Why do we collect objects? Whether it’s art, fossils or shoes, Allan McCollum suggests that we’re looking to fulfill greater needs. In this piece from 1991, currently on view at Mary Boone Gallery’s 24th Street location, McCollum presents cast copies of original bones from the Carnegie Museum, begging the question of what their collection and display means for human history. (On view through April 29th).
Leidy Churchman’s carefully arranged giraffes in the group exhibition ‘Sputterances’ at Metro Pictures categorize nature into manageable options, here, small, medium and large. Titled ‘Free Delivery,’ the painting equates the animals with product consumption, coincidently offering a provocative comment on the huge on-line audience that watched April the giraffe give birth to a calf in an upstate animal park in recent weeks. (In Chelsea through April 22nd).
The skin, shirt and vest of the man in this portrait by Toyin Odutola are alive with pattern, a foil to the quiet interior in which he stands and a suggestion of busy thoughts. Looking out into the light coming from outdoors, he’s privy to a vision from outside that we can’t yet see. (In ‘Vanishing Points’ at James Cohan Gallery through April 22nd).
‘Dazzle painting’ is an apt and humorous term used by New York artist Jane Hammond to describe her glittery paintings on mica sheets, which are arranged over reflective materials to catch the light. Featuring images from yesteryear, Hammond’s work literally burnishes memories. (At Chelsea’s Galerie Lelong through April 22nd).
Though the central figure of Sedrick Huckaby’s genre-bending painting/sculpture ‘Frederick’s Family’ is surrounded by relatives, their crossed arms and stony looks suggest deep discord. With downcast eyes and drab-colored clothing, Frederick begs the question of what went wrong and how things are to continue. (At Steven Harvey Fine Art Projects on the Lower East Side through April 23rd).
