All’s Fair: Miami Art Week 2019 Edition

This is the beginning of a new column, “All’s Fair”, in which writers recount major art exhibits, festivals, biennials and, especially, art fairs through a personal lens. Recounted below is Editor-in-Chief Audra Lambert’s whirlwind Tues-Sat tour of Miami Art Week 2019. Opinions below reflect Lambert’s views only. 

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Dear, dear readers.

Well, a week is enough time for reflection. And what do we have – one banana eaten, one sold and the last one spoiled – or was that the entire fair?

While discerning dealers put forth their obscura and identity-driven inventory (a pantheon of which lovingly graced the main fair of Art Basel Miami Beach, curated by the Mexico City-based Magalí Arriola – titled the Meridians section), other galleries employed the go-big-or-go-home Instagram strategy (Urs Fischer @ The Modern Institute, Austin Lee @ Peres Projects and -of course- the slippery stylings of Maurizio Cattelan, which was absent on Sunday due to the haphazard work necessary to properly guard the installation.)

Spoiler alert: shock art a la fruit baskets seems more suited to our soundbite culture than the lyrical reflections of artists such as Fred Wilson, Isaac Julien and Flavior Garciandía.

Art Basel wasn’t the only fair employing the stop-in-your-tracks Instagram mentality, with Art Miami presenting a monumental Yves Klein-blue installation by artist Jason Martin at the main entrance (other sculptures placed around the periphery was sadly rendered nearly invisible during the later hours of the fair + the VIP opening). Even UNTITLED got in the game with a Facebook-produced interactive installation (umm…) and some choice offerings of installations both inside and out by Antonia Wright + Ruben Millares, Coral Projects and EXILE x CENTER FOR SUBTROPICAL AFFAIRS. Even the Betsy Hotel’s inimitable egg sculpture featured some slides of works in partnership with For Freedoms. 

Fairgoers got in on the Instagram-able fun, while serious collectors buzzed about from booth to booth checking on sales status of works at Lehmann Maupin, Jack Shainman, and PACE. Some heavy-hitting artists with solo exhibits occurring around this time of year got in on the act, including Nevelson (ICA Miami), Teresita Fernandez (PAMM) – similarly, Elmgreen + Dragset could be spotted at Victoria Miro, featured in works which echoed their nearby Pride Park installation.

There was much to see and do, and much hype to struggle through, so below we’ve summed up – in the broad over-generalizations that our detail-oriented art critical brains love so much – the takeaways from this years Miami art week presentations.

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Elmgreen + Dragset sculpture at Miami Beach, “Pride Park” near Design Miami

Five Winners

Public Installations / Projects – What a year for public art in Miami & Miami Beach! From the get-go installations by the likes of Leandro Ulrich on the beach side stole the show. Unmissable performances and installations over the course of the week included “After the Fracture” at PAMM featuring duo Marvin Fabien and Nyugen Smith. Joiri Minaya stunned with installation art in partnership with Miami-based Fringe Projects. UNTITLED’s Monuments section featured the truly stunning Antonia Wright + Ruben Millares installation. Passing the beach at night it was even possible to watch the incandescent works of Pablo Valbuena’s WAVE light up the nearby shoreline. An effort was made to create high quality public art offerings and it showed.

Oh, and also there was a Fernando Botero show on Lincoln road but that doesn’t belong in this highlight…

Meridians @ ABMB – Meridians (see above note) was both an art critic’s dream as well as an Instagrammers’ – that rare combination of critical rigor and visuals-driven approach that will stand out for years to come. Featuring a great mix of local and emerging versus global and firmly established artists, Meridians at the main fair featured standout work by Oscar Tuazon, Fred Wilson, Isaac Julien, Portia Munson, Woody de Otello and more. A real crowd pleaser and rightly so… but it is a fair ten minute walk away and upstairs from the main fair exhibitors. Maybe set up a golf cart service? I don’t mind the walk but it’s key to remain mindful of the mobility of your guests…excuse me, your collectors.

UNTITLED – Did anyone have something bad to say about UNTITLED? Queer art, artists of color, feminists, environmentalists, art criticizing religion, outsider artists – everyone was welcomed with open arms (and strong sales, from what I’ve gathered) at this prestigious showing of UNTITLED. You could also just as easily ignore the cultural underpinnings of some such work (ahem, as some collectors will) and relish the fine skills and inquiring minds that were behind the artworks on view at the fair. With incredible works on view by Damien Davis of LatchKey Gallery, Leah Guagdanoli at Hollis Taggart, Remy Jungerman and Nate Lewis at Fridman Gallery, Jenna Gribbon at Fredericks & Freiser, and more, visitors could really come away with a sense that the art on view at UNTITLED was fearless and provocative, with something to say in addition to its value as fine art.

EDEL ASSANTI at UNTITLED: Installation by Sheida Soleimani on the main wall flanked by an Oren Pinhassi sculpture

Art Miami + CONTEXT – Close to a museum, check.

Featuring old to new to back again, check.

Engaging visitors in conversation, check.

