Inspired by film and fiber art, Portuguese artist Leonor Antunes’ site-specific installation at the New Museum turns hand-made, hanging forms into an architecture perceived by the body as it moves through the installation. (At the New Museum through Sept 6th).
Installation view of Leonor Antunes at the New Museum, July 2015.
The most understated Met Museum Roof Garden commission in recent memory, French artist Pierre Huyghe’s installation features a chunk of bedrock set on the museum’s stone tile roof within site of a tank populated with primordial-looking tadpole shrimp. In contrast to the spectacle of luxury condo growth seen just south of the park, the low-key intervention on the Met’s roof is almost disorienting. Weeds sprouting from removed floor tiles suggest a dereliction far from the norm, a crack in the Met’s perfect public face. (At the Metropolitan Museum of Art through Nov 11th).
Pierre Huyghe, Roof Garden commission at the Metropolitan Museum of Art, 2015.
It’s creepy, but a steady stream of visitors to the High Line can’t resist taking a sip from Ryan Gander’s fountain, designed so that a stream of water flows from the mouth of a woman rendered in marble. The sculpture is a provocative update on traditional ‘garden of love’ imagery given that the model was Gander’s wife, leaning in for a kiss. (On the High Line Park in Chelsea through March 2016).
Ryan Gander, To employ the mistress…It’s a French toff thing, marble, stainless steel, copper tubing, 1 ft 4 inches x 1 ft 4 inches x 5 ft 4inches, 2015.
For her last series, late Pictures Generation photographer Sarah Charlesworth used available light coming from her studio window to illuminate carefully chosen objects. Here, a glass holding a sphere has the meticulous quality of product photography, but it sells nothing, instead it turns everyday objects into something serenely magical. (At the New Museum through Sept 20th).
Sarah Charlesworth, Carnival Ball, from the ‘Available Light’ series, Fuji Crystal Archive prints with lacquered wood frames, 2012.
Like sketchbook pages mounted to the wall, Brazilian Neoconcretist sculptor Amilcar de Castro’s model-like Corten steel sculptures resemble drawings for future pieces as well as typography, recalling the artist’s graphic design background. (At Chelsea’s Luhring Augustine Gallery through Aug 28th).
Amilcar de Castro, Untitled, 140 sculptures of Corten steel, 9 inches – approx. size, c. 1990. (background) Paulo Monteiro, Untitled, bronze, 28 11/16 x 35 3/8 x 35 3/8 inches, bronze.
