A pile of stock certificates slung on the gallery floor and a fake-aged panel emblazoned with logos by New York artist Mark Flood at Zach Feuer Gallery cynically (or efficiently?) offers collectors straightforward value, cutting out actual art objects as a middle man. (Through June 14th).
Mark Flood, installation view of ‘Mark Flood: Available NASDAQ Symbol’ at Zach Feuer Gallery, May 2014.
Brooklyn artist Blane De St Croix’s trips to the Arctic Circle have resulted in this huge (24 foot long) sculpture titled after the run-off of a melting glacier. It brings to mind a fossilized sea creature or a ship’s hull, turning a still-familiar form into a relic. (At Chelsea’s Fredericks Freiser Gallery through June 14th).
Blane De St. Croix, Dead Ice, mixed media, aqua resin, eco expoxy and recycled material, 288 x 132 x 84 inches, 2014.
Under a stunning sunrise, time runs out, nature takes its course and a masked figure keeps up appearances in this attractively simple yet hard-to-interpret painting by Brooklyn artist Jaya Howey. How it all fits together seems to be less important than noting how it’s all happening at once. (At Bureau on the Lower East Side through June 15th).
Jaya Howey, Opening Narrative with Frame Work 3, oil and acrylic on canvas, ceramic, epoxy, 119 x 94cm, 2014.
Keith Haring turned his signature energetic designs into a calligraphic abstraction in this untitled painting on a tarp (seen as a detail) from 1985, now on view at Barbara Gladstone Gallery. (In Chelsea through June 14th).
Keith Haring, detail of ‘Untitled,’ 60 x 60 inches, acrylic on muslin, 1985.
Beijing-based artist Jiang Pengyi suggests a dystopian quality to China’s rapid urban development with his ‘Unregistered City’ series now at Chelsea’s Klein Sun Gallery. Here, skyscrapers scaled down to toy-size are surrounded by dust and debris in an old, industrial-looking setting that suggests a bleak bigger picture. (Through June 21st).
Jiang Pengyi, Unregistered City No. 1, archival pigment print on cotton rag paper, 59 x 82 ¼ inches, 2008.
