Peter Blum Gallery marks its first show at its new 57th Street gallery (as it says goodbye to its Chelsea and SoHo locations), with Rosy Keyser’s adventurous ‘paintings,’ assembled from materials as diverse as bamboo and rusty, corrugated steel. (Through April 20th).
Rosy Keyser, ‘Hungry Shepherd, Honeypot,’ left panel: enamel, spray paint and rope on steel. Right panel: dye enamel, bamboo, and polycarbonate on aluminum and wood on canvas. 2013.
Hope Gangloff’s pasty-skinned subjects are likened to hip updates on Egon Schiele’s or Gustave Klimt’s characters but the men and women in her latest solo show at Chelsea’s Susan Inglett Gallery – like this picture of ‘Lydia (The Tattooed Lady)’ – seem to be having a lot more fun. (Thanks to Nancy on last Saturday’s tour for a link to Groucho Marx’s ode to Lydia!) (Through March 23rd).
Hope Gangloff, Lydia (The Tattooed Lady), acrylic/canvas, 2013.
Wolfgang Laib’s fourteen-foot high ziggurat dominates Sperone Westwater’s narrow main gallery with its hefty slabs of fragrant beeswax. Titled, ‘Without Beginning and Without End,’ Laib creates his architecture in the form of an ancient structure, while using a natural material made by bees in their own building process. (On the Lower East Side through March 30th)
Wolfgang Laib, ‘Without Beginning and Without End,’ beeswax, wooden understructure, 2005.
Mark Dion’s vitrine-based sculptures often evoke the wonder of the 16th-18th century ‘Wunderkammer,’ or cabinet of curiosities. In this sculpture, the centerpiece of his current show at Chelsea’s Tanya Bonakdar Gallery, the ‘wunder’ of this cast replica of a manatee skeleton is overshadowed by a polluted sea-bed of tar-covered consumer goods below. (Through April 13th).
Mark Dion, Trichechus manatus latirostris, plastic skeleton, tar, found objects in steel and glass case, 2013.
You have to shout to be heard above the roar of dyed-black water pouring into vast steel containers in Polish artist Miroslaw Balka’s installation at Barbara Gladstone Gallery. Whether it conjures environmental destruction (with the oil-like appearance of the water) or suggests larger industrial processes, the installation, titled ‘The Order of Things,’ generates unease. (At Barbara Gladstone’s 21st Street location in Chelsea through March 30th).
Miroslaw Balka, 2 x (350 x 300 x 300), 36 x 36 x 29/The Order of Things, steel, water, pumps, plastic, rubber, water, food coloring and wood, 2013.