Art Fair Round Up: The Armory Show

There’s a lot of good art at the Armory Show—too much to be able to write about everything I liked. So, forgive the brief format, but I will just post pictures and descriptions for a selection of the art that I enjoyed, with the exception of a fantastic show of work by the artist Cassils—the highlight of the whole fair, which deserves a few words, in my opinion.

There has been an admirable and long overdue uptick in transgender representation in the last ten years or so, both in popular culture and fine arts. Unfortunately, in tandem with this increase in transgender visibility has been an uptick in fatal hate crimes against the trans and queer community. In a layered body of work at Ronald Feldman Gallery’s booth at the Armory, the artist Cassils (b. 1975) memorialized the victims of such violence, whilst also celebrating the resilience and beauty of the transgender body.

In a live performance called Becoming an Image, which has been performed several times since 2012, the artist beats up a 2,000 pound slab of clay in complete pitch darkness. No one in the audience can see the artist–who is nearly or completely naked–including the photographer documenting the event; they can only hear Cassils’ grunts, moans, punches and slaps against the clay. When the photographer snaps a photo, it creates a brief flash of illumination for all to see what’s happening. Cassils’ act of aggression on the clay is an act of cathartic anger, even revenge, in response to the invisibility of and violence against the LGBTQ community. But simultaneously, the performance is a fierce and true celebration of the trans body that is still largely invisible in our culture: in the dramatically lit photographs from the performances, Cassils’ naked rippling body is powerful and beautiful.

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Photography Still from Cassils’ performance Becoming an Image, installed against wallpaper of other stills from the performance. Photo by the author.

The artist did not perform Becoming an Image at the Armory Show, but their representing gallery, Ronald Feldman Gallery, presented a wonderful selection of the stills from a 2018 performance. Also on view was a 2016 bronze cast of the brutalized slab of clay called The Resilience of the 20%, referring to the 20% increase in murders of trans people worldwide since 2012. What a beautiful and affective installation.

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Cassils, photography still from Becoming an Image performance. Courtesy of Ronald Feldman Gallery.
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Cassils, The Resilience of the 20%, bronze cast of assaulted clay from performance of Becoming an Image. Photo by the author.

Enjoy these other works by some top notch artists as well! The images are linked to the artists’ websites, or their representing galleries.

Gorgeous watercolors by Guo Hongwei, presented by Chambers Fine Art:

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Guo Hongwei, The Landscape of Natural Form No. 3, 2017, watercolor on paper, 40 x 60 inches. Photo by the author.
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Guo Hongwei, The Landscape of Natural Form No. 1, 2017, watercolor on paper, 60 x 40 inches. Photo by the author.
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Shahzia Sikander, Double Sight, 2018, glass mosaic with patinated brass frame, 63 1/4 x 44 1/4 inches. Presented by Sean Kelly Gallery, photo by the author.

Art and design intersect in the whimsical (and sometimes unsettling) work by Atelier Van Lieshout, presented at the fair by Carpenter Workshop Gallery.

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“Old Man,” bronze sculpture by Atelier van Lieshout, which can also be converted to a lamp. Photo by the author.
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Drawing by Atelier van Lieshout, photo by the author.
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Reclining Figure/Bench, by Atelier van Lieshout.
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Kate MccGwire, Sasse/Sluice, 2018, mixed media with pigeon feathers, 84 x 154 x 9 inches framed. Unique edition, presented by Galerie Les filles du calvaire.
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Kate MccGwire, Sasse/Sluice, 2018, detail.
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Omar Ba, Untitled, 2020, mixed media on canvas, 78 3/4 x 145 5/8 inches. Presented by Galerie Templon. Photo by the author.
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Hugo Wilson, Rebel Forces, 2019-2020, oil on aluminum, 63 x 51. Presented by Nicodim Gallery, photo by the author.

Believe it or not, this elaborate sculpture by Hugo Wilson is not carved from stone, but is painted bronze.

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Hugo Wilson, Untitled, 2019, bronze, 37 1/2 x 43 1/2 x 36 1/4 inches, presented by Nicodim Gallery. Photo by the author.

This lovely, textured tableau by Fu Xiaotong was made from piercing the handmade paper with a pin–455,600 times. The artist changed the angle of the pinprick to create the modeled look of the forms.

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Fu Xiaotong, 455,600 Pinpricks, 2018, handmade paper, 45 3/4 x 94 1/2 inches. Presented by Chambers Fine Art, photo by the author.
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Fu Xiaotong, 455,600 Pinpricks, 2018, detail. Photo by the author.

The ornately carved frame enhances the primal force of this “outsider art” by Philippino-American artist Alfonso Ossorio, which, painted over 70 years ago, feels presciently ahead of its time.

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Alfonso Ossorio, Birth II, 1949, ink, wax, watercolor and gouache on paperboard, 39 3/4 x 29 7/8 inches. Presented by Michael Rosenfeld Gallery, photo by the author.

Still a sucker for some good modern art, by Morris Graves.

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Morris Graves, Alter, c. 1940, tempera and watercolor on paper, 25 x 27 3/4 inches, presented by Michael Rosenfeld Gallery. Photo by the author.
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Morris Graves, Alter, c. 1940, detail.

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