Art Miami still manages to drive the conversation around what is possible for art dealers who are willing (or are happier) to exhibit outside of the Art Basel stable. With similar offerings to the main fair, while maintaining a diverse selection in its own right, both art Miami and context offer an alternative to the globe-trotting – and often unaffordable- trappings of ABMB. Sure they could use more programming, but they’ve remained sustainable – more than ABMB parent company can say (allegedly) at this point…

PAMM – How does the Pérez Art Museum Miami just keep getting better and better? This Franklin Sirmans-led institution has not only featured the meticulous and fantastically spoken hometown (now NYC-based) Teresita Fernandez, their programming for art week – including aforementioned After the Fracture and the phenomenal art Miami VIP event – only served to highlight how they manage that precarious balance of serving the community while welcoming visitors to indulge in the concepts and curatorial vision that puts the museum – and Miami- onto the art world map.

Teresita Fernandez at the PAMM is prescient, haunting and idyllic

Bonus: The New Rubell Museum

Ok, I admit it. I didn’t make the trek out to the new Rubell museum. I know – stop reading now. Seriously though, other than some mild criticism about the very “New MoMA”-esque organization of their collection, how rewarding is it to see the greatest hits of the monumental Rubell collection in its new museum home? Yes, it’s not close. Yes, it was basically (likely) created for a better tax cut. But, as the kids say, I ain’t mad at it.

Five Losers

NADA – Man, poor NADA just can’t catch a break. While “resting on its laurels” might seem like a strong statement, Schachter was onto something when he flippantly observed “UNTITLED is the new NADA”. The energy does seem to have shifted beach side, as ever since NADA has left its admittedly funky haunt over at the now-defunct Deauville hotel, the ice palace just hasn’t quite filled the same carpeted and low-ceilinged hole in fairgoers’ hearts. The public projects as usual made an impression and showings were strong, but it would be a far cry to say that everyone who went down for the fairs made it over to NADA….more brunches in their programming, perhaps?

Pulse – Pulse, oh, pulse pulse pulse. What happened? Did you spend all the efforts you used for past iterations in vetting appealing art gallerists toward a chic, undiscoverable Wellness section instead? New leadership still finding its feet, perhaps, but alongside Pulse stalwarts guests found just an uncomfortably few too many offerings that would’ve been equally at home at Scope. This is a fair seeking its identity somewhere between copy and paste imitation art and genuine emerging artists with a practice based in Concepts.

Art Critics – “It’s so nice to meet a writer here.” A non-East coast gallerist’s lamentations hit me where it hurt. Where were the critics? Other than those of us dispatched over to the main fair for market coverage, there was a woeful lack of critical engagement with art presented at this year’s fairs according to conversations with various gallerists around the fairs. UNTITLED is commendable for employing a writer-in-residence for this year’s edition; here’s to hoping the next one around is a woman or gender non-conforming colleague.

ok, so Idris Elba opening for Diplo @ the EDITION, Miami Beach Basement was dope af

Nightlife – maybe it was just me, but the late night offerings seemed a bit low-key or retail market-driven this year (Desigual at the Temple House, anyone?) Aside from the fabulous Rashaad Newsome x Swizz Beatz Annual King of Arms Art Ball, a strong VIP party for art Miami a handful of beachside parties, offerings during the week were rather time. Surprisingly, the brunches were where it was at this year. While Pulse brunch was a hot mess this year, anyone who made it over to fête the collection or museum brunches came away feeling the better for meeting their alarm clocks halfway and trekking over to these chic morning affairs.

Streets – the traffic, am I right? Between construction on the mainland-to-beach side exits to disoriented Lyft drivers totally out of their element trying to navigate the nooks and crannies that are downtown Miami, the streets – and those who used them – were just plain out of luck for Miami art week.

Bonus: Art Pop-up projects – you know they were there. I know there were there. Neither of us went though, right? Right? Even the smattering that existed (yet were impossible to find) on Lincoln Road.

Phos Hilaron Brings a New Religion to the Heartland

On first impression, Ventiko’s Phos Hilaron: From the Masses Rise the Saints installation transports visitors to an altered state of Indiana. On view at Schwitzer Gallery, CCIC, 1125 East Brookside Avenue, Indianapolis, IN through November 29, the project draws from religious source imagery to transport viewers to an art experience for the masses. 

Phos Hilaron Altar View: Installation View at Schwitzer Gallery, CCIC, Indianapolis, IN
Phos Hilaron Altar View: Installation View at Schwitzer Gallery, CCIC, Indianapolis, IN

Corn hangs suspended from the ceiling, forcing the viewer through – all the while upending expectations the viewer may have of Indiana and its people. Once through the corn, the viewer is confronted with a scene reminiscent of a sacred Roman Catholic grotto. Candles are arranged delicately on an altar, draped with dark velvet and gold trim, and sacred relics used in the photographs on the same candles are displayed alongside them. As Santa Geri Berry, the Patron Saint of Inquiring Minds notes, “transported through the lines upside-down corn stalks and feeling immersed in them reinforced associations with the harvest, suggesting a very different sort of sacred realm, just as the Saints are very different from any usual idea of a Saint and a very different image of people from Indiana. I couldn’t help making a connection with Sukkot; it was like an altar in a Sukkah: a bringing together of a Jewish space with a Catholic type practice.” 

