The folks behind-the-scenes have taken over the scene at David Zwirner Gallery’s 533 West 19th Street, location in Chelsea, where some forty artists who work at the gallery are showing their own work. Here, Jay Pluck’s hand painted wallpaper pattern is a welcome sliver of Matisse-like color and pattern installed unexpectedly between galleries. (Through Aug 5th).
Iconic German artist Sigmar Polke created this painting the year after a trip that took him around Asia, from Papua New Guinea to Thailand and beyond. Painted on checked fabric, Polke’s hovering, calligraphic mountains compete with a rectangular pattern of curving black splashes, creating an almost mythical realm at center. (At David Zwirner Gallery’s 20th Street location through June 25th).
Iconic appropriation artist Sherrie Levine pairs monochrome paintings replicating colors found in Renoir’s nudes with colorful SMEG refrigerators in groupings that might serve to remind or warn snacking art collectors of Renoir’s voluptuous figures. (At David Zwirner Gallery in Chelsea through April 2nd).
David Zwirner Gallery’s normally pristine white walls look as though they’ve been damaged by scraping; a closer look reveals that black markings are text fragments, printed onto posters that cover the walls of Michael Riedel’s latest solo show. Known for recycling text and image from his previous shows, Riedel takes the metaphor a step further by picturing animated dinosaur skeletons, creatures whose lives have been extended, in a sense, by being exhumed and put into the public realm again. (In Chelsea through March 25th).
Inventive use of materials is everything in Karla Black’s huge installation, ‘Includes Use’ at David Zwirner Gallery. Mixing powder paint and plaster, Black covers the gallery floor with a beach of cocoa-like powder separated into curving organic shapes by frilly tucks of toilet paper. The artist resists the term ‘feminine’ to describe her work, but with glitter as the finishing touch, the effect is decidedly pretty. (In Chelsea through March 26th).
