The romance of the rails infuses Marianne Vitale’s totemic figures constructed from disused railway crossings. To stand near them is to imagine the tons of freight that have clattered over them, heading off to distant places. (At Chelsea’s Zach Feuer Gallery through Dec 20th).
Marianne Vitale, Installation view of ‘Nine Worthies’ at Zach Feuer Gallery, Nov 2014.
By combining multiple exposures, Abelardo Morell’s gorgeous flower still life doesn’t just represent the passage of time a la Dutch genre painting, it literally captures change in one image. (At Edwynn Houk Gallery in the 57th Street area through Dec 20th).
Abelardo Morell, Flowers – for Lisa, archival pigment print, 2014.
Traditional perspective takes a vacation in riotous new collages by Chicago Imagist artist Gladys Nilsson featuring monumental female figures created from and surrounded by consumer goods. This quail-eggs-for-nipples-Venus yolks it up against a fertile arbor backdrop. (At Garth Greenan Gallery, through Dec 6th).
Gladys Nilsson, A Girl in the Arbor #3, mixed media on paper, 2013.
Lily Ludlow’s angular abstractions at first look like x-rays of Cubist paintings, but her deliberately indistinct canvases (actually sanded down) gradually materialize into charged interactions between nude or semi-clothed characters. (At Canada on the Lower East Side through Dec 14th).
Lily Ludlow, The Knifers, acrylic, pencil, graphite, chalk on canvas, 2014.
Canonical works of western art from throughout the ages – cut from the pages of art books – rub shoulders in Vancouver artist Geoffrey Farmer’s ‘Boneyard’ installation at Casey Kaplan Gallery in Chelsea. The effect is surprisingly odd as it seems to warp space and time via the simple device of propping paper cutouts on a white tabletop. (Through Dec 20th).
Geoffrey Farmer, Boneyard, paper cutouts, wood, glue, dimensions variable, 2013.
