Weird New Yorkers, Deathly Drawings, and More Art This Week
Opening Tuesday, November 19 at Shelter Gallery, 6 pm to 8 pm. On view through January 5.
Despite the magazine’s general air of sophistication, cover art for The New Yorker can run the gamut—recall that one time they put DIY space Palisades (RIP) on the cover. However, they probably wouldn’t sell an issue plastered with the image of someone defecating on the street, or a naked George Washington, looking back at you cheekily. Those images (and more) you can find at artist Timothy Wehrle’s solo show at Shelter Gallery (which occupies the same space on East Broadway as the galleries Shrine and Sargent’s Daughters). The artist’s unique drawings, made from colored pencil and graphite, depict serenely strange scenes from the midwest to the city rendered in soft, surreal detail.
Opening Thursday, November 21 at Victori + Mo, 6 pm to 8 pm. On view through January 18.
Everyone thinks about death at some point in their lives, but for certain people, mortality is especially on the mind. In a satisfying coincidence of last name and content (and no, I’m not just saying this because it’s my name as well), artist Langdon Graves explores death, the supernatural, and mourning rituals in her latest show at Chelsea’s Victori + Mo. Deriving influence from 19th-century Spiritualists, folk tales, and her own experiences with loss, Graves’ work is surprisingly playful and dreamy. Rather than dark colors, she prefers to play with soft mint greens, gold accents, and deep reds, resulting in a grouping of drawings and sculptures that are stylishly minimalist and just morbid enough to be intriguing.
Halo in a Hayloft
Opening Saturday, November 23 at Lubov, 6 pm to 9 pm. On view through January 5.
In a blurb for Noel Freibert’s upcoming show at Lubov, Amanda Horowitz connects Freibert’s dark, spidery drawings to her recent choice to start eating meat. “I’m sick of feeling like prey, and I’ll consume some blood to understand that feeling a bit better,” she writes. This very same prey (or predators, or neutral sentient beings, depending on your perspective) populates Freibert’s latest set of drawings, animal effigies captured in stark black ink. Freibert is no stranger to other species—a cursory scroll of his Instagram reveals he frequently dabbles in horse-human hybrids and other four-legged creations—but Halo in a Hayloft feels somehow darker, recalling the animalistic potential in us all or perhaps even a multi-species uprising.