Vietnam-based artists The Propeller Group make a surprising connection between brass bands in New Orleans and Vietnam in a mesmerizing video created for the New Orleans biennial, Prospect 3. Here, a funeral band wades into the Mekong Delta, making an elaborate journey as they accompany the dead toward the afterlife. (At James Cohan Gallery on the Lower East Side through May 15th).
Though they’re both solitary women illuminated by glowing backgrounds, the subject of Barkley L. Hendrick’s 2015 painting, Anthem, couldn’t be further in character from the measured cool of his iconic 1969 ‘Lawdy Mama.’ This singer is holding nothing back as she takes the stage with a double mike and unrestrained self-confidence. (At Jack Shainman Gallery through April 23rd.)
Performers give it their all in one of the best galleries in the Metropolitan Museum of Art’s John Singer Sargent show, focusing on non commissioned (hence less restricted) portraits of friends and colleagues. Here, after meeting musical patron and singer Mabel Batten, Sargent persuaded her to pose for this incredible portrait of singing abandon. (Through Oct 4th).
John Singer Sargent, Mrs George Batten Singing, oil on canvas, 1897.
Is digital technology making physical bodies less important? LA artist Peter Harkawik addresses this very contemporary concern with a sculpture that is both a musical instrument and a paean to the human body. Colors on the armature reference brands (like Home Depot orange) while a carefully rendered hand, ear, scrunched bottle and more signal the human touch. (At Derek Eller Gallery through July 10th).
Peter Harkawik, (detail of ) Everything But (Klondike Blue/Pepto Bismol Pink, UPS Brown, Pluot Purple/Home Depot Orange, Risperdal Green/Tiffany Blue, Post-It Note Yellow/Wiffle Ball Yellow, T-Mobile Pink/John Deere Green, Aquafresh Blue, Tiffany Blue), mechanically polished cast stainless steel, electropolished cast stainless steel, 316 stainless steel, 308 stainless steel, carbon steel, Imron fleet paint, SAE F-55 felt, hardware, rubber mallet, 68 x 60 x 16 inches, 2015.
Danish artist Rose Eken lovingly recreates an imagined punk rock venue cum anthropological display with her ‘Remain in Light’ installation at The Hole. Here, she’s arranged cigarette lighters, butts, matches, beer bottles, amps and many, many more artifacts handmade from paperclay in what the gallery calls, ‘…a personalized memorial to NYC’s dwindling lawless zones and the mayhem they contained.’ (Through Nov 2nd).
Rose Eken, installation view of ‘Remain in Light’ at The Hole, Oct, 2014.
