By Pete Kotz
By Michael Musto
By Michael Musto
By Capt. James Van Thach told to Jonathan Wei
By Kera Bolonik
By Michael Musto
By Nick Pinto
By Steve Weinstein
May 2-June 6
Metro Pictures, 519 West 24th Street, 212-206-7100
Oursler, whose rag-doll and poltergeist projections have long since gone over the top into the realm of psycho-dramatic hysteria and apparition, shows his latest object and image phantasms. These new works involve isolated facial features exaggerated by computer and projected onto plaster sculptures. He calls them "Caricatures."
May 3-June 7
D'Amelio Terras, 525 West 22nd Street, 212-352-9460
It's been six years since we last saw this British artist's viscerally conceptual, cerebrally deconstructed work in New York. But her charred and atomized Southern church, suspended in thin air at Deitch Projects, burned itself into our retinas. There's no telling what she'll do this time, but we can hope for a major new installation piece.
May 8-June 14
McKee, 745 Fifth Avenue, 212-688-5951
Some of us are still nostalgic for her black rubber tangles of electrical circuitry. But she's now into sweat, tears, and states of emotional distress, so this show includes a multi-part representation of a screamtraveling from a tongue through pipes, valves, and speakers to cartoon speech balloonsas well as lachrymose drips and puddles, and three-inch-tall figures.
With some 100 lurid (and politically incorrect) paintings created for the covers of pulp fiction magazines in the 1930s and '40s, paired here with the printed versions, this exhibition is for those who take perverse pleasure in potboilers, as well as connoisseurs of obsolete sexual and racial stereotypes.
Together these two artists bought a big old Victorian house in the Catskills, painted it black, and spent a year making it spooky. Pruitt says The Black House Project is "a big sculpture you can live in." Horowitz adds that it's also about "decorating as a historically gay form of expression." They just might turn the gallery into a real estate office, offering it for rent as an art object.
'PERFECTION/IMPERMANENCE: CONTEMPORARY IKEBANA'
May 25-July 13
Wave Hill, 675 West 252nd Street, Bronx, 718-549-3200
Thanks to cult filmmaker and art guru Hiroshi Teshigahara, Ikebana has grafted itself onto installation art. Now six Japanese artists, who've come a long way from traditional flower arrangement, create large environmental works in the galleries and on the grounds, using rice, veggies, carnation petals, bamboo, and other stuff.
Reviews by Vince Aletti:
March 6-April 26
Roth Horowitz, 160A East 70th Street, 212-717-9067
Japan's most prolific living photographer shows work from a project he created in 1971 and '72, when he exposed 99 rolls of film and arranged the results in four big books. Forty-eight images from those volumesnudes and cityscapes whose emulsion Araki deliberately eroded in his processingwill be on display here along with the original books.
Mask appeal: Wendy Ewald's A Boy Dressed Like a Girl (Mexico, 1991)
(photo: Wendy Ewald/Courtesy the Queens Museum of Art)
March 16-June 8
Queens Museum of Art, Flushing Meadows-Corona Park, 718-592-9700
"Collaborative Works With Children, 1969-1999," a retrospective that includes projects in Mexico, South Africa, Saudi Arabia, India, and Appalachia by an artist who shows her work alongside the self-portraits and often dream-like experimentation of the children whose latent creativity she brings to life.
Cohen, whose radically invasive and fragmentary images of '70s urban street life look even better now than they did nearly 30 years ago, shows new black-and-white work that demonstrate his pointed vision hasn't blunted a bit.
Color images of rural landscapes, buildings, and trees, along with more urban pictures of bubble gum on sidewalks, a group of gravures, and, possibly, a sculpture involving found suitcases.
This Israeli photographer's New York gallery debut includes a group of his artfully staged color photos involving both soldiers and civilians in ambiguous narratives that are as much about homoeroticism as life during wartime.
March 21-May 3
Gallery 292, 120 Wooster Street, 212-431-0292
To complement and update Howard Greenberg's concurrent exhibition, "Art Photography in Japan, 1920-1940," this excellent vest-pocket space shows some of the jazzy, soulful images Klein made for his 1964 book on Tokyo.
March 27-May 3
Ricco/Maresca Gallery, 529 West 20th Street, 212-627-4819
The Korean photographer shows ocean views and white-on-white studies of pine needles in the snowelements of a new body of work he calls, in homage to Fox Talbot, "The Pencil of Nature."
March 29-May 3
Sonnabend Gallery, 536 West 22nd Street, 212-627-1018
A survey of little-known photo work made in the late '60s by this influential conceptualist, including abstract images of gridded and painted surfaces, fresh from an exhibition at the Carnegie Museum of Art.
April 5-May 3
Gagosian Gallery, 555 West 24th Street, 212-741-1111
Lutter, whose massive camera obscura pieces were in the last Whitney Biennial, shows several of her ghostly two- and three-panel images made in the Frankfurt airport, a Pepsi-Cola factory, and the empty Nabisco plant in Beacon, New York, before it was redesigned as galleries for the Dia Foundation.
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