Museums in Nyc Frieze Art Fair 2017 New York
Art Review
A Fatigue-Free Guide to Frieze New York
Martha Schwendener and
Frieze New York is a commitment. Now in its 6th yr, with more than than 200 galleries showing Modern and contemporary fine art from xxx countries, this fair is similar a small metropolis ready in a lavishly sculptural tent on Randalls Island. Yet its organizers have realized that visitors generally come for only i day. Then this year Frieze is shorter, opening to the public on Fri and running through Lord's day.
Where Frieze has expanded is in its attention to 20th-century art and in its deeper coverage of Latin American art, especially from Brazil. On the subject of Latino and Latin American art in the behemothic fall exhibition "Pacific Standard Time: LA/LA," at the Getty Museum and other institutions across Los Angeles, Frieze has organized a symposium with the Getty and the Establish of Fine Arts at New York University.
Epitome
Frieze too feels more politically reflective this year: Claudia Rankine, a poet who examined race in the book "Denizen: An American Lyric," is among the speakers in the Frieze Talks series (Sunday at xi:thirty a.g.), and an initiative to help salvage the National Endowment for the Arts has been mounted. Emerging-art action is yet prevalent in 2 sections: "Frame," which features galleries founded after 2009, and "Projects," which focuses on special installations. Hither are some highlights.
Martha Schwendener
BRUCE SILVERSTEIN GALLERY In the "Spotlight" section, showcasing a single artist in each booth, Bruce Silverstein is exhibiting three spectacular canvases from the 1970s by Alfred Leslie, a painter who started off equally an Abstract Expressionist and later turned to figurative realism. "Americans, Youngstown, Ohio" (1977-78) is three conjoined canvases with figures dressed in everyday clothes and lit from below, while "A Death in the Family unit" (1976) features a corpse, just as well a plate of eggs with a cigarette barrel. Odes to bland America, the paintings feel like Caravaggio or Georges de La Bout for the '70s recession era.
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GALLERY YAMAKI FINE Art Also in the "Spotlight" section, Gallery Yamaki from Kobe, Nihon, is showing works by the octogenarian artist Kimiyo Mishima, who is best known for her ceramic pieces. The booth includes a wonderful mesh trash tin can filled with replicas of ripped-up cardboard boxes. Carefully painted with production logos and text, they are similar fragmentary ceramic versions of Warhol'southward "Brillo Boxes." Besides in the booth are several of Ms. Mishima's collage-paintings from the 1960s, which include texts and images in both Japanese and English, creating a cantankerous-cultural, East-West mash-upward.
GALLERY ISABELLE VAN DEN EYNDE A Dubai gallerist, Isabelle van den Eynde, is showing the piece of work of one of the leading Emirati artists, Hassan Sharif, who died last yr at 65. Mr. Sharif was best known as a Conceptual artist, but his control of colour is on full view in a large-scale work made with pieces of painted cotton rope, titled merely "Colours" (2016). His playful approach to abstraction can be seen in the apprehensive sculpture "Mask" (2014), with bits of carpet rolled around white rope and mounted on the wall like a Richard Tuttle work.
Prototype
THE Arroyo Beak Lynch had a evidence at White Columns in New York in 2014, organized by the painter Verne Dawson, a classmate at Cooper Union in the 1970s. Mr. Lynch, a schizophrenic, died at 53 in 2013. Now his wonderful, curious paintings on wood panels are on view in the booth of the London gallery the Approach, congruent with the release of a new book dedicated to his piece of work. Landscapes and all the same lifes morph into abstraction. At all times, Mr. Lynch's paintings look breathless, effortless and childlike.
PROYECTOS ULTRAVIOLETA A Guatemala Metropolis gallery, Proyectos Ultravioleta won the Focus Stand Prize at Frieze London in 2016, and thus the opportunity to testify in New York. It has brought Akira Ikezoe, who has created an environs with his paintings, alive plants and sculptures that are assembled from hardware and household parts, fly swatters and other odds and ends. Somewhere between Ikea and Magritte, Mr. Ikezoe'south artful feels similar an industrial designer existentially adrift.
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SILVIA CINTRA AND BOX 4 This berth from Rio de Janeiro has an impressive display of piece of work by Amilcar de Castro, an creative person involved with the Neo-Concrete movement in Brazil in the 1950s. A wall of his pocket-sized steel sculptures features pieces reminiscent of those by Brazilian artists like Lygia Clark or Lygia Pape, whose fantastic retrospective is now on view at the Met Breuer. Some of the other Brazilian booths to seek out are A Gentil Carioca; Fortes D'Aloia & Gabriel; and Galeria Luisa Strina.
