In January 2024, art enthusiasts in New York City experienced a thought-provoking array of exhibitions that delve into themes of isolation, public space, and the passage of time. Among these, Jeffrey Joyal’s exhibition titled “my Life Underground” at Gandt Gallery in Astoria serves as a focal point for discussions on societal dynamics and the impact of privatization on public art.
Joyal’s exhibition features eleven reproductions of Tom Otterness’s public art series, “Life Underground,” which originally adorned the subway station at Fourteenth Street and Eighth Avenue from 1998 to 2001. These little bronze sculptures, depicting various figures from New York’s history, have been reimagined through Joyal’s controversial casts made from plaster, rubber, and clay. The choice to create these reproductions illegally highlights the tensions between public ownership and private appropriation in contemporary society.
As visitors navigate the exhibition space, they encounter the sculptures arranged on a gallery table, isolated from their original context. Joyal’s decision to turn the figures away from one another emphasizes their individualism, contrasting sharply with the communal experience of the original installations. This intentional disconnection raises questions about the role of public art and its accessibility to the community. The artist’s approach reflects a larger commentary on the privatization of public resources, especially pertinent in today’s socio-political climate.
Transitioning from Astoria to TriBeCa, viewers find Mitchell Kehe’s installation, “Bonded by the Spirit of Doubt,” at 15 Orient. This exhibition features an array of canvases and assemblage sculptures crafted from found materials, encapsulating a sense of precariousness. In the piece titled “Untitled 1 (Bonded by the spirit of doubt),” the interplay of painted shapes and unadorned fabric evokes themes of failure and reconstruction. The work invites contemplation on the unresolved nature of existence, mirroring the artist’s exploration of doubt.
Kehe’s sculptures, such as “First Layer of Revelation,” constructed from discarded objects, signify a delicate balance of materials that question the stability of our environment. The charm of these works lies in their fragility, contrasting with the more robust, introspective pieces by Clémence de La Tour du Pin displayed nearby at Derosia.
De La Tour du Pin’s works, particularly the large-scale painting “Untitled,” evoke the imagery of fossils and archaeological remnants. This piece, measuring two and a half inches in height but nearly twenty feet in width, utilizes asphalt to create a tar-like surface, enhancing its connection to the natural world and the inevitable decay of human artifacts. The umbrella rib motifs in her other paintings serve as poignant reminders of the endurance of our creations, destined to outlast their makers.
Further exploring the theme of materiality, John Duff’s retrospective at Reena Spaulings highlights sixty years of his innovative sculptures made from resin, fiberglass, and concrete. The exhibition features works dating back to 1968, such as “Untitled,” which showcases cracked and weathered forms reminiscent of natural fossils. Duff’s contemporary pieces, including “Untitled (2025),” challenge perceptions of rigidity and malleability in sculpture, prompting reflections on the nature of decay and resilience.
As the winter months linger, these exhibitions collectively offer an insightful examination of how art reflects and responds to the complexities of modern life. Through themes of isolation, decay, and the interplay between public and private, New York’s midwinter art scene invites audiences to engage in deeper conversations about their environment and existence.
In a time when tensions and uncertainties permeate society, these artistic explorations serve as a reminder of the importance of public spaces and the shared narratives that connect us all. Visitors to these exhibitions may leave with a renewed appreciation for the art that surrounds them and the stories that shape their communities.
