Matt Johnson’s ‘Untitled (Swan)’ marries industrial materials to the natural world by shaping a train track into the shape of an abstract swan set in the High Line’s lush gardens. Known for morphing everyday items – a crumpled Starbucks cup carved from wood and painted, a stack of plastic party cups actually rendered in painted bronze – into objects of wonder, this twisted rail pays homage to the former rail line on which it’s installed. (In ‘Wanderlust’ on the High Line through March 2017).
Tony Matelli pioneered his hyper-realistic sculptures before the social media era, yet they seem made for photographing and sharing. This bronze sleepwalker is a major traffic-stopper on the High Line not just as an art object in its own right but as a catalyst for audience interaction. (In ‘Wanderlust’ on the High Line through March 2017).
Known for hyper-detailed renderings of the male body (among other natural subjects), Ellen Altfest’s ‘Leg’ ponders the facts on a section of a man’s leg. Veins, hair, and tiny blemishes are the ostensible subjects of the painting, but the limb gives off a vital glow, contrasting its grey surroundings and suggesting that even a fractional view of her subject bears close scrutiny. (At Cheim & Read Gallery in ‘The Female Gaze, Part Two: Women Look at Men’ through Sept 2nd).
Alex Katz’s towering painting of his wife, Ada, in red coat, hat and lips dominates a selection of paintings by the artist at the Metropolitan Museum of Art. As bold as an advertisement but with no product to sell, this arresting painting celebrates Ada’s allure. (Through Nov 6th).
Hungarian avant-garde artist Laszlo Moholy-Nagy used camera-less photography to create experimental pictures like this one, for which he put his own face and glasses against light-sensitive paper in the darkroom and made multiple exposures to create this ghostly image. (At the Guggenheim in ‘Moholy-Nagy: Future Present’ through Sept 7th).
