In: art

There are a few things that most likely pop into mind when a non-Chicagoan thinks of Chicago: Hot Dogs, Deep Dish Pizza, Wind, and the Shiny Bean (aka Cloud Gate by Anish Kapoor.) Though all of those things do indeed exist in the Windy City, Chicago is a culturally vibrant metropolis that has acted as a hub for experimental and innovative architects, musicians and artists. Since giving the world its first skyscraper in 1833, hosting the World’s Columbian Exposition in 1853, and opening one of the largest museums of contemporary art of its time in 1967, the so-called “Second City” has been steadily pushing the art world into the future. Today, nothing has changed. There are, of course, the great museums (like The Art Institute of Chicago and the Museum of Contemporary Art)  that are definitely worth a visit, but the neighborhoods are booming with phenomenal contemporary galleries. Here is a list of a few Chicago contemporary art galleries for art lovers to check out.

Since it opened in 2000,  the Monique Meloche Gallery launched careers of artists like Rashid Johnson, a Finalist in for the Solomon R. Guggenheim Foundation’s 2012 Hugo Boss Prize. Owner and gallerist, Monique Meloche has an extensive resume, including assistant curator at the Museum of Contemporary Art. When it comes to the “next new thing” in the art world, Meloche’s instinct and taste prove to have its finger right on the pulse. Past exhibitions include Cheryl Pope, Rashid Johnson, and Kate Levant. Joel Ross.

Location: 2154 W. Division Chicago, IL 60622 Hours: Tuesday – Saturday 11-6


For those who take a liking to photography, film, or other media-based art, Document has what you’re looking for. Aron Gent, the founder of this gallery, has created an intimate space that shines a light on aspiring artists. The space also operates as a professional printmaking studio that often aids in the production of the art shown in exhibitions. This gallery has a strong communal vein that advocates for national and international artists within the media based art world; the results of which are innovative and genuinely new images. Since opening in 2011, Document has had thirty solo exhibitions including work from Sara Greenberger Rafferty, Paul Mpagi Sepuya, and Maisel.

Location: 1709 W Chicago Ave, Chicago, IL 60622 Hours: Tuesday-Saturday: 11am-6pm

Corbett vs. Dempsey | Courtesy of Corbett vs. Dempsey

John Corbett and Jim Dempsey combine their interest and knowledge of music, film and painting with their record store/gallery in the Ukrainian Village. Corbett and Dempsey are no strangers to the Chicago art world or its history as they have both been involved in curating multiple exhibitions around the city like Big Picture: A New View of Painting In Chicago (Chicago History Museum, 2007). This airy open space, located on the fourth floor of the Dusty Groove Building, hosts exciting exhibitions that focus on 20th century and Contemporary paintings and sculptures (often accompanied by live musical performances.) Past shows include work from Arlene Shechet, Gabriel Garland, and Carol Jackson. 

Location: 1120 North Ashland Avenue Chicago IL,  60622 Hours: Tuesday -Saturday, 10 -5 pm

 


 

Stony Island Arts Bank situates in a building that was initially built in 1923 and was once a functional bank-until it closed in the eighties. The building was vacant for years and was deteriorating until Chicago’s artist, Theaster Gates, and his organization, Rebuild Foundation, bought the property and turned it into a “hybrid gallery, media archive, library and community center – and a home for Rebuild’s archives and collections.”  Gates and the Rebuild Foundation envisioned the restoration of this old building to be an example and a resource for envisioning the future of the surrounding communities on the South Side. The gallery space itself is breathtaking, but the artwork that is shown is just as awe-inspiring. Some of the past exhibitions include Noah Davis, James Barnor, and Portuguese artist Carlos Bunga.