The references are intentional. Ventiko, the artist who organized Phos Hilaron for this Indianapolis iteration of the project, grew up Jewish in Indianapolis and first made a Sukkah out of corn stalks with her temple youth group when she was in high school. Returning to Indianapolis to expand upon Phos Hilaron: From the Masses Rise the Saints, this iteration focuses not just on the beauty of difference and individuality, but emphasizes homogeneity is not harmony: rather, that harmony is respect and inclusion of all. (The first iteration debuted at Chinatown Soup in Manhattan during the first 100 days of the Trump administration and featured a cross section of 100 urban creatives.) Over a four week period Ventiko photographed 59 ‘Saints’ from Indianapolis in intimately customized sets, helping them visualize their ‘Saint’ concept. The entire project was a collaboration between the artist and the Saint. The mythology of the Saint and the vision of the artist culminated in the installation, and also resulted a more intimate piece: a book. Organizing artist Ventiko reflects on her gratitude that so many creatives were excited to participate in this version of the project. “I am grateful to have been blessed by the beauty and power of so many wonderful Saints,” reflects the artist.

 

Artists who participated in the project have expressed the impact of their encounters with the artist as she was setting up the project. Santa Akilah, The Patron Saint of Patience, remarked, “When I first went to the photo shoot I didn’t know what to expect. As soon she started taking pictures I felt so comfortable and safe. She was able to capture my inner goddess in the picture.” Ventiko herself comments on this process of photographing her “Patron Saints”: “I see myself as a catalyst for the exaltation of the beauty of difference and elevation of the preciousness of individuality rather than one constructing or constricting the identity of any ‘Saint’ or person. It is a respect for difference, including freedom of thought, as well as idiosyncrasies that will ultimately lead to the unification of the human race and foster in a time when we all can work towards solving our global crises rather than consistently focusing on pettiness and being manipulated by propaganda.”

The project is successful on many levels, as reflected in these personal and meaningful reflections from participants. By opening up new avenues of communications for creatives in the Heartland, Phos Hilaron functions as a grassroots confirmation of the talent present in the vibrant city of Indianapolis. Bringing community together and thwarting expectations that outsiders may have of the area captures the double success of both re-affirming and introducing local talent to each other and to a wider audience.  “From day one, I knew this cutting edge, contemporary photography installation would take Indianapolis by storm. After hearing the various layers Phos Hilaron presented in NY and adding special dimensions for the Indianapolis chapter, I envisioned a communal based project that would uplift an entire state,” remarks Tony Quintana, The Patron Saint of Growth. Others including curator Maria Behringer have commented on the measure of warmth and acceptance this project has brought into their life. “Ventiko’s concept of community and inclusivity surrounding her Phos Hilaron project is exactly why we wanted to collaborate and bring her exhibition to Indianapolis. Her strong work ethic and creative process can easily be seen through her photography and the final Altar itself. We completely trusted her vision through the entire process. We are extremely grateful to have collaborated with her.”

Patron Saint of Inquiring Minds, Santa Geri Beri, part of Phos Hilaron on view in Indianapolis, IN

To make this project a reality Ventiko collaborated with the Indianapolis-based curators Quintana-Behringer. Ventiko’s studio was in the CCIC building (https://circlecityind.com/), a creative hub in downtown Indianapolis where Quintana-Behringer are located. Santo Aaron, The Patron Saint of Technodeath describes working with Ventiko: “It was serendipity how we met. The chance encounter of coming into a space and meeting another creative that was on the hustle and making something huge and fantastic honestly inspired us at Soundspace to do better. Instead of this being an empty office having Ventiko here made it feel more like a home.” Two weeks into the project Soundspace (https://sndspc.com/) moved in to share the space which is Soundspace Beta and soul connections flourished. Ventiko looks forward to expanding the exhibition to London in 2020 as there are many more Saints to canonize their, bringing the project to a new community ready to embrace their inner Sainthood. 

 

 

 

Word Up! A Standout Moment for Text-Based Art at C24 Gallery


In an era rampant with political protest and 
the multitudinous voices of social media, Word Up!- co-curated by Sharon Louden at C24 Gallery, knows what’s up.

Installation view featuring installation “Moral History” by Karen Finley for C24’s Word Up!

Word Up! marks an exhibition that takes risks and is rewarded with a keen grasp of contemporary self-expression. Considering a contemporary art scene saturated more than ever with sociopolitical viewpoints, the time is more than ripe for this exquisite-and timely-exhibition. Featuring works by Liana Finck, Deborah Kass, Karen Finley, Meg Hitchcock and many more, this exhibit marks fearless departure into the diverse ways in which words infiltrate and emerge in contemporary art.

