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Chelsea

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Chelsea Gallery Map

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Chelsea Exhibits

Maria Antonietta Mameli

Silverstein 20, at 529 W. 20th St.

Closes 6/14

From the New Yorker:

Silverstein’s new outpost opens with the début of a photographer whose work suggests entomological specimens pinned to white paper. But Mameli’s subjects aren’t dead insects; they’re tiny humans, photographed from the Manhattan Bridge as they scurry about below. Each dark figure is accompanied by a shadow and a bit of red—a shopping bag or a dog leash—but every other element of the streetscape has been digitally eliminated. The resulting images, isolated near the center of the frame, are at once intriguingly graphic, like curlicues or fleurs-de-lis, and distinctly human: symbols with minds of their own. Through June 14. (Silverstein 20, at 529 W. 20th St. 646-695-2900.)

Julio Bittencourt

Point of View Art Gallery, 638 W. 28th St.

Closes 6/15

Aaron Siskind - The Egan Gallery Years

Robert Mann, 210 Eleventh Ave. (26th St.)

Closes 5/11

Louise Lawler

Metro Pictures, 519 W. 24th St.

Closes 6/7

Daido Moriyama - The 80s, Vintage Prints

Steven Kasher, 521 W. 23 St.

Closes 6/7

An-My Lê - Events Ashore

Murray Guy, 435 W. 17th St.

Closes 5/31

Aziz + Cucher - Scenapse

ClampArt, 521-531 W 25th St.

Closes 6/7

McDermott & McGough - Detroit

Nicholas Robinson, 535 W. 20th St.

Closes 5/17

Anne Hardy

Bellwether Gallery, 134 Tenth Ave. (18th St. & 19th St.)

Closes 5/17

Jeff Olson - North Woods II

Peter Hay Halpert Fine Art, 511 W. 25th St.

Closes 5/31

Jessica Dimmock - The Ninth Floor

Foley, 547 W. 27th St.

Closes 5/31

From the New Yorker:

Teetering between photojournalism and personal document (or Eugene Richards and Larry Clark), Dimmock’s color photographs of young drug addicts slowly self-destructing are harrowing and terrific. The thirty-eight small pictures here sketch out two separate but similar narratives, both of which began in a large Manhattan apartment that had been turned into a crash pad and shooting gallery. Dimmock spent three years with the squatters in that apartment, recording relationships as they flared up and sputtered out, and following several of the tenants after they landed on the street. Her subjects are often far from sympathetic, but her pictures are never judgmental and are full of feeling.

 

H. & D. Zielske - Megalopolis Shanghai

Von Lintel, 555 W. 25th St.

Closes 5/17

Humankind

Hasted Hunt, 529 W. 20th St.

Closes 6/7

Marcus Bleasdale, Alexandra Boulat, Ron Haviv, Gary Knight, Antonin Kratochvil, Joachim Ladefoged, Christopher Morris, James Nachtwey, Franco Pagetti, & John Stanmeyer

Jasper Johns - Black and White Photographs of Paintings 1955-1969 by Rudy Burckhardt and Others

Danziger Projects, 521 W. 26th St.

Closes 5/17

Marvin E. Newman - Color Series

Silverstein, 535 W. 24th St.

Closes 5/24

Sze Tsung Leong - Horizons

Yossi Milo, 525 W. 25th St.

Closes 5/17

Sze Tsung Leong - Keeping His Eye on the Horizon (Line) by Philip Gefter

From the New Yorker:

Hung side by side in a row around the gallery, Leong’s panoramic landscape photographs connect at a common horizon line. The first impression is of a continuous ribbon of earth under big, often cloudless skies, but what appears to be a tracking shot is in fact a series of jump cuts. Sixty-two extraordinarily detailed vistas link the dense cityscapes of Athens, Mexico City, Tokyo, and Edinburgh with Jerusalem’s Western Wall and a cul-de-sac in an otherwise undeveloped California suburb. An absorbing sequence of understated images gives substance to the project’s ambitious global range and one-world vision.

Victoria Sambunaris - Yet All Remains

Yancey Richardson, 535 W. 22nd St.

Closes 5/17

From the New Yorker:

Sambunaris’s large-scale color landscape photographs, with their broad vistas and distant horizons, make direct reference to the work of Carleton Watkins, Ansel Adams, and other photographers of the American West. Between the urban sprawl, the fire-blackened hills, and the strip mines, there’s very little left to inspire awe here, but the images are impressive, if not exciting. Magnificence lingers mostly in memory, but Sambunaris captures what’s left: the land’s stubborn, wounded beauty. In the project space, Robert Adams, Lewis Baltz, and Frank Gohlke provide vintage views of the New West that are far pithier but no less concerned.

Matthew Sleeth: Ten Series

In Almost Every Picture: Collected and edited by Erik Kessels

Aperture, 547 W. 27th St.

Closes 5/17

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