Famed creator of the mobile and stabile, Alexander Calder, used light and shadow to envision scaled up versions of his sculpture. In an inspired display technique, Upper East Side gallery Venus Over Manhattan does the same, keeping the gallery dark so that maquettes cast dramatic shadows and the pieces take a step beyond Calder. (Through Dec 21st).
Alexander Calder, Morning Cobweb (intermediate maquette), sheet metal, bolts and paint, 1967.
Martin Creed’s exhibition at Hauser & Wirth’s 69th Street location includes portraits painted by leaping high in the air with a paintbrush, stacking sculptures based on mathematical ratios and room-altering minimal, monumental wall paintings. None seem to involve much effort on Creed’s part to create – this being his signature style – yet each will definitely create a reaction. (Through Dec 21st ).
Martin Creed, work no. 1782, toilet roll, unique, 2013 (foreground). Martin Creed, work no. 905, emulsion on wall, 2008 (background).
The figures in Rita Ackermann’s new paintings at Hauser & Wirth’s 69th Street location appear to materialize from the deep, their outlines like veins seen through flesh or marble. Ghostly characters with pointy pixy noses and saucer-shaped eyes, they walk the line between benevolent and menacing. (Through April 20th).
Rita Ackermann, ‘Fire by Days Blues VII,’ spray paint, oil pigments and rabbit skin glue on canvas, 2013.
