Ocean waves smoothed the base of this iceberg while wind erosion and detached ice carved the top into this majestic, castle-like form. It’s one of the many stunning images from Sebastiao Salgado’s latest ‘Genesis’ series – for which the artist travelled the world photographing landscapes untouched by modernization – currently on view at Chelsea’s Yancey Richardson Gallery. (Through Jan 24th).
Sebastiao Salgado, Fortress of Solitude, Antarctica, 24 x 25 inches, gelatin silver print, 2005.
An imaginary cabaret group spreads the word about the dangers of climate change as advertised by this wall of faux event posters by artist duo Kahn and Selesnick. Known for photographing outlandish scenarios, their imagination runs riot in this jam-packed show. (At Chelsea’s Yancey Richardson Gallery through July 3rd).
Kahn & Selesnick, installation view of ‘Truppe Fledermaus & the Carnival at the end of the World,’ Flashe and tempura paint on canvas and on paper, printed posters.
During a residency at LA’s Getty Research Institute, photographer David Maisel photographed x-rays made by the conservation department, turning documents of artworks into the artworks themselves and morphing scientific enquiry into ghostly images that suggest mysterious objects. (At Yancey Richardson Gallery through May 10th).
David Maisel, History’s Shadow AB17, archival pigment print, 40 x 30 inches, 2010.
Jennifer Cohen’s ‘White Line’ is as poised as a ballerina en pointe, but its meaning is given an extra charge by being included in Yancey Richardson Gallery’s summer group show titled, ‘Desire,’ which showcases work by female artists adopting a female gaze. (In Chelsea through August 23rd).
Jennifer Cohen, White Line, bronze, copper tubing, plaster and paper pulp, 2013.
Chelsea is slowly coming back to life, post-Sandy. Yancey Richardson Gallery just reopened a show of panorama photos by Hellen van Meene including this portrait of an exquisite girl in a dilapidated interior, taken in Heiloo, Netherlands in ’08. (Though Nov 24th.)
