Everyday Iraq seen through the porthole of a Humvee. Great intruding stair-step steel bar. Benjamin Lowy at Gasser Grunert.
The male body iteratively fragmented into spheres, cones, and flat abstractions. Duane Michals at DC Moore Gallery.
Melissa Cacciola’s modern military tintypes at United Photo Industries are a smart foil for the Met’s Civil War show.
A few photography highlights from NYC 1993 exhibit at the New Museum (3 of 3) – Gillian Wearing’s I’m desperate
A few photography highlights from NYC 1993 exhibit at the New Museum (2 of 3) – Zoe Leonard’s anatomical model
A few photography highlights from NYC 1993 exhibit at the New Museum (1 of 3) – Wolfgang Tillmans’ embrace with gun scarf
1963 letter from the Library of Congress rejecting Ed Ruscha’s donation of Twentysix Gasoline Stations. At Gagosian Gallery.
Hairy legs floating over Chelsea. Ryan McGinley on the High Line billboard.
Horizontal wires, lines, and contrails stripe a misty cloudscape. Sally Gall at Julie Saul.
Erwin Olaf’s voyeuristic keyhole peeping installation; in the back gallery at Hasted Kraeutler.
Wispy, gestural dance photographs taken by Mikhail Baryshnikov, in the Mark Morris Dance Center intermission lounge.
The bird’s eye, tilt shift version of OWS in Zuccotti Park. Susan Wides at Kim Foster.
I like the play with time/narrative in this 1970s Peter Hutchinson photocollage with extended lines. At Freight + Volume.
Louise Lawler’s spatial mashup of Jeff Koons’ broken egg and submerged basketballs. At Sikkema Jenkins.
Abstract studio assemblage of plywood, dowel, and mini Brancusi tower by Elizabeth Atterbury, also at KANSAS Gallery.
Layered construction of folded sheet metal and shredded paper in resin blocks by Marina Pinksy at KANSAS Gallery.
Love the quirky, ever changing display of photographs in the 2nd floor hall at the Met, Here’s a terrific Sommer.
A gem hidden in the Street exhibit at the Met – Ralston Crawford’s striped girders from 1948.
Fabulous Jan Groover still life drenched in sunshine yellow, in the Articulate group show at Janet Borden.
Hollow transparent shells of female bodies, like mummies or cocoons, from Dana Hoey’s The Phantom Sex at Petzel Gallery.
