Minimalist art pioneer Carl Andre accompanies his current Dia:Beacon retrospective with a show of work from the past thirty years at Paula Cooper Gallery. Here, two sculptures use cedar beams as building blocks, making an additive sculpture of strong, industrial materials. (Through July 25th).
Carl Andre, 4 x 4 Cedar Solid, 16 Western red cedar units, each 36 x 12 x 12 inches, 2008 (foreground). Bar, Douglas Fir (36 unit row), each 12 x 12 x 36 inches, 1981 (background).
Invited to show at LA’s MoCA in 1997, Jorge Pardo built an off-site house as his exhibition (where he now lives with his family). His latest design-as-living space can be seen at Petzel Gallery, where ‘Spare Bedroom’ offers a sanctuary-like space-within-a-space reminiscent of bedroom-nooks built into lofts but with a stained-glass look suggesting something more like a choir loft. (In Chelsea through April 5th).
Jorge Pardo, Spare Bedroom, mixed media, 2014.
In collaboration with woodworker Josh Finn, iconic Minimalist artist Robert Morris has been creating replicas of his 1960s sculptures. Currently on view at Chelsea’s Sonnabend Gallery, this gracefully curving form recalls Morris’ 1961 ‘Box for Standing,’ (a replica is included in the show), suggesting a more exulted place to position yourself, akin more to an art-filled niche than the ‘tub’ to which its title refers. (Through March 15th).
Robert Morris, Tub, alder, 80 ½ x 39 ½ x 20 inches, 2013.
Exposed in its confining crib, this body-sized stick of butter (actually beeswax) by American sculptor Robert Gober is perfectly formed but slightly repulsive. Scattered apples, meticulously crafted in wood are all-American (recalling apple pie or Johnny Appleseed) but suggest that temptations lurk from the earliest days of life. (At Matthew Marks Gallery’s 523 West 24th Street location).
Robert Gober, Untitled, wood, paint, beeswax, 50 ½ x 53 ¼ x 28 inches, 1993-2013.
Liz Glynn’s latest solo show is full of loot. Before visitors reach this suspended, damaged vessel, they pass Ming porcelain, Julius Caesar’s robes and more, all comically rendered in paper mache and suggesting alternate takes on history. (At Chelsea’s Paula Cooper Gallery through Feb 8th).
Liz Glynn, Vessel (Ravaged, Looted and Burned,) hardwood with bronze and steel hardware, rope, 86 x 246 x 73 inches, 2013.
