Photographer Debi Cornwall’s goal in visiting the U.S. naval station at Guantanamo Bay three times in ’14-’15 was to draw the public into looking at the camp again. Ironically, in some of the most effecting photos in her resulting series, her subjects look away. Men who were detained for years, in many cases with out ever having charges filed, refuse another interrogation – this time by viewers. (At Chelsea’s Steven Kasher Gallery through Dec 23rd. )
Described by Anton Kern Gallery as a ‘traveling hybrid procession-protest piece,’ LA artist Lara Schnitger’s installation at Kern’s 55th Street address features inspirational banners and a huge, mysterious ‘Venus of Fernando’ on a palanquin. Schnitger calls the installation ‘Suffragette City,’ a place in which female power is explored in radically idiosyncratic ways. (On view in mid-town through Dec 23rd).
From her home in a small French town, British octogenarian artist Ursula Morley Price continues to invent unique ceramic forms that evoke the beauty and order of the natural world. This white twist form, on view at McKenzie Fine Art on the Lower East Side, suggests delicate petals, a flexible spinal column, coral, machinery and more. (On view through Dec 22nd).
Who says a photograph has to lie flat against the wall? Commercial photographer Jim Krantz – famed for his photos of the American west, particularly of cowboys for a Marlboro ad campaign – has collaborated with Modernica on a series of fiberglass chairs featuring wrangling and riding. If you can’t sit on a horse, this must be the next best thing. (On view at Danziger Gallery on the Lower East Side through Dec 22nd).
Nina Chanel Abney’s electrifying new paintings take gun violence, racial conflict, and protests turned violent as subject matter. Their dynamic jumble of forms echoes the constant stream of alarming news supplied 24/7 by the media. (Nina Chanel Abney is showing new work at Jack Shainman Gallery’s 20th Street location through Dec 20th and Mary Boone Gallery’s 24th Street location through Dec 22nd).
