Orly Cogan and Elizabeth Huey Tiered white cake, sprinkle-sotted doughnuts, whipped meringue, cakes erupting with perfectly spherical maraschinos, crosshatched apple pie, cupcakes beckoning with a bright confetti of fixings. Orly Cogan makes pretty pastries from doilies, macramé, ribbons, pom-poms and yarn, all with the impeccable presentation of a perfectionist home-ec-teacher-cum-pastry-chef. This table of inedible treats is the physical centerpiece of her exhibit
Sew Good. Cogan's tapestries line the room — and there float lithe naiads, pneumatic cherubs and colliding lovers, their faces articulated only by slender lines of pastel stitching. Elizabeth Huey's
The Conservatory is a series of paintings in which histories intersect in an eerily detached wrinkle of warped time: Papal rites and baptisms transpire among bathing nymphs and congregating pilgrims, and a marbled brook runs through an American wilderness colonized by English Tudor-style houses. Huey presents a deliberately confused and fractured suspension of the grade-school Euro-American storyline. Through Oct. 27 at the Bryon Cohen Gallery, 2020 Baltimore, 816-421-5775. (Ashley Brown)
Ethos and Idiocracy: The Busts Sculptor E. Spencer Schubert doesn't claim to have multiple personalities, but these 32 unique faces suggest otherwise. "Some of them could potentially be a part of me, a part of my personality," he admits, laughing. "I am a twin, so maybe there is some duality there." The majority of the stone characters depict people by profession, such as "The Barrister," or by expression, as in "The Lost." Schubert hopes that viewers will also reflect on their own thoughts and experiences as they gaze into his cast of characters. Through Oct. 20 at Arts Incubator, 115 W. 18th St., 913-638-6634. (Lisa Horn)
816-561-5563