Spanning interdisciplinary artistic practices, this contemporary survey show featured video, photography, installation, painting and mixed media. Karen Finley’s incisive, provocative and genuinely humorous installation, located on the exhibit’s lower level, provides a stunning focal point from which to consider the contemporary art lexicon engulfing the viewer in Word Up! Comprised of archival materials assembled as a centrepiece – a la Judy Chicago’s Dinner Table, if you will – Finley has annotated the materials she has presented to create a thought-provoking work centered around representation, identity and exclusion. Clever illustrations by renowned artist Liana Finck and the inundating, undulating works by Meg Hitchcock also prove to be standouts in this stunning exhibition. Presentation is key, and visitors are grabbed at the entrance by a video work by artist David Krippendorff, whose work also inhabits space on the lower level near Karen Finley’s installation. Hrag Vartanian  and Deborah Kass, art critic and artist and notable public artist respectively, also have work on view in this carefully curated presentation of works written expressly into the social consciousness that forms the fabric of contemporary text-based artistic practice.

“Persephone” Meg Hitchcock, installation view in “Word Up!”

Word Up! is on view at C24 gallery from 9/26-11/9/2019.

 

 

Illuminating the “Unseen”: Collar Works in Troy, NY Elevates Contemporary Artists

Artworks on view in the deceptively subtle exhibition “Unseen” bring that which is frequently overlooked directly into the public eye. In a world in which most of what directs our behavior goes unnoticed, “Unseen” marks the clever, perceptive type of exhibit that we crave to focus our attention on. Curated by the MFA Boston’s Akili Tommasino for Collar Works, artists on view include Carris Adams, Tania Alvarez, Aurora Andrews, Jose- Aurelio Baez, Raina Briggs, Ryan Chase Clow, Matt Crane, Richard Deon, Carla Dortic, Deborah Druick, Mark Eisendrath, Rebecca Flis, Gigi Gatewood, Chet Gold, Victoria van der Laan, Jesse Meredith, Sarah Pater, James Marshall Porter, Jr., Anne- Audrey Remarais, Eric Souther, Susanna Starr, Paula Stuttman, and Sarah Sweeney. Works by Mark Eisendrath and Susanna Starr  in particular sweep into focus, with a distinctive attention to line and form. Spanning sculpture and painting with a hint of lyric poetry, “Unseen” follows those elements that both direct and elude our line of sight. 

The unseen can be that which is literally unresolved: that which exists up to a point, then inhabits the realm of both the unseen and the unknown. Artist Mark Eisendrath notes of his work Mysterioso, on view in “Unseen,” “Mysterioso existed only as an idea- not seen or felt. It did not exist, neither did the process I used to make it. It was quite literally- a mystery. ” That which cannot be seen or felt can still hold a palpable presence in our lives. As the curator of “Unseen” notes in her exhibition text, “…the complex algorithms that reinforce our behavior remain hidden to us. Our fear of being unseen makes us susceptible to manipulation.” By making that which is foreign to us palpable, “Unseen” offers the viewer a clever, nuanced portrait of contemporary society.

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“Mysterioso” by artist Mark Eisendrath (acquired by a new collector) “Unseen” at Collarworks, Troy, NY

Susanna Starr and Mark Eisendrath share a penchant for uncovering the sought for-yet undiscovered- form. Curves and delineated lines trace the patterns of our subconscious seeking that which we do not yet know. A mysterious, yet visceral, presentation of new works by contemporary sculptors, painters and mixed-media artists, “Unseen” is a careful selection of artworks that transcend the ordinary in search of a greater meaning beyond the immediately visible.

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Installation view of “Unseen” feat. “Bring It” by Mark Eisendrath

“Unseen” is on view at Collar Works art space in Troy, NY, through Dec 14, 2019.

Avant-Kitchen: Art for a New Dinner Party in the Spaghetti-O Incident

Produced by The Hive, an interdisciplinary art community based in Brooklyn, NY, “The Spaghetti-O Incident” dissects cultural references from Guns n’Roses to Martha Rosler in an examination of gendered expectations and hetero-normativity. Curated by Yasmeen Abdallah, Kathie Halfin and Ameta Wegryzn, the exhibit – occurring at 1218 Prospect Ave in Oct 2019 – features a range of interdisciplinary artists including Julia Blume, Victoria Calabro, Kat Cope, Pei-Ling Ho, Sarah Dineen, Vyczie Dorado, Ariel Kleinberg, Alison Owen, Muhajir Subuur Lesure, Jean Carla Rodea, Jordan Segal and Yasmeen Abdallah. Works on view range from performance to photography, installation to sculpture. Examining the expectations placed upon women – as artists, homemakers, cooks, and human beings – “The Spagetti-O Incident” doesn’t shy away from provocative and subversive works questioning and thwarting ideas of identity and performativity.