Location: 6760 S. Stony Island Ave. Chicago, IL 60649   Hours: Friday-Sunday 12-8pm

Artspace 8| Courtesy of Artspace 8

Located on Chicago’s Miracle Mile, this 14,000 square foot gallery specializes in fine contemporary art. Artspace 8 uses its affluent location and ample gallery space to promote a variety of fantastic artist; both locally and internationally sourced, who work within different mediums. Artspace 8 opened in 2015. Its grand opening show was a tremendous exhibition of work by Silvio Porzionato, Lexygius Calip, Jacob Hicks, Dariusz Labuzek and many more. Their upcoming exhibition (opening June 24th) showcases the photographs of James McArthur Cole in his series Debilitated Beauty: Romancing the Cuban Aesthetic.  

Location:  900 N Michigan Ave, Chicago, IL 60611 Hours: Monday-Saturday 10:00am-7:00 pm


Tiger Strikes Asteroid in Chicago is just one of the four locations this network of artists has in the United States. Their focus is to promote an artist and to expand and create new relationships within a community, to afford more opportunities for collaboration with curatorial projects, the district initiated exhibitions, and projects. The results of this modus operandi are well-curated shows full of innovative artwork from all mediums. I Have No Feelings to Express was a past exhibition that included artists from the Los Angeles branch and was based on visual communication that “transcends geographical boundaries.” Artist from the Chicago location comprises Ana Kunz, Michelle Wasson, Josue Pellot.   

Location:319 N Albany Ave, Chicago IL 60612 Hours: Saturday 12-4 PM

Carrie Secrist Gallery| Courtesy of Carrie Secrist Gallery

The Carrie Secrist Gallery was established in 1992 and has had great success for the last twenty-plus years. Located in the industrially chic neighborhood of West Loop, this gallery is known showcasing some of the contemporary art’s more established artists. Gallerist Carrie Secrist success is not unwarranted. Though many galleries sprinkle West Loop, Carrie Secrist Gallery stands out as a fantastic venue for excellently curated exhibitions.  Represented artists include Whitney Bedford, Danielle Tegeder, and Andrew Holmquist. This gallery is the perfect place to stop into to indulge in some visual treats after dining at one of West Loop’s many fantastic restaurants.

Location: 835 W Washington Blvd. Chicago, IL 60607 Hours: Tuesday-Friday 10:30-6pm  Saturday 11-5pm

 

Much of the contemporary performance art at this year’s Frieze Londons explored the notion of identity and the final day of the fair was no exception. Frieze offered a series of multi-disciplinary performances navigating themes of race, gender, and sexual orientation.

Georgina Star. © Stephen Burke

Kicking off the afternoon’s performances was Leeds-born YBA Georgina Starr, staging her work in the UK for the first time in ten years. The piece, titled Androgynous Egg, took inspiration from the artist’s novel Empress 66 99 and incorporated an array of artistic practices, including puppetry, choreography and acapella melodies in both English and French.

The performers showered viewers with repeated words, fragmented phrases and an array of sounds, color, and visuals to create a surreal experience. Reminiscent of Dada sound poems, the experience felt almost claustrophobic in the purpose-built art fair filled with artistic objects.

Then it was time for the afternoon’s headline event: The Singing Lecture, performed by two vocal artists. First up was American cabaret performer Mx Justin Vivian Bond. Accompanied by the acoustic guitar, her lyrics explored themes of sexual orientation, gender identity and reconciling religious beliefs while each song featured candid anecdotes and musings.

Following Mx Justin Vivian Bond was Angolan/Belgian artist Nástio Mosquito, performing a vocal piece in collaboration with Martin Hirsch of the Bauhaus University, Weimar. A mixture of spoken words and songs, the performance explores echoed and looped, building layers of meaning.

Concluding the fair’s series of performance interventions was a queer art collective SPIT! (Sodomites, Perverts, Inverts Together!). Founded by Carlos Motta, John Arthur Peetz, Carlos Maria Romero and the performance was staged by performers Joshua Hubbard, Carlos Mauricio Rojas, Claudia Palazzo, Malik Nashad Sharpe, Daniel Brathwaite-Shirley, and Despina Zacharopoulou.

