Glenn Ligon’s ‘Double America’ occupies its own room at a show of the artist’s text-based neon artworks made since ’05, enhancing the impact of a high-wattage piece that brings to the fore division and binary oppositions in this country. (At Chelsea’s Luhring Augustine Gallery through December 8th).
Known for vacuum forming objects (masks, a bomber jacket) in polystyrene, Seth Price explores new sealing options with giant fabric envelopes in his latest solo show – the inaugural exhibition in Petzel Gallery’s beautiful (pre-flood anyway) new 18th Street location. Printed with patterns derived from financial businesses like Capital One and Paychex logos, the envelopes suggest an unclear but persistent connection between art and commerce. (Through Dec 22nd.)
PPOW Gallery in Chelsea has some pretty pompous door greeters in the form of Judy Fox’s charmingly absurd, anthropomorphized ‘Large Octopus’ sculptures, subtitled ‘Dowager’ and ‘Elder.’ At around 2.5 and 3.5 feet high the duo are impressively large to be crafted in Fox’s signature terracotta & casein materials but small enough to present more of an amusement than a threat. (Through Dec 15th).
The Brooklyn Museum will open its doors tomorrow, a day after Sandy hit the city. In a cheeky, colorful display there, Moroccan-born, Paris-based artist Mounir Fatmi presents fifty skateboards covered in Islamic prayer rugs. Titled ‘Maximum Sensation,’ the installation begs the question of where we find heightened consciousness – in faith, sport or both? (On long-term installation in the Contemporary Art Galleries).
Nina Chanel Abney says she’s ‘living in an age of information overload,’ and her new paintings prove the point by piling up disguised references to mass media content, from politics to advertising. This detail – from an over 20-foot long mural titled ‘I Dread to Think’ – surprisingly jumbles race, religion and gender in two female deities. (At Kravets/Wehby Gallery and Anna Kustera Gallery on 21st Street in Chelsea through Nov 24th).