Nick Cave at Jack Shainman Gallery

Nick Cave’s latest body of work – filling both of Jack Shainman’s Chelsea galleries – was inspired when Cave was stunned to find a spittoon in the shape of a African-American man’s head at a flea market. Since then, he’s collected similar figures, like this lawn jockey who recalls the legend of a slave boy who froze to death while holding a lantern for George Washington’s historic Delaware River crossing. Standing on a shoe-shine chair and surrounded by a shrine-like collection of bric-a-brac, Cave repositions an icon from America’s troubled past. (On view through Oct 11th).

Nick Cave, Fear Not, Therefore (detail), mixed media including cast-iron figure, shoe shine chair, ceramic birds, strung beads and metal flowers, 77 x 44 x 30 inches, 2014.

Rebecca Morgan at Asya Geisberg Gallery

Poised like Venus lying in the grass or hiking semi-nude with a walking stick and an open flannel shirt, Pennsylvania-based artist Rebecca Morgan’s self-portraits are skillfully crafted, hilarious takes on rural stereotypes. Here, she changes gears, donning a ‘depression blanket’ to ward off the chill and the mental state her far-away look suggests. (At Chelsea’s Asya Geisberg Gallery through March 29th).

Rebecca Morgan, Depression Blanket, oil and graphite on panel, 28” x 22,” 2014.

Hank Willis Thomas at Jack Shainman Gallery

Viewers have to look at just the right angle down a long, thick piece of Plexiglas to spy Hank Willis Thomas’ minstrel, a photo of a man painted half black and half white, then literally doubled by the material.  Like similar characters photographed by the artist, a seemingly clear cover obstructs a clear view, a metaphor for how perceptions of race can obscure identity.  (At Jack Shainman Gallery’s 24th Street space through Aug 17th).  

Hank Willis Thomas, ‘Invisible Man,’ Plexi block and a digital c-print on aluminum, 2013.