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.
Hadn’t seen these before – Vik Muniz Flowers after Warhol, made of flowers, in the viewing room at Sikkema Jenkins.
Eye catching half black/half white top hat and tails series in the windows of the ICP by Hank Willis Thomas.
Jason Salavon diptych of imagery returned in web search of 100 most positive/negative words in English. At Ronald Feldman Gallery.
Gorgeous 1931 Edward Steichen of the George Washington bridge. In the From the Archive Part II show at Staley-Wise Gallery.
Lots of well-edited photography on the walls of trhe Gotham Bar and Grill. Here’s a mural sized Vera Lutter above the tables.
A delicate Japanese meadow from Darren Almond’s Fullmoon (long exposure, night looks like day) series. At Matthew Marks.
Terrific Avedon from In The American West tucked in a side room off the lobby at the Peninsula Hotel.
Conceptual rephotography: Sherrie Levine’s rework of August Sander at Paula Cooper.
Crisply detailed Edouard Baldus images of the construction of the New Louvre circa 1855 at Fred Torres.
Louis Stettner’s Chrysler Building interrupted by the AMC Theatres neon sign. In a side room at Bonni Benrubi.
