View of Pulse from the entrance lot, where sculptures by Chris Larson and Jurgen Mayer were installed
While Collins Avenue was thronged with people strolling from hotel fair to hotel fair, the Wynwood section of Miami was clogged with cabs taking people from venue to venue. Everything here is big. Big—as in a lot to see. Big, as in spacious. Big, as in ideas.
This year, Pulse moved into a warehouse building, so the floors were solid (unlike previous years when the plywood flooring made you feel as if you were on the high seas) and there was plenty of AC. Aside from my usual search for geometric expression in painting, there was no theme to what interested me, just a lot of diverse work and ideas. Here’s some of what I liked:
At Jack Shainman Gallery, New York: painting by Odili Donald Odita
At Davidson Contemporary, New York: an installation of Paul Dacey's painted discs
At Charles Cowles, New York: four geometries by Roberto Juarez and a large acrylic on canvas work by William T. Wiley
At Galerie Kleindeinst, Liepzig: Tobias Lehner painting
An ambitious (and gorgeous) large-scale work on paper by Nina Bovasso at BravinLee Programs, New York
At Jack Shainman again, the most material of abstractions: Leslie Wayne, center, with a detail below
Winkleman Gallery, New York, in black and white. The gallery got primo position right by entry, and while I thought the stark installation was smart, I didn't realize just how smart until I was on my way out, my eyes athrob with color. There's always room for more B&W
Work by Andy Yoder, David Kinast and Sarah Peters, above; by Peters, Yevgeniy Fiks and Carlos Motta, below
I got to the gallery after the big run on Jennifer Dalton’s bracelet giveaway. A plexi bin contained plastic bands printed with one of two options: I’d Rather Be Hot Than Rich, in white lettering on black, and I’d Rather be Rich Than Hot, in black on white. ) Dalton is a provocateur in the best way: she makes you laugh and then her message hits you over the head. I’d been in the New York gallery the week before, and Ed Winkleman offered me a choice of bands. I pondered, but only briefly. I Rather Be Rich Than Hot. For an artist rich means owning your own loft, a country house, the money to buy your friends’ art. And health insurance. Health insurance is hot!
"This went down pretty much along gender lines. The men chose rich, the women chose hot," said Ed. (I might not have the exact quote, but that was the gist.) I transgressed. But I wonder the age of the female choosers. When you reach a certain age, you know that hot gets you only so far. Rich is having your independence.
For an image of the bin and plenty of discussion about the hot vs rich issue, click onto Ed's blog.
At Schroeder Romero, New York, a chandelier by Laurel Roth and Andy Diaz Hope, Blood, Money and Tears. I'd seen it in New York a few months earlier, but here the high ceilings and black backdrop offered a grander scale. Look up close and it's made from syringes and pills, illuminating, presumably, our culture's dependence on illegal substances--and probably the legal ones as well
Below, Lisa Schroeder and Sara Jo Romero
Installation at Thatcher Projects, New York: Robert Sagerman painting, left wall; three framed works on paper by Frank Badur; Marcus Linnenbrink sculpture on floor
Below, another corner of the Thatcher Projects booth: Bill Thompson shaped sculptures and Richard Thatcher grid on back wall; cut paper work by Adam Fowler, and colored grid by Carlos Estrada Vega
Installation at Pavel Zoubok Gallery, New York: Donna Sharratt, one of my favorites, has three mixed-media mandalas, including one on a denim ground in the diamond-shape frame; new to me were the adjacent three collage paintings by Davie Poppie
At Postmasters, New York, a video showed an ocean liner perilously