British ceramic artist Richard Slee’s ongoing installation of ceramic hammers and tools with wooden handles is a thought-provoking jumble of tongue-in-cheek contradictions, starting with the impossibility of using any of these tools for actual labor. Like Pete Seeger’s famous intention to ‘hammer out love,’ the concept is more convincing than the reality, as suggested by this abandoned pile. (On view at Hales Gallery in Chelsea through Feb 23rd).
Ellen Berkenblit’s snarling big cat dominates Eva Presenhuber Gallery’s basement, where the group show ‘Samaritans’ assembles painting, sculpture and photography that spin strange tales. Above the animal, pipes spew blue clouds while below (or in the distance?) a truck dumps a load of materials. Trapped in the middle of human endeavors, this powerful creature bares its teeth. (On view in the East Village through March 2nd).
LA painter Theodora Allen’s first New York solo show features medieval shields as frames for plants with medicinal or harmful uses. Here, the hallucinogenic Jimsonweed materializes on the support like a ghostly presence, pointing to the non-tangible world of experience. (On view at Paul Kasmin Gallery’s 515 West 27th Street location through March 9th.)
Josh Sperling describes his shaped canvases as “simple, beautiful, and fun” in a recent Perrotin Gallery video that touts the pleasures of looking. He can add ‘huge’ to describe fifteen-foot tall Hocus Pocus, a centerpiece of his current show at the gallery. Evoking flowers or ripples from raindrops in water, the assemblage of eighty-four separate paintings is pure enjoyment. (On view on the Lower East Side through Feb 16th).
A tattoo of Popeye battling a squid inspired the cartoon-themed body art on this pensive pensioner, an invented character by Rodney Graham. Standing on the balcony of his ‘Vancouver Special’ sporting a rebellious rockabilly style, the character – played by Graham – stands out amid the trappings of middle-class culture. (On view at Chelsea’s 303 Gallery through Feb 23rd).