Sculpture by Jordan M Segal for “The Spaghetti-O Incident”

Gender is digested through performance that takes place in a residence: the living space provides a non-neutral scenario for the exhibit loaded with valuable context. The white cube is denied the privilege of sterilizing these powerful works on view by Kat Cope, Pei-Ling Ho, Sarah Dineen, Yasmeen Abdallah, Jordan Segal & more. The weight of the body and gender in domestic spaces, such as the kitchen, is keenly felt in this artist-curated show. Many artists reflect on ideas of food, meals, and the domestic sphere, with dishware by Jordan Segal seemingly dissolving into itself, reminiscent of cake frosting or, more morbidly, melted skin. Kat Cope’s work similarly addresses the topic of skin: specifically, clothing as a type of armor that adheres to and protects the skin. Cope notes of her fiber-based installations that “like layers of skin, layers of fiber are resistant to tearing and puncture.” Blending together elements of fashion, protection, and performance, Kat Cope’s work lies at the boundary of  representation and installation.

Intrinsically linked with these ideas of gender and inequity are the experiences of the body as a home one inhabits. Performances by Vyczie Dorado, among others, display the full force of yearning and attachment that artists have to the corporeal. Connection, longing and expectation cradle the exhibition, with “The Spaghetti-O Incident” proving a necessary, essential exhibition for our contemporary moment. Intersectional feminism and bold experimentation combine to make this exhibit one formidable presentation in this Fall New York Art season.

Sculpture by Kat Cope left of performance by Vyczie Dorado for The Spaghetti-O Incident

 

“Noise” by Pei Ling Ho for The Spaghetti-O Incident

 

 

Skin Deep: The Exhilarating “Body Politic” On View at NYU’s Kimmel Windows

In the immaculate words of feminist and activist Gloria Steinem, “Each individual woman’s body demands to be accepted on its own terms.” This admonishment pervades the transcendental exhibition currently on view through Nov 10 at NYU’s Kimmel Windows exhibit space, “Lilia Ziamou: body politic /bädē päl-tik/”. Featuring works by Lilia Ziamou and curated by Pamela Jean Tinnen, the presentation of this collection of works outwardly facing the various passersby on LaGuardia Place and W. 3rd mounts a powerful, visionary response to how we consider ourselves – and others. It can reflect the ways in which our self-perception can become distorted. Perhaps it ruminates on how society constantly projects women’s bodies as idealized forms in various ads throughout public spaces. The exhibition leaves room for speculation and space to absorb the images – true or distorted – which lie before us. Works from this series by Ziamou question how new technology mediates the way we see ourselves or how others anticipate and perceive our appearance. Perceptions of the body are stacked against the realities of the biological building blocks that determines who we are and how we appear. Ziamou bravely steps forward into an artistic inquiry of what makes us human, playing with preconceived ideas of how we establish our physical identities as a whole from the sum of our parts. “By reimagining and reconstructing body fragments, I am constantly exploring and intrigued by the ways we can challenge existing constraints of form, materials, and processes,” remarks Ziamou.

“1 am” (2018) artwork on view in body politic /bädē päl-tik/ at NYU Kimmel Windows

 

This exhibition at the Kimmel Windows is curated by NYU’s own Pamela Jean Tinnen. The curator notes that she was drawn initially to Ziamou’s examination and recreation of human bones, re-contextualizing them as artworks. In the art canon of portraiture, it can be argued that Ziamou’s hip-bone 3-D scan recreations are a continuation of a centuries-long tradition of figurative art. Tinnen also reflects on other areas where these works draw parallel lines to long-existing or contemporary traditions. “What’s very interesting about Lilia’s work is how it plays on the abject, but through her ability to refine the subject through various media-processes, she creates visual distance while maintaining conceptual resonance.” Tinnen continues, “I’ve always been intrigued by Julia Kristiva’s writings on Abjection which discusses human reactions to encountering, as a primary example, a corpse. These encounters elicit horror but also a certain fascination. A corpse, or in the case of Lilia’s work, the human bone, puts us in the presence of ‘signified death.’ Kristiva suggests our horror-reaction results from a threatened breakdown in meaning caused by the loss of the distinction between subject and object, or between self and other.” This breakdown that occurs when the body perceives another body, yet recognizes this fragment of bone also depicts an invisible portion of one’s own self, causes a ripple of self-awareness. It can be argued that this exhibit also sparks empathy for others and an intimate acceptance of our own appearance – an appearance that can shift over time due to factors such as time and environment.

The environment of the exhibition itself, facing outward from the Kimmel Center, has shifted over time as the ground zero for artists in bohemian Greenwich Village in the mid-20th century to a haven for NYU students today. This public-facing exhibit – which some students can pass several times a day, along with other members of the community – offers a repeating opportunity for reflection and deeper engagement with how we can intrinsically seek deeper meaning in the very things we take for granted: the architecture of our physical selves and the urban planning and architecture defining our immediate presence in a larger cityscape. By keeping the vestibules in which Ziamou’s transcendental works are exhibited stark, almost clinical, those encountering the work can focus their attention on the prints and sculptures facing them from the Kimmel. “The exhibit’s design, simple and starkly white, contributes to a certain visual sterilization, which works well to present the artwork,” notes Tinnen. This simple structuring can be seen as a skeleton in itself: supporting works on view and allowing for immediate access of each fragment of the perpendicular exhibition along LaGuardia and Third.

