Tiny roads bisect the anonymous subject of Derrick Adams painted collage, suggesting that this character is on an unswerving journey. Plaid fabric maps a city grid and African textiles nod to the heritage of the woman in this vibrant portrait of an individual in the driver’s seat of her own life. (On view at Tilton Gallery on the Upper East Side through Jan 6th).
When Columbian artist Ruby Rumie chanced to meet Cartagena street vendor Dominga Torres Tehran, she commenced a series of strikingly beautiful portraits now on view at Nohra Haime Gallery in Chelsea. Titled ‘Weaving Streets,’ the show celebrates the communities of women who sell fish, fruit and other foods on the streets. Wearing understated white dresses, the women’s unique identities and natural beauty are the focus of this remarkable body of work. (On view in Chelsea through Jan 6th).
Adam McEwen’s escalator stairs, disassembled and scattered on Gagosian Gallery’s floor are readymades related to movement, though unlike Duchamp’s spinnable bike wheel mounted on a stool, they’re solidly in place. Dedicated to mass transit, their egalitarian nature contrasts an upside down image of a stretch limo, printed on cellulose sponge and hung on the wall behind. (On view at Gagosian Gallery’s 980 Madison Ave 5th floor gallery).
Giuseppe Penone’s 1985 branch, carved from the block of fir wood to which it still belongs, posits artist as creator and forces a comparison between human effort and natural growth. (At Marian Goodman Gallery on 57th Street through Dec 22nd).
In the corner of a cavernous space that opens to the outdoors, a man rests in his immaculate office next to a retaining wall holding back hundreds of dark cows with yellow tags in their ears. Such surreal juxtapositions are rife in Anna Conway’s meticulous imagined painted scenarios, prompting consideration of how space effects the psyche. (On view at Fergus McCaffrey through Dec 23rd).
