Paa Joe in ‘The Coffins of Paa Joe and the Pursuit of Happiness’ at Jack Shainman Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Paa Joe’s fantasy coffins, which can take the shape of a giant coke bottle, lion and more, could make anyone glad to be buried. His untitled rendition of a fort in Ghana is more (appropriately) serious, depicting a 17th century Dutch slave trade outpost. It is one of a series commissioned by late collector and Jack Shainman Gallery co-founder Claude Simard, currently featured at the gallery’s 24th Street and Kinderhook, NY locations. (On view at Jack Shainman Gallery in Chelsea through Aug 25th).

Paa Joe, Untitled, wood and enamel, 43 x 87 x 60 inches, 2004-05

Samuel Gratacap in ‘Notions of Home’ at Yancey Richardson Gallery

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Shot at Choucha, a Tunisian transit camp that has been a temporary home to hundreds of thousands of refugees, Samuel Gratacap’s stark image of cobbled-together UN tents speaks to the innovation and desperation of camp inhabitants. (At Yancey Richardson Gallery in Chelsea through Aug 25th).

Samuel Gratacap, Empire, refugee camp of Choucha (Tunisia, 2012 – 14), archival pigment print, 22 3/8 x 23 inches.

Charlotte Moorman in ‘The (Partial) Autobiography of an Art Gallery’ at Leslie Tonkonow Artworks and Projects

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Charlotte Moorman’s renown as a performing artist who bridged the worlds of fine art and music via her cello is represented by her neon instrument from 1989. (At Leslie Tonkonow Artworks and Projects in Chelsea through August 25th).

Charlotte Moorman, Neon Cello, acrylic and neon, 50 x 16 x 13 inches, 1989.

Robert Strini in ‘So I traveled a great deal…’ at Matthew Marks Gallery

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Though abstract, Robert Strini’s wooden sculptures resemble aliens or instruments or perhaps an instrument for an otherworldly creature. From the mid 70s, they mark a particularly fruitful chapter in Strini’s career after his move away from ceramics and before he expanded into bronze and multi-media works. (In Chelsea at Matthew Marks Gallery through August 18th).

Robert Strini, foreground: Sheridan Piece, wood, 42 ¾ x 94 x 59 inches, 1974 and rear: Goolagong, laminated wood, 58 x 98 x 133 inches, 1975.

Kathryn Andrews in ‘Fond Illusions’ at Perrotin

by Merrily KerrDon't Miss, Features & Commissions, Hottest ShowPosted on Comments are Disabled

Kathryn Andrews’ ‘June 21’ is strangely cheerful, though balloons that were fresh on June 21st (the day Perrotin Gallery’s summer group show opened) have turned to a commentary on the passage of time. (On the Lower East Side through August 18th).

Kathryn Andrews, June 21, chrome-plated steel and balloons, 167.6 x 60.3 x 26.4 cm, 2017.