Top 5 Monday, Oct 15–Sunday, Oct 21
In Gaudin’s latest installation, panels of frayed fiberglass printed with patterns, and bent into shapes evoking architectural elements or furnishings (stairs, a table), are arrayed around a central kinetic piece: A looping, bright yellow conveyor belt carrying a house plant and a coffee cup in endless rotation—a metaphor, perhaps, for the banality of domestic living.
Reflections on power, authority, artifice and illusion are given literal expression in the gallery debut of this Turner Prize winner who works across multiple mediums, including painting, sculpture, installation, printmaking, video, performance and photography. The show’s the main attractions are two mirrored sculptures that weigh in on methods of control, both external and internal. The first is based on Scotland Yard’s iconic sign, featuring a three-sided form rotating atop a column, which Wallinger renders as an abstract police state totem. The second is a mirror configured specifically for the ceiling of Sigmund Freud’s London study, re-installed here with its original contours, only set in a larger space that makes it appear to be floating above the viewer, like a dream awaiting psychoanalyitical deconstruction.
In her first New York solo in five years, Neel (granddaughter of Alice Neel) presents expansive abstract canvases, created with controlled pours of color, and wet canvases folded to create Rorschach test like compositions.
Nina Chanel Abney curates a show of friends and peers that delivers on the titular effect. Derrick Adams, Katherine Bernhardt and Abney herself are among those contributing paintings and sculptures that combine visual panache with wokeness.
Socrates Sculpture Park’s yearly showcase of emerging talents contributing outdoor installations that include Antone Konst’s sinuous rendering of an itinerate peddler, Uganda artist Leilah Babirye’s chainsawed encomium to the LGBTQ community in her home country and Lionel Cruet minimalist cube-cum-musical instrument.