The debris under the platform occupying center stage at Greene Naftali Gallery includes images of flags and reproductions of art historical images. Above, figures created from nylon gesticulate wildly atop blowing fans like ghosts dancing on the grave of a failed ideology or social movement. (In Chelsea through April 15th).
Robert Frank’s iconic photo series ‘The Americans’ presented a complicated and unheroic picture of the country in 1955. At Danziger Gallery on the Lower East Side, 81 contact sheets (from among thousands) allow viewers to see the shots before and after those selected for publication. Here, a baby in ‘Café-Beaufort, South Carolina’ is not as alone as she appears. (On view through April 8th).
Amid monochromatic structures that recall real world shacks built with available resources, Beverly Buchanan also created a boldly colored house built as a studio and a home. This spirited building perfectly embodies Buchanan’s aim to make buildings that are survivors but communicate, in her words, ‘Here I am; I’m still here!’ (At Andrew Edlin Gallery on the Lower East Side through April 15th).
This hooked rug manhole cover by the late Dorothy Grebenak is a handmade homage to a ubiquitous sight on New York City streets. Completely at odds with its cold, hard real-world counterpart, this textile manhole cover takes Pop art in a homey direction. (At Allan Stone Projects in Chelsea through April 22nd.)
A colorful bloom of pantyhose creates South African artist Turiya Magadlela’s palette in this 2-D piece that brings to mind modernist grid systems and consciousness of the female body. (At Chelsea’s Jack Shainman Gallery through April 22nd).