\"SPIT! Manifesto\" at Frieze London 2017 YouTube play

Having been invited to create a new performance piece to be premiered at this year’s fair by Raphael Gygax (Curator at Migros Museum of Contemporary Art, Zurich and Frieze Project 2017 Curator), Carlos Motta and his fellow artists developed work in two parts exploring gender-based discrimination and oppression. First came The SPIT! Manifesto Reader, a collection of queer manifestos dating from the 1960s to the present. Then a performance intervention took over half a decade of queer activism. The starting point of the movement was to create blending choreography, songs and spoken words in an attempt to highlight discrimination and oppression based on gender and sexual orientation and to negotiate contemporary queer politics.

Though manifesting in starkly contrasting ways, all the Frieze London 2017 performances used the human voice to challenge societal norms and to explore identity politics, some more concretely than others.

This year, apart from the usual household names, Frieze London offers a strong contingent of emerging artists represented by young galleries.

 

Here are five artists to watch at Frieze London this year:

 

Tobias Spichtig

Swiss artist Tobias Spichtig’s multi-disciplinary work aims to capture the psyche of contemporary society. Combing elements of the figurative, the abstract and the surreal, most of the works on display are shown for the first time at Frieze. This year he is represented by German gallery Jan Kaps, which can be found in the Focus section of the fair along with 31 other young galleries.

Jan Kaps, booth H20

The Harrisons

Forming part of their series of “Survival Pieces,” the original portable orchard comprised twelve citrus trees, houses in hexagonal boxes above which individual lightboxes provided the vital ingredient. The installation was designed for the art gallery of the California State College at Fullerton and was nicknamed “the last orange orchard in Orange County” due to urbanization in the region.

 

See photographs, diagrams and plans of the original work and recreations of the trees themselves at the Various Small Fires (LA) booth.

Various Small Fires, booth H28

Courtesy of Naomi Sparks

Donna Kukama

As part of Frieze projects, South African performance artist Donna Kukama presents an interactive installation co-commissioned by the Middlesbrough Institute of Modern Art. With a backdrop of medicinal plants, audience members are invited to interact with the artist through candid conversations on the nature of value.

Kukama’s installation can be found just outside the main entrance to the fair (P1)

Kiluanji Kia Henda, Under the Silent Eye of Lenin (2017) © Frieze

Kiluanji Kia Henda, Under the Silent Eye of Lenin (2017) © Frieze

Kiluanji Kia Henda

Frieze Artist Award recipient Kiluanji Kia Henda’s immersive installation explores notions of personal identity and heritage in the context of Angola’s western colonization, the Cold War period and the country’s relationship with the USSR. The work draws parallels between the widespread practice of witchcraft during the Angolan Civil War and science fiction narratives employed during the Cold War. Soviet iconography is juxtaposed with traditional craftsmanship in this interdisciplinary installation.

Frieze Artist Award is situated between booths B1 and B2

Regina José Galindo, ‘Tierra’ (2013) © Regina José Galindo and Proyectos Ultravioleta

Regina José Galindo, ‘Tierra’ (2013) © Regina José Galindo and Proyectos Ultravioleta

Regina José Galindo

This multi-media selection of video, drawings, and photography by Guatemalan artist Regina Galindo explores a wide array of themes. These themes include gender, the environment, immigration, violence, and labor in the context of post-war Guatemala. If we look at Galindo’s work as a whole, her work can be read an interrogation of the relationship between neoliberalism and the human body. Represented by Proyectos Ultravioleta, the selection of work also features the international debut of José Galindo’s bilingual poetry anthology ‘Dejen de disparar / Stop Shooting,’ presented for the first time to an English-speaking audience.

Proyectos Ultravioleta, booth H19

 

 

Frieze Art Fair is taking place in Regents Park, London, From Thursday 5th October – Sunday 8th October 2017

Ndidi Emefiele

“I feel like everyone wants me to give them some drama about this show,” Touria El Glaoui, Founding Director of 1:54 Contemporary African Art Fair, said with a laugh, “but it’s actually been one of the easiest set-ups…with New York, there’s this window of opportunity and visibility for the artists and a unique engagement with institutions that you don’t really see in any other city.”

