This is Marina Adams’ breakthrough show. There is nothing formulaic about her use of color, line or shape. The paintings are eccentric, but do not feel willfully so.
Flush with riveting, enigmatic color and luxuriant depth of field, David Benjamin Sherry’s monochrome photographs radiate beauty, urgency, and a certain humanness — as if their sublime scenes of mountains, forests, and rock formations had been blasted and dyed by a human detonation.
Jayson Musson’s latest exhibition, Exhibit of Abstract Art, lacks the sharp insight for which the artist is renowned. On view at Salon 94, the show skewers the lofty pretensions of modernism and the art world, but its broad critique lacks punch.
Laurie Simmons isn’t the first photographer to snap pictures of dolls, but she has a way of getting them to look eerily emotive (and making them take selfies). She pulls off the uncanny by aestheticizing several layers of lies.
Don’t go to Jon Kessler’s The Blue Period at Salon 94 Bowery if you don’t like to be watched. Actually, if surveillance makes you nervous, you should probably move to the remote landscape of Antarctica, because at least in Kessler’s installation the cameras are visible. The thousands of CCTV units that constantly film us in the streets and buildings of New York are not. Yet beyond just reminding us that privacy is dwindling, there’s the trade-off in The Blue Period for enjoyable voyeurism.