Dutch photographer Dana Lixenberg’s iconic photos for Vibe magazine in the 90s of Tupac Shakur & Biggie appear at the center of schematic mural at Grimm Gallery that demonstrates the incredible currency that photos can have. Radiating from the center, remakes of Lixenberg’s photos of the two music legends appear in the foam of a latte, on tattoos and via The Simpsons characters among other iterations. (On view on the Lower East Side through Feb 29th).
Young LA painter Noah Davis died from cancer in 2015, but the hundreds of artworks he left behind are currently impacting the New York art scene thanks to a double-gallery exhibition at David Zwirner Gallery. Davis’ style can shift from washy to realistic in the same canvas, creating surprising effects as representation dissolves into uncertainty. Here, two napping figures on a couch evoke a languorous afternoon, made intriguing by the almost melting space above the lap of a third figure. (On view in Chelsea through Feb 22nd).
Finding that her female figures were often misinterpreted, Iranian-born, Chicago-based artist Orkedeh Torabi decided to depict only men as she continued to make work commenting on patriarchal societies. The title of this painting, ‘Where are all the houries?,’ a standout in a group show at Fredericks Freiser Gallery, imagines the arrival in heaven of a martyr who is looking for his virginal beauties. (On view through Feb 22nd).
Chicago-based artist and professor Jan Tichy found an outlet for his ‘socially conscious formalism’ in the context of the Lower East Side’s lighting district, where he made work in and in response to the neighborhood’s dwindling number of lighting fixture stores. Layering images shot in the lighting stores, their bright wares hung enticingly from the ceiling, with exposures of actual fixtures on light sensitive paper in the darkroom, Tichy created this frenetic print which mirrors the pace of change in the city. (On view at Fridman Gallery through Feb 23rd).
Butterflies are a reminder of the brevity of life, but the Xerces Blue perching on this crate is an extinct species, adding a note of finality even as the nearby Venus Flytrap demonstrates abundant health. Jeanne Silverthorne’s new sculpture at Marc Straus Gallery also includes silicone rubber crates which symbolize unknown creative possibilities. Acting as pedestal and art object, they range from sturdy to dilapidated, suggesting the coexistence of ideas that will someday manifest as artworks and those that will not. (On view on the Lower East Side through Feb 16th).
