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.
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.
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:
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:
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.
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 Armory Show, Spring/Break and Scope.
The ADAA Art Show
This year the annual Art Show, hosted by the Art Dealers Association of America, kicked things off a week before “Armory week,” so as not to conflict with the grand art fair at Pier 92/94. At the Art Show you tend to find more modern art than the other fairs of Amory Week, as well as contemporary offerings. Many galleries continued their “correction” of representation, curating their booths to highlight works by women and artists of color. Overall the Art Show was, in my opinion, very strong: I enjoyed some singularly great works by established modernists, and discovered new contemporary artists. Below I share a sampling of both. Enjoy!
One of the great joys of the art fairs is to be exposed to galleries from around the country and world (it is also a tragedy—to discover a great gallery that isn’t a subway ride away!). In this case, I must find a good reason to go to Houston to see Inman Gallery and the work of Dario Robleto. I was drawn into Inman Gallery’s booth by Robleto’s intricate collages and large, ecological installation. I had a fascinating conversation with the gallery owner, Kerry Inman, about Robleto’s interest in Victorian traditions of collection and display, but my mind was truly blown when Kerry told me about Robleto’s artist residency with the SETI Institute. That’s right: the Search for Extra Terrestrial Intelligence Institute has an artist-in-residence program, in case we must communicate aesthetically with alien life. I loved this work so much I wrote a spotlight blog post on it—learn more about Dario’s work here.
Other delightful contemporary work at the exhibition included a fantastic series of illustrations for a forthcoming edition of Gertrude Stein’s The Autobiography of Alice B. Toklas, by multi-disciplinary artist Maira Kalman at Julie Saul Gallery. Kalman doggedly went through archival material to base her gouaches on real photographs and people. The suite of thirty-five drawings lends a contemporary warmth and intimacy to the book, which should be coming out in 2020.
I would be remiss to not mention Susan Inglett Gallery, and the impressive cut-outs of artist William Villalongo. I have really enjoyed Susan’s recent shows, including her current Wilmer Wilson IV show, “Slim…you don’t got the juice” (catch it before it closes March 16). Villalongo’s large, velvety cut-outs are not only technically and graphically masterful, their message of the struggle and resilience of the black male body is palpable.
Amid the modern art highlights at the fair, David Nolan Gallery had an exquisite exhibition of works by German artist George Grosz (1893-1959), focusing on his work during his New York years, 1933-1958. Grosz was one of the foremost German artists of the twentieth century; his modern, socio-politically charged works were among those singled out by Hitler as “degenerate,” and he fled to exile in the United States in 1933. A particularly fascinating contrast in the Art Show display are two watercolors that bookend his time in America: the first, a somber 1934 drawing called Wanderer, sympathetically depicting a cast-out Jew crossing a pond-like body of water; the second, a fiery 1956 composition, also called Wanderer, showing a blazing blue figure wading through a sun-soaked swamp. Who is the 1956 Wanderer? Is it an allegory, or perhaps Grosz himself, raging against the injustice of history?
I could go on and on about the great art I enjoyed at the fair, but alas, time does not allow for full discourse on each piece. Below are other great highlights of modern and contemporary works from the fair. If you have any interest, contact Avant-Garde and we can assist you with a purchase.
Lovely, playful collage by Jean Arp.
Classic Joan Semmel nude.
Part of an installation by Leslie Dill.
Toby Mug by Judy Chicago. I would love to see this on the table at The Dinner Party!
Check out this badass mama by Gaston Lachaise! I love the matting job, as if the figure is interacting with the mat. Really brings the work to life.