It’s the most wonderful time of the year! The spring art fairs are like Christmas for the art world—a belated and much-needed Christmas in March to pull us out of our winter blues. “Armory Week,” as it has come to be called, is a cultural smorgasbord of art fairs, parties, openings, panel talks, lectures, and performances that happen around the city. As you can imagine, there’s so much to pack in a few days that I do not have the time to write reviews in real-time (I can’t even get to all of the fairs and events I want to go to!), but I have, in a series of posts, covered some highlights and personal favorites that I saw at the venues I was able to cover. Check out my other posts for highlights from the ADAA Art Show, Spring/Break and Scope.
The Armory Show got off to a rocky start this year: one week prior to opening, the fair organizers discovered that Pier 92 was structurally unsound, causing a last-minute call to postpone the Volta satellite fair that would have been at Pier 90, and move one-third of the Armory exhibitors over to that space. Despite the snafu, the art was generally strong at the twenty-fifth presentation of the Armory Show. Once again, I didn’t get to see everything, and there are too many great works to address in one blog post, but I shall highlight a few personal favorites.
I was delighted to see again the work of Gustavo Díaz, the Argentine-born artist who constructs incredibly intricate and delicate worlds in cut-out paper. I became enamored with his work at the 2018 Armory show, in which his gallery Sicardi Ayers Bacino displayed some of his miniature sculptural cities. On view for the 2019 edition, SAB showed Díaz’s wall-hung works: webs of cut paper that magnificently toe the line of man-made construction and something topographical or organic, like an ancient, skeletal cross-section of an anthill. The scale and method of construction (hand-cut, I believe) is technically astounding.
Moving along through the show, I loved the monumental (and difficult to photograph in its entirety) 2018 lightbox installation by Rodney Graham, Vacuuming the Gallery, 1949, apparently inspired by a vintage photograph of art dealer Samuel Kootz smoking a pipe in his gallery. The artist upends the airs of the art world, as well as gender stereotypes, in the cheeky tableau. The classic mid-century vacuum also conjured the image of Richard Hamilton’s 1956 collage, Just What is it that Makes Today’s Homes so Different, so Appealing?
Like most visitors taking in the display of recycled plastic tapestries at Nicodim Gallery, my first thought was that El Anatsui was back in action (according to his own website, he hasn’t really had a group or solo show since 2016). But the gallerist informed us it was the work of newcomer Moffat Takadiwa, a young Zimbabwean artist. The themes of Takadiwa’s sculptures share many of the same concerns as Anatsui—reflections on consumerism, waste, colonialism and the environment—but are satisfying works in their own right, and surely more affordable than his well-established predecessor.
I think I have a crush on Mariane Ibrahim. The young gallerist, who has been based in Seattle but will be relocating to Chicago in 2019, has been killing it at the art fairs, promoting the work of some excellent talent from Africa and the African Diaspora. Her monographic display of glittering works on paper by Florine Démosthène sold out on the first day at $7,000 a pop—a total steal in my opinion.
One of my favorite sculptures of the fair was Alan Rath’s Yet Again (2017) at Bryce Wolkowitz Gallery, a dynamic pair of swinging arms resembling something sentient, like birds or snakes, engaged in a mating ritual. The artist wrote a code for the kinetic sculpture in which the movements of each arm is random, making each movement and interaction between the two unique. Photographs do not do it justice—click on my short video clip below for a taste of this dancing, flirtatious piece.
Below are just a few more works that I enjoyed—some by established artists, some by emerging artists. I wish there was time and space enough to discuss them all—if you’d like to discuss anything, feel free to leave a comment or email me with questions!
Love the vibrant palette of this Lee Mullican painting. It feels so much fresh and contemporary, but was painted over fifty years ago!
The artist Michael Sailstorfer cultivated a beehive inside the concrete base in the picture below; he then used the hive to create a mold to cast these delicate bronzes. He went through several attempts, and only saved a few as satisfactory for sale.
Brothers Jake & Dinos Chapman’s sardonic revision of Goya’s Disasters of War etchings, entitled The Disasters of Yoga, (an anagram of Goya), is wonderful. The violence that is obscured and denied by the glitter is, instead, present in the brothers’ bronze sculptures of suicide vests nearby (not pictured). Apologies I couldn’t get a clear shot of the whole installation together, but see some details from the Yoga series below.
Below, a few offerings from the excellent Yossi Milo gallery:
Nick Cave, dazzling as always, at Jack Shainman Gallery.
Mel Bochner. Still got it.
Hard to photograph, but beautiful assemblage by Lyle Ashton Harris at David Castillo Gallery.
And lastly, love supporting the “young” galleries and their emerging to mid-career artists, such as Massinissa Selmani at Selma Feriani Gallery (Sidi Bou Said, Tunisia). Selmani takes images from the media and recreates them in new, drawn arrangements. The vast negative space of the drawings opens up the narrative to questioning and interpretation.