Bruce High Quality Foundation at The Brooklyn Museum

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Bruce High Quality Foundation (an anonymous collective of Brooklyn artists) show off their light-hearted but ambitious practice at the Brooklyn Museum, including these vitrines housing crudely recreated selections from the Met’s Greek and Roman galleries.  The installation recalls the age-old student practice of perfecting one’s art by copying in museums though these renditions of the Met’s ancient masterpieces are decidedly folksy and imperfect.  (Through Sept 22nd).

‘The Greek and Roman Collections of the Metropolitan Museum of Art,’ Play dough, cardboard, wood, acrylic, polystyrene foam, 2013.

Leslie Wayne in ‘Compilation’ at Jack Shainman Gallery

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Working to music (including like Patti Griffin’s ‘One Big Love,’ after which the series was titled) and restricting her painting to shaped surfaces like this draped rag, New York artist Leslie Wayne explains that she was seeking to capture the ‘eureka moment,’ when inspiration takes over and a piece ‘works.’  (At Chelsea’s Jack Shainman Gallery through Aug 17th).  

Leslie Wayne, One Big Love #63 (Paint/Rag #5), oil on panel, 2011.

Anne Chu at Lehmann Maupin Gallery

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Anne Chu lifts her chubby cherub straight out of 18th century Rococo painting, then gives it a makeover.  Decorative splashes of paint and a flag bearing an indistinct face question this putti’s celestial purpose.  (At Chelsea’s Lehmann Maupin Gallery through Aug 16th).  

Anne Chu, Putti with Flag, ceramic, stone, fabric, metal, 2001.

David Jelinek at Andrew Edlin Gallery

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For many artists, being offered an exhibition in a Chelsea gallery would feel like winning the lottery.  For his first show at Andrew Edlin’s Chelsea gallery, New York artist David Jelinek takes the daring step of filling the space not with his own creations but with a symbol of hope aroused and then dashed – a scattering of discarded losing lottery tickets strewn on the gallery floor. (Through Aug 17th).  

David Jelinek, installation view of ‘Money Down,’ at Andrew Edlin Gallery, July 2013.

Charlotte Posenenske in ‘Conspicuous Unusable’ at Miguel Abreu Gallery

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Charlotte Posenenske permanently gave up art making for sociology in 1968, just a year after creating the plans for this modular sheet metal sculpture that could be configured in a variety of ways.  Here, the piece resembles a ventilation shaft that questions the necessity of use value in art while fetishising industrial design.  (At Miguel Abreu Gallery on the Lower East Side through Aug 17th).  

Charlotte Posenenske, Series D Vierkantrohre (Square Tubes), sheet steel, dimensions and configuration variable, 1967/2009.