Fair and Loathing: Coincidences, Trends and a Coupla WTFs
Fair and Loathing: Big Paintings
Fair and Loathing: Art? Not Art?
Fair and Loathing: Small and Mid-Size Paintings
Martin Creed at Gavin Brown, New York City; ABMB
After several days of non-stop looking looking, it's hard to concentrate on individual works unless they're very strong, even when the booth is beautifully curated. Installations, on the other hand, deliver the dealer's idea a bit more dramatically--and for the viewer who's brain fried, a bit easier to absorb. I can't say I loved most of these installations, but they did get me to stop and look. Here's a roundup, if only to give you a flavor of the range of what was shown at the fairs this year. (With an apology to the Peter Blake Gallery, whose black-and-white booth I missed at Art Miami; I saw the photos and it looked sublime.)
Urs Fischer, Small Rain, at Sadie Coles Gallery, London; ABMB
Nice wallpaper: More Creed, this time at Hauser & Wirth; ABMB
Detail below
Above and below, Travesia Cuatro; ABMB
Ivan Serpa at Galerie 1900-2000; ABMB
Brian Kokoska, Cocaine Coral (Snake Bite), at East Hampton Shed; NADA
Artist unidentified at The Sunday Painter, London; NADA
Above and below: Artist unidentified at Whitespace, Atlanta; Aqua Art
Ghost of a Dream, The Center of Convention, Davidson Contemporary; Pulse
Above and below: James Stirling Pitt at Steven Zevitas Gallery, Boston; Untitled
The curated selection at Jack Fischer Gallery, San Francisco
Back wall: three by Heather Wilcoxon; foreground: Lauren Di Cioccio
Below: Full view
Frank Hyder at Projects Gallery, Miami; Aqua Art
Above and below: Ebony G. Patterson, Invisible Presence: Memories at Monique Meloche, Chicago; Untitled
Patterson looked to Jamaican funerals for her inspiration, when members of poorer communities are celebrated in death: "You may not have notioced me when I was alive, but you will damn well see me as I leave."
Above and below: Unidentified artist at Industry Gallery, Hollywood; Aqua Art
(Dealers: Will you please put all pertinent information--like the artist's name!--on your wall labels?)
Above and below: Jennifer Dalton, Skin in the Game, at Winkleman Gallery, New York City; Pulse
Dalton created a real estate office in which she shows then-and-now photographs of Williamsburg and Greenpoint. Her real estate office shows a portion of that gentrification. In true Daltonian fashion, there is a message here: In 2004 each of those locations was on the EPA's list of potentially hazardous conditions; in 2014 many of those sites hold upscale restaurants and condos.
"The piece, says Ed Winkleman, "is ultimately about "how much information do you truly want about where you live, given you've chosen to live there one way or the other."
In the WTF Department: Artist unidentifed (perhaps for the best) at Mendes Wood, Sao Paolo; ABMB
No information on artist or gallery, at ABMB, but the body language of the live person in the tableau (preseumably he's part of the installation) says it all
1 comment:
Wall labels are apparently beneath a gallery's dignity to bother with.
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