At Greene Naftali, New York, ABMB: Richard Hawkins
Long view after the text
Oh, it was lean times at the fairs. I'm not talking lack of sales. Indeed, all the dealers seemed to be doing pretty well. I’m talking about all of the art that was propped up against the walls. ABMB had the big numbers in this category until I went to NADA on the last day of the fairs. There I found an equal number of art works at a slant. The big difference: at NADA I couldn’t always tell if the work was leaning as an installation, just waiting to be hung--or, to be honest--waiting to be picked up by the janitor.
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Long view of Richard Hawkins installation at Green Naftali
At Annet Gelnik Gallery, Amsterdam, ABMB: Ryan Gander painted glass panels
At Galerie Ben Kaufmann, Berlin, NADA: Poule Gernes
At Galeria Omr, Mexico City, ABMB: Jose Davila ceramic panels
At Galerie Perrotin, Paris, ABMB: Claude Rutault
At Luttgenmejier, Berlin, NADA: artist unidentified
At Overduin and Kite, Los Angeles: ABMB: Marc Camille Chaimowicz
At Lautom Contemporary, Oslo, NADA: Oystein Aasan
At Kavi Gupta, Chicago, ABMA: Theaster Gates
At Francois Ghebaly Gallery, Los Angeles, NADA: Oscar Murillo
At Altman Siegel Gallery, San Francisco, NADA: Liam Everett
At Simon Preston Gallery, New York, NADA: Michelle Lopez
At Seventeen, London, NADA: Susan Coulis
Would it surprise you to know that the metal is silver, and the wood is set with gemstones and pearl? I'm not particularly enamored of this artist's work, but she does make me look
Detail below
At NADA: Not only could I not determine which gallery this work was connected to, I didn't know if the works were an installation, or well, you know
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Perhaps my favorite leaners were the plywood sheets at Pulse. Painted in Dayglo orange and yellow, they were propped against walls here and there on the grounds. Seeing that first grouping, below, I experienced a brief moment of that is some great trash. Then as I looked around and saw more, I viewed them as the love child of Josef Albers and the Miami Sanitation Department. And I mean that as a compliment.
Above and below: At Pulse via Galerie Michael Sturm: Russell Maltz
Big thanks to everyone who sent me to Miami. I am most appreciative of your help. To all my other friends reading and enjoying my coverage of the Miami art fairs , I'd welcome your financial support. I am a painter with a full-time studio practice; every post represents a significant expenditure of time, travel, photo editing, and writing, especially in December when my effort is focused exclusively on these reports from the fairs. A one-time annual donation of $20 (though any amount is welcome) will help support my effort. See the Donate button on the sidebar. Thank you.
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