JON RAFMAN An exhibition organized by Cecilia Alemani for the nonprofit "Projects" section of Frieze is Jon Rafman'south "Dream Journal, May 2016 — February 2017," an hourlong animated video loop screened inside a small theater with seats covered in resin, paint and other materials. "Dream Journal" may have started in Mr. Rafman's mind, but it somewhen merged with cyberspace subcultures. The overlap with pornography is obvious, both in the way information technology was traditionally viewed (24/7 in small-scale, seedy theaters) and because digital civilisation simultaneously expands and exposes the limits of human being fantasy, with computer-generated fetishes proliferating in the course of avatars and wildly hybrid creatures.
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Will Heinrich
CANADA Marc Hundley'due south flat in Williamsburg, Brooklyn, is about the same size as his gallery's space at Frieze this yr, so he more or less swapped them. He outfitted the booth with some of the custom furniture with which he accompanies shows of his paintings and prints; his friends' art — notably a striking abstract painting from Matt Connors, and two handsome aluminum wedges from Noam Rappaport — and several pieces borrowed for the occasion, including a dewy 1947 Grandma Moses painting, "A May Forenoon." It's a model dwelling house at in one case utopian and sinister — filled with inspiring art just open on two sides to all comers.
XAVIER HUFKENS The about Instagram-worthy feature of the large group exhibition in the booth of the Brussels-based gallerist Xavier Hufkens is a series of gothically creepy mixed-media heads past the sculptor David Altmejd. The Frankenstein-like chaos of colors and textures would exist unsettling enough, only Mr. Altmejd ups the grotesqueness past severely disfiguring the pieces, in two cases cutting crystal-lined holes right through their features. An Abraham Lincoln with giant golden ears and one-half his face up missing seems particularly pointed.
Paradigm
MISAKO & ROSEN This Tokyo-based gallery's iii-person exhibition includes brash paintings past Trevor Shimizu and five highly-seasoned color photographs of sushi, omu-raisu and other household staples, past a Prix Pictet winner, Motoyuki Daifu, sprawled across compositions that are halfway between ad and nonetheless life. From Ken Kagami come 24 bleakly hilarious ink-on-paper meditations on the relationship between Charles One thousand. Schulz's classic comic-strip characters Snoopy and Charlie Dark-brown. The series reaches an apotheosis of banal profundity with an image of Snoopy reclining on his master's disembodied, planet-similar head.
GALERIE MEYER OCEANIC Art This Parisian gallery'southward exhibition of 39 boggling Papuan "spirit boards," ancestral wooden figures carved in low relief, stands out non just in contrast to a tent of mostly gimmicky Western art merely likewise for the works' effortless aesthetic achievements. The pieces, sometimes made from discarded canoes, show faces, navels and stripey abstract patterns of lines, all of them rendered with a simplicity that seems to split up the divergence betwixt sincerity and formal sophistication; the faces are unremarkably smiling.
SIMONE SUBAL This Lower Due east Side gallerist's booth is given over to paintings, drawings and a single yellow breast, made of enamel and fiberglass and hanging from a blast, by the Austrian creative person Kiki Kogelnik, who died in 1997. Ms. Kogelnik'due south paintings feature bright colors, figures and uncomplicated geometric shapes, under which she compressed enormous emotional and formal complexity. In the 1972 painting "Express," a barefoot female person effigy with diddled-out cheeks and a sex activity-doll mouth is an incandescent vision of acrimony and command.
GROSVENOR GALLERY This gallery in London anchors an exhibition of fine drawings by the South African artist Dumile Feni, who was born in Cape Province in 1939, emigrated to London and died in New York in 1991, with an viii-foot-high charcoal called "Jazz Musicians, April-December 1968." He drew sinuous, polished figures that might bring to mind the work of Egon Schiele if they weren't so smooth, and if he didn't model them with crosshatching so glittering and tight that information technology almost resembles fabric. His three musicians, all naked, await like buoyant dolls wrapped in thread.
P420 GALLERY This gallery from Bologna, Italy, devotes its booth entirely to Irma Blank'due south gorgeous "Eigenschriften" (or "Cocky-Writings") series, made betwixt 1968 and 1973 in Siracusa, Sicily, where this German-born artist moved in the 1950s. Each drawing is fabricated upwards of a larger or smaller rectangular block of squiggly ink or pastel lines, which mimic cursive writing. Ms. Blank came up with an array of different squiggles, and within each drawing, small-scale variations build into an entrancing, wavelike effect.
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