“The Bone as Body” (2019) artwork on view in body politic /bädē päl-tik/ in NYU Kimmel Windows

Ziamou here has considered not only the internal structure of the body, but also how we decorate and define ourselves as members of a society. Her bone sculpture informs the installation referencing a garment she has presented in this same exhibit: an installation that servse as a recreation of our bodies as presented through our fashion choices. Her work speaks a subtle message about the inner psychology that determines our outward appearances: we can knowingly or unknowingly select garments that flatter and project aspects of our anatomy that we take pride in. The artist considers and puts forth artistic hypotheses about how various aspects of our countenance can be mistaken or recreated, creating subtle provocations for the audience. What effect do photo filters on apps have on our psychology? How can our appearances be manipulated for those who consume them? When is the last time we considered that the majority of who we are is not visible to the naked eye? Ziamou deftly plays with these questions, and more, in this impactful solo exhibition.

Detail shot, “1 am” – body politic /bädē päl-tik/ in NYU Kimmel Windows

 

Curated by Pamela Jean Tinnen, don’t miss “Lilia Ziamou: body politic /bädē päl-tik/” – on view through Nov 10 at NYU’s Kimmel Windows exhibit space on LaGuardia Place and West Third at New York University. 

Anthropocene Blues at Wayfarers Captures our Ephemeral Moment

A certain slant of self-reflection pervades artworks on view in Anthropocene Blues, on view at Wayfarers, Brooklyn (1109 DeKalb Ave) from September 29th through October 20th, 2019. Inspired by a poem written in 2012 by one of the last remaining Beat poets, the exhibition features reference to an elegiac view of nature – one foregrounded by our current climate crisis. The poem, written by Anne Waldman, refers to a “tragedy of the Anthropocene.” Works on view for the exhibition intimate at these ongoing issues, selections soaringly curated by Jane Ursula Harris. A New York-based writer who has contributed to Art in America, Artforum, BOMB, The Paris Review & more, Harris is an art history faculty member at the School of Visual Arts.

The exhibit features works by Wayfarers member artists Kate Alboreo, Yael Azoulay, Brian Davis, George Ferrandi, Cynthia Mason, Kharis Kennedy, Kate Kosek, David McQueen, Cynthia Reynolds, Maureen O’Leary, Meredith Starr and Elise Wunderlich. Mixed-media sculptures, paintings, installation and new media all combine to showcase a considerable range of artworks on view in this exhibit. Of particular notes, Azoulay’s installation True Cover provokes vivid links to alienation and immigration by tracing the introduction of the Eucalyptus plant to Israel, where it is not native. Meredith Starr’s almost obsessively crowded installation Plastic Pools/Look At What We’ve Done suggests, in miniature, the overwhelming amount of plastic that we have hoarded and discarded through our rampant consumerist attitudes.

Installation view, “Anthropocene Blues” (painting, Maureen O’Leary and installation, Meredith Starr)

Particularly haunting is Maureen O’Leary’s painting Untitled, in which attendees at a nighttime barbecue seem look past one another, obscured by smoke and flanked by ghostly dark trees and a bright moon. O’Leary’s deft treatment of light and shadow transform a social event into a scene of foreboding: the shadow of the trees behind seem to embrace the rising smoke emanating from the cooking fire below, forming a joint visual block that crowds out the human figures in the center and right side of the picture plane. Food is being cooked and consumed. Guests are overshadowed by the forest beyond. This juxtaposition of familiar and alien, consumption and rejection, elevate O’Leary’s subject matter – as does her study of contrasts between realism and impressionism. O’Leary depicts enough to make the scene feel vaguely familiar while leaving the trails of smoke and memory to each individual’s imagination. This blend of personal and universal – the view of consumption reminds us of our presence as consumers endangering the wider environment – proves to be almost intoxicating.

Installation view, “Anthropocene Blues” (L–R, Maureen O’Leary, George Ferrandi and Meredith Starr)

On October 11th, the curator held a conversation with artist Maureen O’Leary, who has both a painting and a photograph in the show. In conversation with O’Leary, Harris noted the prominence of the firelight by remarking that fire is a primal expression of humanity’s control over nature. The conversation continued around light: O’Leary engaging in the relationship between light and human nature, our existence and our yearning for belonging, both now and in the future, on an uncertain planet. Time and light, it turns out, are intrinsically linked: the relationship between humanity’s existence and the evolution of light’s role in advances in society can be distilled – it turns out – to a single barbecue scene in the Long Island woods.

Anthropocene Blues, curated by Jane Ursula Harris and on view at Wayfarers, Brooklyn (1109 DeKalb Ave) from September 29th through October 20th, 2019, serves as the 9th Annual Juried members show at the space.

