Even the base of Alice Aycock’s dynamic aluminum sculpture appears to lift off the ground in the artist’s dramatic debut at Marlborough Gallery which now represents the artist. The sculpture alludes to the forces of nature, fairground rides and more in works that combine chaotic and ordered forms in one eye-popping piece. (On view on 57th Street through Nov 18th).
The title of Josephine Halvorson’s exhibition of new painting, ‘As I Went Walking,’ refers to a verse in Woody Guthrie’s ‘This Land is Your Land’ about trespassing; Halvorson’s weathered signs and tattered boundary markers suggest that ownership of the land is not so easily claimed. (At Sikkema Jenkins & Co in Chelsea through Nov 22nd).
Sarah Bereza’s paintings question what a frame is and what it should hold. Alive with natural forms, the borders of her images are sculpture holding melting forms or, like here, conventional images that surprisingly appear to resist completion, morphing before our eyes. (On view at Bravin Lee Programs in Chelsea through Nov 29th).
Before documentation and text became Conceptual Art founder Douglas Huebler’s primary media, his formica sculptures considered how place was experienced as art. Here, the yellow-hued interior of an S shaped sculpture glows mysteriously as it evokes superpower, the alphabet and Truro, MA the place for which it was named. (At Paula Cooper Gallery in Chelsea through Nov 18th).
Belgian photographer Paul Bulteel spent a career focusing on energy and sustainable practice; lately, he’s expanded on his professional experience with ‘Waste Not,’ a photo series shot at European waste recycling facilities. Bulteel’s eye for color and composition make materials intriguingly strange (this pile of mixed metals suggests hair) while demonstrating what efforts go on to recycle and reuse. (At Anastasia Photo on the Lower East Side through Nov 22nd).
