’ Schneider’s work explores how a few seconds of footage can become a meme with an unending digital lifespan and how an evasion on Carey’s part resulted in a cascade of attention.  Schneider’s super-abundance of abstract imagery created via multiple exposures in a specially built camera generates its own kind of optical noise, a visual art parallel to celebrity culture.

Carrie Schneider, Voice’s Owner (I don’t know her), two unique chromogenic photographs made in camera, 20 x 4800 inches, installation dimensions vary, 2023.

Will Ryman at Chart Gallery

Not many gallery exhibitions are outright funny, but Will Ryman’s latest sculpture at Chart Gallery is bound to have visitors chuckling.  Chock-full of eccentric New York characters crafted roughly in what looks like clay (actually resin), the show includes a platform-shoe wearing senior citizen perched on an NYPD barrier and a couple of noodle-slurping Goths on a subway seat.  Here, in a piece initially conceived of at the time of the sub-prime mortgage crisis in 2008, an exterminator scatters a crowd of mini businessmen.  (On view in Tribeca through Oct 22nd).

Will Ryman, The Exterminator, wood, resin, mesh, paint, screws, hose, plastic, 65 x 105 ½ x 159 ½ inches, ’08 – ’22.

Angelo Filomeno at Chart Gallery

Angelo Filomeno’s latest works, now on view at Chart Gallery in his first New York solo show in seven years, lure visitors closer via bold color contrasts and a literal glow from his materials.  Appearing to be ‘painted with a sewing machine,’ as the New York Times once put it, the embroidered works on silk shantung resemble painting in presentation and scale but are marked by a richness of color and abundance of light afforded by their material.  Filomeno’s work never strays far from the theme of mortality; here, an iceberg illuminated by lightning brings our changing environment into focus.  (On view through June 18th).

Angelo Filomeno, Storm, embroidery on silk shantung stretched over cotton, 68 x 52 inches, 2022.

David Aipperspach at Chart Gallery

The paintings in Philadelphia-based artist David Aipperspach’s current solo show at Tribeca’s Chart Gallery, ‘Prologue to a Garden Dark’ anticipate the slow end of a summer’s day by blending light and color from different times in a single scene. At the show’s entrance, a small painting tracks the path of the sun as it sinks though a grid of darkening colors, acting as a Rosetta stone for the same color shifts that appear in rectangles of stacked colors inset in the paintings.  Acting as ‘clocks,’ the rectangles break into tranquil scenes, acting as abrupt reminders of the passage of time.  (On view through April 30th in Tribeca).

David Aipperspach, 4-7pm, oil on canvas, 84 x 72 inches, 2021.