America’s Diverse Social Tapestry Shines with “IN/FLUX” on view at Pelham Art Center

by Elizabeth Barenis

 

On view at Pelham Art Center through November 2nd, “IN/FLUX” – co-curated by PAC Director Charlotte Mouquin and Gallery Advisory Board Member Victoria Rolett – features works by compelling contemporary artists wielding their perspectives on immigration as expressed through various mediums. Ranging from photography to painting, installation art to collage, artists on view don’t shy away from aspects of immigration – positive and negative – that have shaped the scope of their respective artistic practices. Artists on view include Corina S. Alvarezdelugo, Selin Balci, Nicky Enright, Jenny Polak, Alejandra Hernandez, David Rios Ferreira, Omid Shekari, Ruben Natal San Miguel, Natalia Nakazawa and Victoria-Idongesit Udondian. The works exude a sense that the wider narrative diversity brings to the table creates a more intriguing contemporary art experience.

The Republic of Unknown Territory by Victoria-Idongesit Udondian for IN/FLUX

Visitors to this unique survey exhibition are greeted at the entrance by sounds of immigrants reflecting on their experiences as captured by Victoria-Idongesit Udondian for her installation, “The Republic of Unknown Territory.” Various articles of clothing are scattered throughout the space, suspended in hidden narratives that allude to both the absence and presence of their owners.

Engaged with the macro, rather than micro, elements of immigration, artist Natalia Nakazawa creates a map of woven threads manifesting the journeys that immigrants have taken to start new lives for themselves in their chosen homes. Denoting trade and travel along immigrant pathways, Nakazawa creates her works by incorporating participation into her process. Similarly engaged with fabrics and mixed materials, this work contrasts with Udondian’s installation in its bird’s-eye view of the effects which immigration exerts on an international scale.

Our Stories of Migration tapestry by Natalia Nakazawa for IN/FLUX

Ferreira’s pop-infused postcolonial drawings peel apart the layers of mythology and truth that comprise each immigrant’s personal history as well as society’s response to immigration. The colorful hues spanning intricate drawings in Ferreira’s works speak to an overarching, allegorical immigrant experience: a wider narrative that embraces aspects of varying sociopolitical relationships and international transportation.

Similarly engaged with maps, travel and transportation, Corina S. Alvarezdelugo’s collage works meld imagery unpacking the emotional weight of what lays near and far, subjects both intimate and remote.

David Rios Ferreira with his Drawings for the opening of IN/FLUX

 

Corina S. Alvarezdelugo’s Pangaea for IN/FLUX

On view at Pelham Art Center from September 20-November 2nd, “IN/FLUX” will host a variety of immigration-themed programming over the course of its time at the Center. These events include:

Afro-Puerto Rican Bomba celebration with BombaYo! – Sunday, Sept. 22nd 2-4pm
Diwali the Hindu festival of lights – Sunday, Oct. 6th 2-4pm
Mexican Day of the Dead – Sunday, Oct. 27th 2-4pm
There will be additional performance art during ArtsFest weekend Oct. 4-6th

Kind of Green Gestures Toward Solving the Climate Emergency

Lights illuminate a pastoral hillside, carving a serpentine path across a hill in Santa Rosa, CA. Seventy-two lights gently embrace the night air, each a memorial to a soul who had lost their lives trying to escape human trafficking on that expanse rising northward from Mexico and points south – seeking an escape toward the United States. Titled “The River of Migration”this site-specific piece by Anne Katrine Senstad marks the apex of lyrical observation that forms the foundation of Kind of Green, an exhibition on view at Yi Gallery‘s nomadic space at 191 Henry Street from June 1-11, 2019. The show featured artworks by Senstad, Jamie Martinez, Si Jie Loo and Studio Roosegaarde daily from 11 AM-6 PM.

Si Jie Loo, “Privilege of Taste” courtesy of Yi Gallery

 

Confronting the current climate emergency facing off with civilization today, Kind of Green marks an interdisciplinary inquiry into the means of production that have resulted in accelerated climate change. From Studio Roosegaarde’s “SMOG FREE PROJECT” to Si Jie Loo’s “Privilege of Taste” and Jamie Martinez’s “VR Unity Global Warming”, artists included in the exhibition examine thoughtful courses of action that can change the future of our planet.

“SMOG FREE PROJECT” proposes an innovative solution to air pollution in urban landscapes. A seven-meter high tower designed for ionization, this structure marks a design-oriented solution to a global crisis. “We have created this current situation, now we have to design our way out of it,” notes Daan Roosegaarde of Studio Roosegaarde. The Smog Free Ring, an integral part of the project, encapsulates civilization’s detritus into a precious object: value transformed out of harmful chemical byproducts.

Jamie Martinez’s “VR Unity Global Warming” invites an introspective consideration of our current climate emergency. Populated by both surreal and realistic elements floating in a quixotic sea, the history of humanity is presciently documented, from ancient pyramids to modern day food trucks, in this dystopic alternate vision of our collective future.

Meditations on consumption permeate Si Jie Loo’s “Privilege of Taste”: ceramic cups and coffee grounds placed in dialogue with one another, laying bare both colonization and climate acceleration for the viewer. The visual, textural and sensorial relationship between the elements in “Privilege of Taste” provide a nuanced reflection on the artist’s relationship to the art market and her own background as a Chinese-Malaysian artist currently living and working in Providence, RI. The artist provides a departure point for visitors to Kind of Green searching for answers to how the current climate emergency affects society, and who will feel environmental disasters in the wake of our changing climate the most quickly and keenly.

