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Top 5 Recommendations from the September 9-10, 2010 Gallery Crawls
By Stephan Fowlkes
And here we are again, wandering the crowded streets of Chelsea (And Soho and Billyburg) the first Thursday and Friday after
Labor Day, enjoying the weather, the people and most importantly, the art! The weather has sufficiently cooled for our physical
comfort while our minds are turned up-side-down, inside-out and back again with the more than 60 galleries full of visual fodder. Get
ready to be pleasantly surprised, to fall in love, be grossed out and repulsed, seduced. There is something for everyone, so come
“The Kick-ass-est, must-see, amazing show to start off the season right, with big wood
wall-hanging scultpures! Don’t you dare miss this one! Your life will be a little bit smaller forever if you miss this show, really.” -SF
Mundane objects pervade Zelehoski’s work: chairs, tables, ladders, shelves, police barriers, a picnic table. But it isn’t that simple.
These flat, wall-hanging works don’t simply use these objects as subject matter but in fact ARE these objects, deconstructed,
transformed, reassembled, flattened. This work challenges the barriers of object and illusion and our perceptions thereof. The
familiarity of these objects is questioned through their immaculate transformations and pristine (re)presentations. Floating on uniform,
monochromatic backgrounds the objects in these works allude to an absent third dimension, to their past. The skill with which
Zelehoski transforms the objects harkens back to a time when things were well made, the time when these objects were made, made to
last a lifetime. He has given them a second life through transformation, much like the phoenix. Simultaneously, there is a definite Zen
quality to these pieces, object out of context, elevated, transformed.
Michael Zelehoski at Christina Ray
30 Grand Street, New York, NY
September 09-October 10, 2010
And for the big-hitters we have the Grande Dame and Ms. Emin in collaboration with some
rather “stimulating”, challenging, provocative works based on Ms. Bourgeois’ figurative
guache-on-paper, embellished by Ms. Emin, addressing dependency, separation and
abandonment issues as well as “sexuality, identity, birth, gender and ultimately the need to
feel attached to the “Other”.” (press release)
Do Not Abandon Me
Louise Bourgeois and Tracy Emin, a collaboration
Carolina Nitch Project Room
534 W. 22nd Street, New York, NY
September 09- November 13, 2010
A group show worth checking out for some conceptual and minimalist work: how about a giant, white, preprimed, stretched canvas (by
Heimo Zobering, “Untitled,” 1993, 96” x 214”)? Or another white canvas, round, shipped through the mail around Germany then to New
York (“Mailed Painting” by Karin Sander, 2007, 150cm diameter)? Or Alan McCollum’s 480 frames with nothing but black in them--oh
wait--they’re not even frames, but casts of frames, painted (“Collection of 480 Plaster Surrogates” by Alan McCollum, 1992)? The kind of
show that makes you think twice and look more closely, this one tickles your mind and imagination.
The Space Between Reference and Regret
Fredrich Petzel Gallery
535 W. 22nd Street, New York, NY
September 09-October 23, 2010
The other super group show curated by the super-curators Irving Sandler and Robert Storr is up at CUE and is not to be missed! Nine
artists (of which you may or may not have heard of have been chosen for their artistic contributions back in the ‘70s and here are
presented by works both from the ‘70s and the present, offering insight into the evolution of their work. Call me old-school, but I was
most drawn to the older works, particularly Donna Dennis’ “Subway with Lighted Interior,” 1974, and Mike Glier’s “Clubs of Virtue
(Version Two),” 1979.
That is Then. This is Now.
Curated by Irving Sandler and Robert Storr
CUE Art Foundation
511 W. 25th Street, New York, NY
September 09-October 30, 2010
For a little Brooklyn flavor, head over to the Black & White Gallery Project Space in Williamsburg. Dennis Maher was the summer artist-
in-residence and has created a monumental installation in the outdoor project space, reminiscent of the destruction of one of the local
buildings, reconstituted and redefined into something else, something challenging, elaborate, immediate, messy, elusive, “...an
investigation of the afterlives of the neglected and the discarded,” (press release).
The interior gallery space shows Maher’s photo montages of similar detritus in a very clean format, offering a beautiful juxtaposition to
the exterior installation. A trashy Yin and Yang, bring it on!
Neglect of Finish and End Wall
Dennis Maher at Black & White Gallery/ Project Space
483 Driggs Avenue, Williamsburg, Brooklyn, NY
September 10-October 17, 2010