Linda Goode Bryant in ‘Social Works’ at Gagosian Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Felix Gonzalez-Torres’ piles of candy, Oscar Murillo’s pallets of freshly made chocolate and Betty Woodman’s ceramic fragments are some of the most meaningful and memorable free gifts artists have offered to New York art audiences in recent years.  Now, Linda Goode Bryant’s floating farm at Gagosian Gallery joins in with daily offerings of freshly grown and harvested produce.  Tiny bags of basil, cilantro and green beans await someone’s dinner plate but also testify to Bryant’s efforts to supply healthy food to communities with restricted access to produce via Project EATS, the urban farming organization she founded in 2009.  (On view in Chelsea through Aug 13th.  Masks and social distancing required.)

Linda Goode Bryant, Are we really that different?, installation, dimensions variable, 2021.

 

Nick Cave in ‘Anti/Body’ at Jack Shainman Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Nick Cave’s original Soundsuit, a costume made from hundreds of small twigs that rustled when the suit was worn, was a protective gesture prompted by Rodney King’s violent treatment at the hands of LA police in 1991.  His latest series of suits, now on view in Jack Shainman Gallery’s group exhibition ‘Anti/Body,’ are collectively titled 8:46, referring to the amount of time (recently understood to be longer) that Derek Chauvin took to kill George Floyd.  Larger than life and composed of bright floral and patterned textiles as well as synthetic flowers, each suit celebrates and mourns a lost life.  (On view in Chelsea through July 2nd.  Masks and social distancing required).

Nick Cave, installation view of Soundsuits titled 8:46 in Anti/Body at Jack Shainman Gallery, June, 2021.

Brendan Lee Satish Tang in ‘Earthen Delights’ at C24 Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Canadian artist Brendan Lee Satish Tang’s blend of traditional-looking ceramics and robot-like forms at C24 are unlike anything in the Chelsea galleries now. Inspired by both ormolu, a technique popular in 18th century France that involved adding decorative elements to existing art objects, as well as manga/anime culture, Tang grafts ceramic elements onto bases that look like engines, rockets or robots.  His curious hybrids crash together different times and histories to humorous and intriguing effect.  (On view through July 17th.  Masks and social distancing required).

Brendan Lee Satish Tang, Manga Ormolu 4.0r, ceramic and mixed media, 16 x 20 x 13 inches, 2013.

Yayoi Kusama in ‘Alternative Worlds’ at Michael Rosenfeld Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Mirrors, lights and long lines of visitors usually accompany Yayoi Kusama’s Chelsea exhibitions; Michael Rosenfeld Gallery’s selection of the artist’s smaller scale 2-D and 3-D work from the 50s and 80s is a quieter affair but a gem for Kusama fans.  Here, two box-shaped sculptures feature the artist’s signature nets, polka dots and phallic forms, bringing together pattern and texture in abundance.  Despite this work’s title, ‘Ruins (Haikyo),’ clustered protrusions resembling eggs in a nest appear to embody life and movement.  (On view through July 30th.  Masks and social distancing required.)

Yayoi Kusama, Ruins (Haikyo), mixed media box assemblage with sewn and painted fabric, faux fur and paint, 11 ¾ x 11 ¾ x 4 inches, 1984.

Stephen Hannock at Marlborough Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Ophelia, who lost her life by drowning in Shakespeare’s Hamlet, is transported to a North American landscape in recent work by Stephen Hannock at Marlborough Gallery.  An homage to the artist’s late wife whose ill health took away her freedom, Hannock’s Ophelia series draws on John Everett Millais’ famous painting of Ophelia and Thomas Cole’s renowned 1836 depiction of the Connecticut River’s oxbow.  Together, tragic individual experience merges with the sublime and healing possibility of nature.  (On view through July 2nd.  Masks and social distancing required).

Blue Water with Ophelia Rising (Mass MoCA #328), polished mixed media on canvas, 23 x 18 ½ inches, 2021.