1:54 was founded and organized by Moroccan curator Touria El Glaoui to improve the representation of contemporary African art worldwide.  Now, 1:54 is the foremost art fair dedicated to contemporary African art in the primary art market, showing in London during the October Frieze Week since 2013, and 1:54 NY during the May Frieze New York since 2015.  Entering its third year in New York, 1:54 NY is showcasing over 60 emerging and established contemporary artists, bringing 19 international galleries together from 10 countries.

1:54 view

1:54 aerial view. Courtesy Marissa Nadeau

1:54 is a ratio that runs parallel to the entirety of the fair’s mission, representing the entirety of Africa: 1 continent, 54 countries.  As the title suggests,  1:54 tries to preserve rather than blend together the differences between each country’s histories and cultures. Taking a look at this year’s 1:54 NY, the fair exemplifies its goal in representing individual countries, illustrating local development with global engagement, while connecting to common themes such as female representation, a hugely controversial topic in America as well as worldwide.

The role of gender identity and the fragile state of humanity come up in many of the pieces, always based from the African perspective, which within these topics play a fascinating role.  For instance, Lawrence Lemaoana, an artist from South Africa represented by Johannesburg-based Afronova Gallery, creates graphic works that critically engages with the media in present-day South Africa.  He views the relationship between media and the people of South Africa as extremely problematic and expresses this view through his trademark cynicism emblazoned on kanga fabric, a traditional fabric with its own complex history.  In one of Lemaoana’s kanga canvases at 1:54 NY, the phrase “MY FATHER WAS A GARDEN BOY” reflects upon the time of Apartheid when the easiest job for a man to get was a gardener, and those who worked as gardeners were called “garden boys” by their white employers.  Lemaoana brings up a part of South African history on a piece of fabric that lines modern day streets at markets.  Kanga fabric is also considered to be a female cloth, so along with telling the story of his father in the past, Lemaoana is toying with gender identity and who the use of this fabric is truly for.

Lawrence Lemaoana

Lawrence Lemaoana, My Father Was a Garden Boy. Courtesy Marissa Nadeau

Nigerian-American artist Wura-Natasha Ogunji’s diasporic view and love for the fusion of opposites creates an upfront look into micro- and macro-relationships.  She was born in the United States but currently lives in Nigeria (and is represented by London-based gallery 50 Golborne), allowing her to mold the experience of a life spent between two countries.  Her delicate lines build private and public scenes on trace architect paper, the translucency of the background and fragility of the paper’s surface translating to a bigger idea of the delicacy of humanity.  Just like in Lemaoana’s work, Ogunji is playing with bigger topics that are experienced worldwide but adds personal elements such as her life as a Nigerian-American woman.

Wura-Natasha Ogunji, The Atlantic. Courtesy Marissa Nadeau

Someone to keep an eye on? Nigerian artist Ndidi Emefiele (featured image). Represented by London-based gallery Rosenfeld Porcini, her work is confrontation and humorous, mixing the contemporary (cut-outs taken from magazines or printed from Instagram) with the traditional (Nigerian dress colors or patterns found in modern settings).  The pieces showcased at 1:54 NY hold a message of female empowerment, while the glasses found on most of the girls act as a layer of protection from the world, particularly the “male gaze”.  In her 2017 piece Taxi, the exposure of the subject’s skin in comparison to the Matisse-like figures dancing in the background paintings is just one of the contemporary vs. traditional comparisons that can be immediately interpreted.  Emefiele confronts popular topics such as gender as a social construct and the portrayal of female bodies within the media while incorporating traditional patterns, foods, and stances from her Nigerian roots.

1:54 NY does an incredible job of not only representing separate African countries but respecting those differences while creating worldwide topics that can be picked up by anyone who comes to visit the fair.  


