John Gerrard at Pace Gallery

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John Gerrard’s 18’ tall installation at Pace Gallery, picturing a flag-shaped gas flare rising from the South Pacific Ocean near Tonga, speaks to climate crises on a massive scale.  The artwork is based on photos of the ocean taken by artist and activist Uili Lousi, but quickly departs from fixed images, using game engines to generate always-changing, non-time-based simulations.  The show’s other pieces – a portrait of the last passenger pigeon in the world and a huge traffic jam in LA – question where our consumption of resources is taking us.  (On view in Chelsea through Aug 12th).

John Gerrard, Flare (Oceania), simulation, installation dimensions variable, 2022.

Barbara Kruger at David Zwirner

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Barbara Kruger’s iconic 1987 ‘I shop therefore I am’ image takes on new and damning forms in her powerful solo show at David Zwirner Gallery in Chelsea, where she updates the piece as a single channel video.  The graphic materializes as if composed of puzzle pieces which break apart and reassemble every 57 seconds with new, provocative texts, including, “I am therefore I hate” and “I sext therefore I am.”  Surrounded by wallpaper featuring hands holding imagery and messaging culled from the Internet, Kruger questions the values evidenced in contemporary culture and on-line discourse.  (On view in Chelsea through Aug 12th).

Barbara Kruger, Untitled (I shop therefore I am), single-channel video on LED panel, sound, 57 sec, 137 7/8 x 138 ¼ inches, 1987/2019.

Ahn Tae Won in Universes 5 at The Hole NYC

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Korean artist Ahn Tae Won wanted to take something everyday and make it surreal; he happened upon a cat meme and was inspired to create this quirky in-the-round sculpture titled ‘Hiro is Everywhere,’ a standout in The Hole’s summer group show in Tribeca curated by Sasa Bogojev.  Appearing to be digital yet obviously a 3-D manifestation, this intriguingly odd sculpture speaks to the unknowability of cats. (On view through Aug 5th).

Ahn Tae Won, Hiro is Everywhere, acrylic on resin, 2022.

Rose Cabat in ‘Painting in the Dark’ at James Cohan Gallery

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Rose Cabat’s small ceramic forms go against the grain, literally, with their textured glazes and invitation to touch.  Though it’s not possible to pick up the artist’s signature ‘feelies’ now on view at James Cohan Gallery in Tribeca, color-coordinated groupings of beautifully glazed stoneware vessels are a delight to the eye.  Part of a group exhibition showcasing ceramics that can be appreciated in similar terms to abstract painting, the gallery likens each vessel as a stroke in a pointillist composition. (On view through Aug 5th).

Rose Cabat, Collection of 7 Feelies, glazed stoneware, tallest: 4 1/2 x 4 1/2 x 5 1/2 in, shortest: 1 3/4 x 2 1/2 x 2 1/2 in., ca 2012-2013.

Mattias Sellden at Friedman Benda Gallery

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Swedish designer Mattias Sellden’s eureka moment, when he settled on his signature use of minimally processed planks of wood to create dynamic furniture items, came from a simple aversion to altering a piece of wood he admired.  Calling the creations now on view at Friedman Benda his ‘little wooden friends,’ Sellden allows his audience to find use-value in the constructions or simply enjoy them as they are.  (On view through August 12th).

Mattias Sellden, Sunset Giraffe, curly birch, birch, varnish, pigment, 50.5 x 23.5 x 17.75 inches, 2021.