Chelsea and 57th Street gallery Marlborough Gallery has now put an anchor down in the Lower East Side, launching a new space at 331 Broome with the lightheartedly delicious ‘Pizza Time,’ a show dedicated to the slice. It includes this collage by Catherine Ahearn that marries painting and photo as serendipitously as olives and mushrooms. (Through Oct 6th)
Catherine Ahearn, Untitled (pizza 3), multi-media, 2011.
To some, Leslie Hewitt’s conceptual photography will be maddeningly vague, to others, enticingly elusive. Propped against the wall as if it were an object or sculpture, it displays one book with its spine facing us – James Baldwin’s essays on race, ‘The Fire Next Time.’ This incendiary text rests next to a cooling lemon, an art historical symbol of mortality and moderation. (At Sikkema Jenkins & Co in Chelsea, through Oct 5th).
Leslie Hewitt, Untitled (Perception), Still Life Series, digital c-print in custom maple frame, 2013.
New York artist Adam Marnie presents a mediated flash-back with his solo show at Chelsea’s Derek Eller Gallery by removing the bottom two feet of drywall from the gallery’s walls, recalling the scene after Hurricane Sandy last October. Nearby interlocking cubes recall 60s minimalist ideas about art being a physical experience; but what happens to interpretation if the physical space of the gallery is altered by disaster? (Through Oct 5th).
Adam Marnie, Inward Object I, maple, wood putty spray paint, 2013.
Brian Adam Douglas’ surreal, Neo Rauch- like images of anonymous characters intently engaged in their individual tasks are intriguing, but are even more amazing for being constructed entirely of paper. Though his solo show at Chelsea’s Andrew Edlin Gallery was inspired by mankind’s ability to rebuild after natural disasters, here each character experiences a momentous occasion of his or her own. (Through Oct 26th).
Brian Adam Douglas, The Memory of You is Never Lost Upon Me, cut paper on birch panel with UVA varnish, 2011.
British artist Phil Collins set up a phone booth in a German homeless shelter and offered its guests a deal – in exchange for free local and international calls, they allowed the artist to record their conversations and commission songs from the transcripts. At Tanya Bonkadar Gallery, visitors are invited to listen to the results in individual sound booths. (In Chelsea through October 19th).
Phil Collins, installation view of ‘my heart’s in my hand and my hand is pierced, and my hand’s in the bag, and the bag is shut, and my heart is caught,’ sound installation, 2013.
