Constructed of layers of cardboard, plywood, foam and felt, Phyllida Barlow’s untitled column sculptures at Hauser & Wirth are monumental without being macho. Bright, enticing colors and soft materials humanize these minimalist stacks. (At Hauser & Wirth, 32 East 69th Street through 12/22).
Eberhard Havekost’s painting ‘Ocean’ is once again on display as Chelsea’s Anton Kern Gallery reopened today, post-Sandy. It’s a standout in a show about Havekost as artist and consumer, who transforms an enviable body (sourced from a German ad) into a mottled obstacle to the paradisiacal scene behind. (Through Dec 15th).
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.)
Faded posters of ‘fade’ hairdos headline Barb Choit’s latest solo show, ‘Fade Diary.’ Featuring non-professional models, they recall yearbook photos, anthropological studies and mug shots while documenting faded fashions. In another photo, a model sporting a red glove echoes past styles while reflecting the present day NYC street in an image that has resonance with Lee Friedlander’s store-front photos currently uptown at Pace Gallery. (At Rachel Uffner Gallery, Lower East Side through Dec 23rd.)
Painter Pieter Schoolwerth rewrites art history with a new series of paintings that remake 17th century French painter Simon Vouet’s 1635 ‘Aeneas and His Family Fleeing Troy.’ Here, Aeneas, his invalid father and his small son crowd into one dynamic figure (created from digital printout, drawn lines and thick areas of painting) in an urgent escape. (At Miguel Abreu Gallery, Lower East Side, through Dec 22nd).