Fair and Loathing: Structure and Material, Part 2

Fair and Loathing: The Best of Times, The Worst of Times 
Fair and Loathing: Coincidences, Trends and a Coupla WTFs
Fair and Loathing: Big Paintings
Fair and Loathing: Art? Not Art?

Fair and Loathing: Gender Issues

Fair and Loathing: Small and Mid-Size Paintings

Fair and Loathing: A Few Installations

Fair and Loathing: Mid-Century Abstraction 
Fair and Loathing: Structure and Material, Part 1

Sheila Hicks, detail of installation shown below

We ended with Sheila Hicks in the last post, so that's where we resume. Up to a decade ago, much of the work you see here might have been shown in more limited circumstances--craft fairs and dedicated craft museums, for instance. New recognition for longtime "fiber artists" like Hicks; the acknowledgement of craft materials or techniques for artistic expression, as Polly Apfelbaum, Kathy Butterly, Nicole Cherubini and Arlene Shechet exemplify; and indeed, the blurred line between art and craft have given us a richer art-making and art-viewing experience.

Hicks installation, Lares and Penates, 1990-2013, 98 elements, installation variable, at Sikkema Jenkins, New York City; ABMB

Another view of that fabulous wall and an individual piece below 

Diana Molzan at The Hole, New York City; NADA

Barbara Chase-Riboud, Malcolm X #11, 2008, polished bronze and silk, at Michael Roselfeld Gallery, New York City; ABMB

Detail below

Liza Lou, Gild Amber/Divide, 2012-2014, woven glass beads, at White Cube, London: ABMB

Detail below

El Anatsui, Delta, 2014, found aluminum and copper wire, at Jack Shainman Gallery, New York City; ABMB

Detail below

Davide Balula, Artificially Aged Painting (Wet, Dry, Wet, Dry, Wet, Dry), 2014, factory primed canvas, at Galerie Rodolphe Janssen, Paris; ABMB

Detail above

Full view below

Derrick Velasquez, Untitled 103, vinyl strips over walnut form, at Robischon Gallery, Denver; Miami Project

Ayan Farah at Almine Rech, Paris; ABMB

Detail below, which shows stitched strips of dyed cloth

Jumana Manna, Captain Charles Warren or Claude R. Conder's Neck, 2014; egg cartons, plaster, burlap, wax, at CRG Gallery, New Work City; ABMB

The egg cartons were a crafty surprise, but the structure itself is surprisingly interesting.

Detail below

More in the don't-throw-anything-out department:

Evan Holloway, Figure Form with Batteries, 2014, steel, plaster, spent batteries, at Xavier Hufkens, Brussels; ABMB

Arlene Shechet, Build to Last, 2014, glazed ceramic on steel base, at Sikkema Jenkins, New York City; ABMB

Detail below

Franz West, Syntagma, 1998, papier mache, wood, gauze, plaster and paint, at David Zwirner, New York City; ABMB

Kathy Butterly glazed clay sculpture with an Albers painting at Tibor de Nagy, New York City; Miami Project

Nicole Cherubini at Samson Projects, Boston; Untitled

Polly Apfelbaum, glazed porcelain, at Galerie Nachst St. Stephen/Rosemarie Schwartzwalder; ABMB

Some individual pieces below

Paul Scott, Scott's Cumbrian Blue(s), Ferrin Contemporary, Cummington, Massachusetts; Miami Project

Individual objects above and below

Venske and Spanle, carved marble, at Thatcher Projects, New York City; Miami Project

Carved marble!

Ross Bonfanti, cement-cast plush toy, at Projects Gallery, Miami; Aqua Art

Nancy Rubins, Our Friend Fluid Metal, Chunkus Majoris, 2013, via Gagosian Gallery, at Fieldwork,  on the grounds of the Bass Museum of Art

Th-th-th-that all (for this year), Folks

If you have enjoyed these posts from Miami, please consider making a yearly donation of $20 to support my blog. The cost in money and time to attend and report on the fairs is significant for an artist with an ongoing studio practice. A link to PayPal is on the right sidebar close to the top of the page. Any amount is welcome. Thank you.