One-Line Reviews: Our Staff's Pithy Takes on "The Double Dirty Dozen (& Friends)," "HiJack!," and Other Gallery Shows

Once again, our intrepid ARTINFO staff set out around our New York offices this week, through the heat and intermittant storms, and came back with these abbreviated (though sometimes run-on) single-sentence reviews. (To read our One-Line Reviews in illlustrated slide show format, click here.)

* Humble Arts Foundation’s "31 Women in Art Photography" curated by Jon Feinstein and Natalia Sacasa, at Hasted Kraeutler, 537 West 24th Street, July 20-August 17


The third biennial edition of the Humble Arts Foundation’s open call for submissions from working female photographers features 31 innovative artists using wildly divergent styles and approaches to the medium — from action shots to still lifes — to capture a generation that, if the images are to be believed, is highly individualistic and self-obsessed. — Shane Ferro

* Bianca Casady, "Daisy Chain," at Cheim & Read, 547 West 25h Street, June 28-September 8

Throughout “Daisy Chain,” a collection of various drawings, collages, photographs and videos, Bianca Casady — who is also one-half of the musical group CocoRosie — transforms notions of gender and race by recasting male prisoners in feminine roles, juxtaposing their masculinity against images of rainbows, flowers, and butterflies. — Alex Allenchey

* “Centaurs and Satyrs,” at Asya Geisberg Gallery, 537B West 23rd Street, July 12-August 17

The zippy, clever press release image for this show, an oversaturated, vintage magazine collage of a muscled male torso atop an equine body, is bizarrely not included in the show at all nor is the artist even mentioned, though the piece is perhaps more interesting than the array of early modernist-influenced abstraction and messy, sketchy paintings actually on view in the gallery. — Kyle Chayka

* “The Double Dirty Dozen (& Friends),” at Freight+Volume, 530 West 24th Street, August 16-September 22

This exploration of sexual fetishes by what the gallery calls an “unruly group” of artists purports to have its roots in Robert Aldrich’s 1967 war film “The Dirty Dozen” about outcast ex-cons assembled for a WWII-era suicide mission — but in reality, with its sly references to the Penn State sexual abuse scandal and an eye-popping drawing of all-American hero Tim Tebow being birthed from between the legs of a porn star, it seems to be less about art as an escape for ne’er-do-wells with dirty minds and more a commentary on the strange and often violent sexual impulses that arise out of the repressive ethos of American society.  — Shane Ferro

* HiJack!, at Jack Shainman, 513 West 20th Street, August 2-September 1

This summer's second troupe of Chelsea art handlers to commandeer their gallery for a summer show — following David Zwirner's “People Who Work Here” — emerges with an appropriately provocative show, from its manifesto-like checklist titled “All of the Information Needed to Sell a Work of Art” to standout pieces like Mariah Robinson's mangled abstract photograms and Esperanza Mayobre's sprawling pencil wall drawing, “Everybody Knows That Cities Are Built To Be Destroyed” (2012), which visitors are invited to erase with nearby rubber erasers, effectively hijacking the hijackers. Benjamin Sutton

* I Followed You Into the Water, at Lehmann Maupin, 540 West 26th Street, July 10-August 17

Lehmann Maupin follows the standard “here-are-our-artists” summer group show format in “I Followed You Into the Water,” in this case structuring the exhibition around the rather, ahem, fluid concept of picking works by the gallery's celebrated stable that relate to water — but the basic format just allows a viewer to zoom in easily on exactly what they like, in my case the ruggedly appealing canvas “Erupting Volcano (Sea View)” by the always-refreshing Billy Childish, which is as cool as a draught of fresh water. Ben Davis

* “Idea is the Object, at D’Amelio Gallery, 525 West 22nd Street, July 12-August 24

The disparate works in this group show include collage, sculpture, video, and painting in what purports to be an exploration of philosopher John Locke's belief that ideas are a reaction to material experiences of the world, with the cumulative result being that strong, but relatively subtler works like Deborah Ligurio's collages and Guy Ben-Ner's video, “Stealing Beauty,” are forced to compete with the bigger, bolder pieces such as Matteo Tannatt's sculptural “New Line, Mitsubishi Pajero/Montero/Shogun” and Candace Breitz's video “Factum Tremblay.” — Sara Roffino

* “In Plain Sight,” at Mitchell-Innes & Nash, 534 West 26th Street, July 19-August 17

Especially given the presence of a pair of bare hooks where a painting might have been hanging a few days ago, one could easily take this series of openly unskilled representational paintings of, variously, cats, flowers, a lobby, a lamb, and basketball player Jeremy Lin as an attempt to emulate an open-call DIY show that someone saw in Bushwick. — Reid Singer

* Uncontained Excitement: Woven Sculpture From Japan, at Cavin-Morris Gallery, 210 Eleventh Avenue, Suite 201, June 28-August 17

The basketry creations from these 14 Japanese sculptors, none of whom have previously exhibited in the US, are contemporary takes on traditional weaving, though most adhere to its rules through organic materials wound into demure basket-like shapes, with Ritsuko Jinnouchi showing the most diverse and dynamic work in delicate creations of polypropylene tape and wild vines, and Sachiko Itabashi offering some intriguing pieces made from threaded and knotted crystal vinyl seat covers. Allison Meier