1:54 NY

May 5th – May 7th 12-8pm

Pioneer Works (159 Pioneer Street), Brooklyn

Ryan_Stanier

In 2011 Ryan Stanier launched the Other Art Fair. Eliminating the middleman (galleries), Ryan created a space for artists to come and show their talent. Tremendously popular from the very beginning, the fair attracts more than 40,000 visitors and exhibits over 100 artists. The last London edition opening featured 130 contemporary artists, art investment tours and the much-anticipated Virtual Reality project, Underworld, by the Guardian. I met with Ryan in the hip part of Coven Garden last week to discuss how it all started and what we can expect in the future.

How did you come up with the idea for the Other Art Fair?

I don’t really have an art background. I got interested in art by being constantly surrounded by friends who are artists. And then I saw my friends struggle to produce an exhibition: it could be an amazing show, but nowhere accessible. That was the problem; it is so expensive to rent a space that artists have a little way out. They have little exposure; dealers and publicists don’t usually visit this kind of shows.

I thought, what if I create a show of the kind, but in Central London? It came out naturally, out of love for my friends. And that’s the thing: unless it comes out of your interest and passion, it has low chance to succeed. The material part was completely irrelevant at that stage. I looked for a space for a while, browsing around London, calling agents, and after hundreds of calls, I found one. I set up an informal gallery in Coven Garden in 2009. It was good timing, as after the financial crisis a lot of spaces were empty. We stayed at that place for a while putting up shows, selling art…

I realized after a while that I don’t want to be a gallerist. It wasn’t something I was interested in. My background in events gave me an idea to create a fair for artists, without galleries being involved. And so, the fair for the artists who don’t have an exclusive contract with a gallery was launched.

Did you think about the competition, big shots like Frieze?

Yes, but it’s a completely different market. We created a space where new collectors can come and buy art. We all go to big art fairs, but we don’t buy anything. There’s an experience, for sure. With that in mind, we decided to create something more accessible, more fun, and equally aspirational. We always knew how we are different with a unique position in the market. It’s all about the artists. People like Gordon Ramsey visit, we’ve been working with UBS for a while to create artworks for their offices… We’re also looking to launch an art prize.  We promote our artists and a lot of them make contacts through the Other Art Fair. It’s the same cost to rent a stand for everyone, so it comes down to the artists to make the most out of the fair.

How does the selection process work?

The upcoming fair had 1100 applications and we only have 100 slots. There’s a panel that selects artists, simply saying ‘yes’ or ‘no’. We’re interested in different types of mediums, so there are no specific selection criteria.

Who is your target customer?

It varies. We try to create a unique experience like nowhere else. We have a guest artist each fair, usually a known figure in the arts. For example, last year we had Tracy Emin create exclusive work for us in editions of 500, 50 pounds each. So, someone who has never bought art before could afford to buy an Emin. More than 50% of our audience has never bought art before, so we’re focusing on this ‘new collector’ type. The Other Art Fair is also interesting, it’s not intimidating. It’s never the same. What breaks all the barriers, I think, is that anyone can talk to artists and not a gallery sales person.

Tell me about your recent partnership with SaatchiArt.

It started last July. SaatchiArt is the biggest platform for artists, so we created the partnership where all the Other Art Fair artists are now available on SaatchiArt all year round. It came from my initial idea of how to help artists sell their work and create opportunities throughout the year.

Your first international edition was in Sydney last year. Why go to Australia first, and not, say, New York?

The city like London has around 30 art fairs a year, New York – twice more. In Sydney, there are only two art fairs every other year and such an enthusiasm for the arts from the public. It was a natural decision.

This year you’re expanding to New York, but not during the Frieze Week. Why?

In London, we run fairs both during the Frieze Week in October and one in the spring. The thing is, we haven’t noticed a large difference in visitor numbers and sales between the two. So, in NY we decided to develop a clear message about who we are and see who is interested in joining. We’re also expanding to Europe next year with 11 art fairs throughout the year.

Do you personally prefer museums or art galleries?

Museums. There’s no pressure and, you know, there are more impressive shows.

Do you have an advice for someone trying it out in the art world?

