Judith Schaechter’s relatively small stained glass work, ‘Botanical Study,’ opens a show of new work that pits the human body against fabulous depictions of nature in all its rich abundance. Here, Schaechter ignores humans entirely, zeroing in on a single drop of rich plant and insect life, amplifying the wonders of the natural world. (In Chelsea at Claire Oliver Gallery, through Oct 22nd).
Glass, mirrors and distorted perspectives turn nature into a candy-colored wonderland in new photos by Paris-born, NY photographer Karin Laval. This hyped-up version of nature literally moves into the gallery space as Laval presents an image on the wall and as sculpture. (At Chelsea’s Benrubi Gallery through July 1st.)
Meg Webster’s environmentally friendly project at Paula Cooper Gallery uses a solar-powered electrical system to power grow lights that maintain planters full of herbs, lettuce, flowers and more. Mylar-covered walls reflect light and emphasize how unnatural Webster’s carefully maintained, secluded slice of nature is. (In Chelsea through June 24th).
New York artist Amy Lincoln carefully studies particular plants, then incorporates them in paintings of the natural world so crisp and vibrantly colored, they’re almost hallucinogenic. (At Morgan Lehman Gallery in Chelsea through May 7th).
When humans talk about nature, it’s to promote ends that may have little to do with the natural world, argues Brooklyn artist Marc Handelman in his latest solo show at Chelsea’s Sikkema, Jenkins & Co. Binders filled with images from corporate reports that portray forced compliance (e.g. cleanups) as a willing choice join whimsical paintings like these to question real motivations behind discussions of the environment. (Through April 11th).
Marc Handelman, Dear Stakeholder, oil on canvas, 87.5 x 61.75 inches, 2014.
