Brooklyn artist Andrew Lenaghan rewilds the High Line in this tiny painting of massive buildings, as seen from the elevated park. Dereliction and new development are Lenaghan’s themes; how they seem to merge is his intriguing angle. (At George Adams Gallery through November 30th).
Color gels and the wisteria vine from Bryan Graf’s studio/greenhouse combine to make a ghostly image with alluring depth at Yancey Richardson Gallery. (In Chelsea through Dec 3rd).
Brooklyn-based Lithuanian sculptor Aidas Bareikis continues to mine the world’s junk for his intense sculptural accumulations. Here, ‘Too Much Seaweed’ suggests a global warming meltdown or a calving of the planet. (At Canada New York on the Lower East Side through Dec 4th).
British painter David Hepher explains that like landscape painters before him (Constable, Turner, Cezanne), he paints spaces with which he’s familiar, returning again and again to explore nuances of the well-known. For Hepher, that means South London tower blocks, hulking brutalist buildings whose concrete walls have seen better days. Merging distant views and closeups of spray painted walls and graffiti, this painting both closely examines tower life and keeps it at a distance. (At Flowers Gallery in Chelsea through Dec 10th).
Tiny ghoulish characters – a blue faced man with huge teeth, a sinister frog in a t-shirt – populate young Swiss artist Vittorio Brodmann’s paintings of brick walls. Two sided and hung in the window to show bricks both inside and out, the paintings suggest neighborhood decline but also offer the wall as (literal) canvas. (At Gavin Brown’s Enterprise through Nov 13th).
