Nina Canell at 303 Gallery

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Swedish artist Nina Canell has explained that sculpture is ‘an encounter,’ meaning that the atmosphere created by a piece and its materials will drive interest.  In the artist’s first solo show at 303 Gallery in Chelsea, unusual works involving fossils and conveyors achieve this goal, prompting curiosity via strange juxtapositions.  In this piece titled ‘Mother of Dust,’ a moving conveyor belt dominates the gallery; positioned just above the belt, a broom pushes along a handful of pearls.  As large as the sculpture is, the interest is in the point at which broom and pearls meet and the constantly moving, changing pattern of pearls generated by the device.  Canell’s interest is in geology, time and the interventions of humans in nature; although humans are absent here, their presence is indicated by the broom’s work – a process that has been set in motion and left to play out as it will.  (On view through Oct 28th).

Nina Canell, Mother of Dust, pearls, broom, modified conveyor belt, 280 x 35 x 23 inches, 2023.

Jeffrey Gibson at Sikkema Jenkins & Co

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From its vibrant, patterned wall mural to the abundance of vivid paintings in saturated color, Jeffrey Gibson’s solo show at Sikkema, Jenkins & Co is one of the most eye-catching exhibitions in Chelsea. Titled ‘Superbloom,’ in reference to an especially bountiful appearance of wildflowers, the show features work in Gibson’s signature formats, including beaded punching bags, which invite admiration not violence, and patterned paintings recalling Native American design and bearing phrases taken from pop songs or various texts.  In this piece on painted elk hide titled and including the text SPIRIT AND MATTER, viewers encounter a central circular form recalling both a meditative diagram and a target.  (On view in Chelsea through Oct 21st).

Jeffrey Gibson, SPIRIT AND MATTER, acrylic paint on elk hide inset in custom wood frame, 2023.

Laure Prouvost at Lisson Gallery

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When female octopi guard their eggs, they stop feeding themselves, dying as their babies mature.  Multimedia artist Laure Prouvost’s latest solo show at Lisson Gallery celebrates this selfless participation in the cycle of life and connects it with human nurturing via combined imagery of human breasts and octopus arms.  Huge cephalopod limbs emerge from a layer of sand scattered on the floor, inviting gallery visitors into a tactile underfoot experience while observing suction cups that occasionally resemble breasts or in one case, end in a breast-shaped lamp.  Prouvost’s surreal mix of animal and human bodies foregrounds the importance of touch, feeling and sensuous enjoyment.  (On view in Chelsea through Oct 14th).

Laure Prouvost, installation view of ‘Laure Prouvost: Stranded By Your Side,’ at Lisson Gallery, Sept 2023.

Denzil Forrester at the Metropolitan Museum of Art

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Denzil Forrester’s vibrant club painting – one of his 1980s depictions of London’s reggae and dub scene – stands out at the entrance to the Met Museum’s newly rehung contemporary art galleries for its color and movement.  Featuring a DJ on the left and a dancer moving so energetically (s)he’s a blur on the right, the painting captures the way music and people have turned a place into a state of mind.

Dezil Forrester, Dub, oil on canvas, 1985.

Pepon Osorio at the New Museum

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When he had a son in the 90s, Puerto Rico-born artist Pepon Osorio started thinking of how to raise him without perpetuating unwanted ideas about masculinity. This consideration (and a commission from Real Art Ways in Connecticut) led the artist to create the multi-media installation ‘No Crying Allowed in the Barbershop,’ now on view at the New Museum in a solo survey show presenting Osorio’s work from the 90s to today.  Originally installed in a working-class Puerto Rican neighborhood in Hartford, CT, the installation sprang from community conversations identifying barber shops as places where “…ideas surrounding machismo are formed and performed in Latinx culture from generation to generation.”  Overwhelming in its decorative detail, the recreated barbershop builds a powerful and absorbingly complex picture of male identity formation from the influence of actors, sports heroes and other public figures to the car culture alluded to in wall-mounted hubcaps.  (On view through Sept 17th).

Pepon Osorio, installation view of ‘No Crying Allowed in the Barbershop (En la barberia no se llora), mixed mediums and video installation, 1994.