British artist Terry Haggerty’s updated Op Art never stops moving when you are in front of it. The simplest device – twisting and tapering the end of parallel lines – turns this installation in Sikkema Jenkins & Co’s back gallery into a dizzying experience. (In Chelsea through Nov 16th).
Terry Haggerty, forward/reverse, latex paint on walls, 2013.
New York based-Scandinavian artist Simen Johan’s latest photos from his ongoing series, ‘Until the Kingdom Comes’ are stronger than even, offering seamless images of animals inserted into landscapes that would be alien to them, as with these giraffes (shot in a U.S. zoo), whose heads are lost in the fog of landscapes from Turkey, Bali & Iceland. (At Chelsea’s Yossi Milo Gallery through Dec 7th).
Simen Johan, Untitled #172, digital c-print, 2013.
‘Self Portrait as Afterparty’ continues Brooklyn-based painter Julie Heffernan’s ongoing quasi-self-portrait series, here in a post-apocalyptic scenario in which she eschews plates of spaghetti to gather sacks of game. An abandoned dinner, piles of rocks, some of which have smashed the chairs, and a picture of an exploding volcano suggest that the end of the world has come but this goddess-like survivor can fend for herself. (At Chelsea’s PPOW Gallery through Nov 16th).
Julie Heffernan, Self Portrait as After-party, oil on canvas, 2013.
You don’t have to be into fashion to appreciate the spectacle that is ‘The Fashion World of Jean Paul Gaultier’ at Brooklyn Museum. A moving catwalk, mannequins with animated faces, and more turn the normally sleepy Brooklyn Museum into a carnival celebrating Gaultier’s extravagant, gender-bending vision, which germinated in childhood when he fashioned a conical bra for his teddy, some 30 years prior to his designs for Madonna’s ‘Blond Ambition’ tour. (At Brooklyn Museum through Feb 23rd).
Jean Paul Gautier, ‘Nana’ from 1957; ‘chest of drawers with integrated vanity,’ prototype, 1992; and “Black Swan Collection,” modele Saut de l’Ange, Haute couture fall/winter 2011-12.
Born in Arizona to Native American parents, raised by his adoptive German-American parents in Wisconsin and based on the Bowery for the past 23 years, Brad Kahlhamer still draws on his varied background in art that blends Native American iconography and a graffiti-like graphic sensibility in this haunting portrait of an apparition-like character. (At Jack Shainman Gallery’s 24th Street location through Nov 16th).
Brad Kahlhamer, The Way They Looked The Way They Lived, ink spray paint, acrylic and ballpoint pen on cloth, 2013.
