Art fairs draw private transactions and moments into the public eye, making them fertile subject matter for street-style photography. San Francisco artist Andy Freeberg’s series ‘Art Fare’ captures quirkily funny moments like this one, in which art handlers become part of the installation. (At Chelsea’s Andrea Meislin Gallery through August 8th).
Andy Freeberg, Anne de Villepoix, archival pigment print, 30 x 45 inches, 2011.
Mary Heilmann’s two acrylic on paper pieces, both titled ‘Negative Space,’ in David Zwirner Gallery’s summer ‘Paintings on Paper’ group exhibition look like sections of the gallery wall coming forward into the viewer’s space and casting impossibly dark shadows behind, a clever illusion created with simple means. (In Chelsea through August 15th).
Mary Heilmann, Negative Space One, 11 ½ x 11 ½ inches (left) and Negative Space Two, 12 x 15 inches, both are acrylic on handmade paper, 2014.
Portraits of Picasso’s women inspired Mickalene Thomas’ latest series at Chelsea’s Lehmann Maupin Gallery, including this rhinestone and acrylic collage. Exuberant eye-brows and lashes suggest exotic bird plumage while garish, fauve colors and many sharp angles hint at the sitter’s strong personality. (Through August 8th).
Mickalene Thomas, Carla, enamel, acrylic, oil paint, glitter, rhinestones, oil pastel, graphite and silk screen on wood panel, 96 x 72 inches, 2014.
Citibike stands abound in New York’s gallery areas, but are the bikes art? New York artist Dan Colen’s addition to Marlborough Gallery’s bike-themed group exhibition ‘Joyride’ could theoretically be taken out for a spin as a kind of performance or experiential art. In the background, Leo Fitzpatrick’s acrylic on canvas pieces offer a more cynical take on the pleasures of freewheeling about town, suggesting that Citibike users end their trips in the East River. (On the Lower East Side through August 3rd).
Foreground: Dan Colen, Title, x citibikes, 2014. Background: Leo Fitzpatrick, bikes in bag, bag in river, acrylic and spray paint on canvas, 2 pieces, each 22 x 14 inches, 2014.
Before her recent show at New York’s Wellin Museum of Art, artist Dannielle Tegeder observed the museum’s physical structure, translating it into bold, diagrammatic wall installations. Here, at Chelsea’s Lombard Fried Gallery, Tegeder’s mural is a subtle addition to the gallery’s all-white back courtyard, appearing to extend its space beyond the wall into a fictional geometric world. (Through July 31st).
Dannielle Tegeder, Ghost Evolutionary Drawing System with Artificial Life Structure, Classified Layered City, Constructivist Accidents, Invisible Machine Universe Plan, and Chemical Code Schema Map, acrylic spray paint, 25 x 9 feet, 2014.