Though not many of Olafur Eliasson’s projects are going to measure up to the impact of his past large-scale artworks (creating waterfalls on New York City’s East River or a sun in the Tate’s Turbine Hall), his latest solo show at Chelsea’s Tanya Bonakdar Gallery features this simple but mesmerizing display of three fountains, lit by strobes, which turn moving water into seemingly static sculptures. (through Dec 22nd).
Judy Pfaff at Ameringer McEnery Yohe Gallery
Judy Pfaff’s new sculptures, on view at Chelsea’s Ameringer McEnery Yohe Gallery, channel Lynda Benglis’s neon colors and puffy forms, Louise Bourgeois’ or Yayoi Kusama’s profusion of phallic protrusions, and the commanding presence of a more recent wall-mounted Frank Stella. Yet the profusion of optical seduction is typical Pfaff, as seen in pieces like ‘The Path to the Center was Clearly Marked’ (2012), an over 7ft wide tour de force created from honeycomb cardboard, pigmented expanded form, melted plastics, fluorescent and incandescent light. (Through November 10th.)
Joel Meyerowitz at Howard Greenberg Gallery
Today, Joel Meyerowitz chatted with visitors to Howard Greenberg Gallery on the occasion of a show of his street photographs from the 60s and 70s, which include iconic shots like his couple in camel colored coats walking through NYC steam, the odd spectacle of a fallen man on a Paris sidewalk, and this eccentric human/cat threesome from New York’s 1964 Easter Parade. (On 57th Street through December 1st).
Glenn Ligon at Luhring Augustine Gallery
Glenn Ligon’s ‘Double America’ occupies its own room at a show of the artist’s text-based neon artworks made since ’05, enhancing the impact of a high-wattage piece that brings to the fore division and binary oppositions in this country. (At Chelsea’s Luhring Augustine Gallery through December 8th).
Seth Price at Petzel Gallery
Known for vacuum forming objects (masks, a bomber jacket) in polystyrene, Seth Price explores new sealing options with giant fabric envelopes in his latest solo show – the inaugural exhibition in Petzel Gallery’s beautiful (pre-flood anyway) new 18th Street location. Printed with patterns derived from financial businesses like Capital One and Paychex logos, the envelopes suggest an unclear but persistent connection between art and commerce. (Through Dec 22nd.)