Jamie Martinez, “VR Unity Global Warming” Courtesy of Yi Gallery

Loo, Martinez, Senstad and Roosegaarde collectively provide an intersectional reflection on the climate emergency in Kind of Green, offering speculative approaches to how citizens across class and gender, urban and rural, and Global North and South can thwart and adapt in a changing climate. Perhaps most significantly, the exhibition provides a window into the types of solutions sorely required of developed nations in stemming the tide for citizens who neither generated, nor seek out, climate emergencies at a scale that can wipe entire nations off the map. Across multiple mediums ranging from ceramics to installation to painting and new media, Kind of Green allows visitors a sense of how artists and designers are leading the way in this paradigm shift toward a society actively mobilizing against climate change. A singular exhibition, Kind of Green welcomes the diverse viewpoints of creators boldly leading the way towards envisioning a new future where we live, artfully, in harmony with our planet.

A Feast for the Senses: Drink Me, Taste Me – An Exhibition of Curious Things

Curiouser and Curiouser. –Alice in Wonderland, Lewis Carroll

“Does domestic bliss equal artistic death?” This is the question that our heroine, Alice – a painter – asks in a full-length musical production, “Painted Alice,” for which the exhibit Drink Me, Taste Me – An Exhibition of Curious Things serves as a stage. The exhibition, on view at Plaxall gallery April 11-May 12, serves as a look into the contemporary artists working on the borderline of illusion, adventure, and curiosity. Curated by AHA Fine Art & Plaxall Art Gallery’s Norma Homberg, the exhibit offers new experiences and breadth of emotion accessible to visitors of all ages and backgrounds.

Featuring fifty artists on view throughout the space working in a variety of mediums, the exhibition also curiously serves as a platform for the afore-mentioned “Painted Alice” musical, in which Alice (a painter) has lost all inspiration after getting her first commission, distancing herself from her partner and falling through her blank canvas into a visual-art inspired wonderland. Conversely, the visual art on view in Drink Me, Taste Me is inspired, in return, by Carroll’s original Alice in Wonderland book. Thus the reciprocal relationship between this new painter Alice and the original Alice presented throughout this art exhibition is established.

This exhibition features artists such as Kat Ryals, Elan Bogarín & Jonathan Bogarín, Arlene Rush, Karen Dimit, Jean Foos, Chloe Moon, Robin G Cole, Hisayasu Takashio, and many more. Featuring notes of surrealism, abstraction and the everyday – just for good measure – Drink Me, Taste Me holds something for everyone who is an observer, a dreamer, or a wanderer.

Elan Bogarín & Jonathan Bogarín, “Furniture that reminds me of Grandma” (2018) C-print on Fuji Crystal archival paper mounted on plexiglass

In Elan Bogarín & Jonathan Bogarín’s series, “Furniture that reminds me of Grandma” (2018), memories are transferred into imagery that captures childlike naïveté through compiled vignettes purporting a domestic scene from the artists’ own experience. The artists give childhood a new dimension: formed through the editorial lens of memory, these scenes speak to the inner child in all of us: our memories taking on new forms through the lens of historicization. While domestic scenes in our memories can never capture the full detail of each moment – the smells, textures and sensations we experienced in our youth – the artists are able to encapsulate the overall impression that such moments from childhood leave on our consciousness. Alice in Wonderland is itself written by an adult impressing a childhood experience on a captive audience, and the Bogaríns’ create work in a similar vein, impressing the experience of childhood from an adult perspective and for an adult audience.

Kat Ryals’ works in lenticular print capture a shimmering survey of imagery formed and reformed according to the viewer’s position to the artwork. By their very nature, lenticular prints can never offer one specific truth. They always bend and distort an array of images according to the viewer’s perspective. Offering a shimmering world of perspectives onto an uncertain and frequently distorted truth, Ryals manages to capture a captivating scene that somehow simultaneously feels both otherworldly and organic.

Kat Ryals, “Reflection” (2017) Flip Lenticular Photographic Print, 45″x45″

Various works on view either reference “Alice in Wonderland” via theme, recounting tales and passages related to the original tale, or in spirit, by channeling the sense of otherworldly adventure that Alice encounters during her travels. The musical “Painted Alice,” in particular, espouses the feelings of otherworldliness and un-belonging that women artists seeking to establish firm footing for their own art career while inhabiting the shadow of a partner’s success. Drink Me, Taste Me – An Exhibition of Curious Things acts both as narrative and dream sequence: offering an entry point to the woman artist’s experience, or denying a firm narrative by traipsing down a wonderland of nonsensical occurrences. There lies in wait a curious experience for the visitor to the exhibit, something difficult to firmly grasp, perhaps, but something dazzling nonetheless.

 

Drink Me, Taste Me – An Exhibition of Curious Things is on view at Plaxall Gallery in Long Island City from April 11-May 12, 2019.