Don’t get overwhelmed by tradition. Don’t buy into it. Everyone will have to adapt to innovation.

 

P.S. Keep an eye on the place, in a few years it could be in your town.

“I see life as a passageway,
with no fixed beginning or destination”
– Do Ho Suh

Humanity is often focused upon the destination of life rather than the journeys travelled. These journeys are the ones that result in a life worth living, instead of a life in which the centre of attention revolves around the end result. To be obsessed with the end result of an endeavour, as opposed to living in the present, is the very premise that the artist Do Ho Suh (b.1962, Seoul, Korea) challenges in his new exhibition, ‘Passage/s’.

Currently on display at the Victoria Miro Gallery, London, Suh’s body of work questions the boundaries of identity as well as the global connection between individuals and groups. After growing up in South Korea, the artist has moved and lived in many different countries, immersing himself in the culture of each one of them. In his work he aims to create a global connection between his identity, his previous destination, and his current journey. He establishes that his own understanding of ‘home’ is both a physical structure and a lived emotional experience. In this sense, the physical structure of a ‘home’ can only be described as the building or property in which one has lived, whereas the home as an emotional experience is documented in the adventures and memories of life. I

Do Ho Suh. Left: Staircase, Ground Floor, 348 West 22nd Street, New York, NY 10011, USA, 2016. Right: Main Entrance, 348 West 22nd Street, New York, NY 10011, USA, 2016. Installation view, Passage/s, 2017, Victoria Miro Gallery II, London. Courtesy the artist, STPI – Creative Workshop & Gallery, Singapore, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.

Beginning upstairs on the First Floor, the visitor is immediately transported into the many ‘homes’ of the artist. Each independent aspect of a home, whether it is a simple light bulb or a complicated fuse box, has been carefully replicated by Suh’s meticulous hand. Polyester, which is both a fluid and a translucent medium, is the main choice of material for Do Ho Suh. He uses to replicate everyday objects, and its translucency amplifies the importance of concentrating upon the ‘passageways’ of life: you must be able to travel through each destination in order to continue growing and developing.

Do Ho Suh, Passage/s: The Pram Project, 2014-2016. Installation view, Do Ho Suh: Passage/s, Victoria Miro Gallery I, London. Courtesy the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro. Photograph: Thierry Bal. © Do Ho Suh.

This concept is heightened in ‘Passage’s: The Pram Project’, a video installation recorded from the perspective of three different cameras. Taped from the comfort of his daughters pram, the video removes the viewer from the controlled environment of the gallery, and places them into the charming streets of Islington and Seoul. Surrounded by the child’s adoring laughter and babbling, we are reminded of the innocence of humanity and the importance of ‘home’ as an emotional connection, something which provides stability and safety.

Continuing on the Lower Floor, Do Ho Suh displays large threaded drawings replicating doorways and stairwells. Each entrance has been accurately copied from the multiple buildings in which Suh has lived, exaggerating how the outside exterior of a ‘home’ does not necessarily reflect the individual immersed within it. For example, not everyone who lives in a London home is British – the immersion of cultures is the most important aspect to create a global identity.

Do Ho Suh. Left: Staircase, Ground Floor, 348 West 22nd Street, New York, NY 10011, USA, 2016. Right: Main Entrance, 348 West 22nd Street, New York, NY 10011, USA, 2016. Installation view, Passage/s, 2017, Victoria Miro Gallery II, London. Courtesy the artist, STPI – Creative Workshop & Gallery, Singapore, and Victoria Miro, London. Photograph: Thierry Bal. © Do Ho Suh.

The exhibition arguably concludes with the most impressive component of Do Ho Suh’s work. His series ‘Hubs’ occupies the entirety of the Upper Gallery, where nine reproductions of the apartments in which Suh has called ‘home’ are on display. The transient polyester spaces are connected by threaded doorways and moving doors, enticing the viewer to walk through and experience each room. Although interactive, ‘Hubs’ removes the practical function of a home: door hinges and handles remain motionless while electrical outputs and pipes are frozen without power. By referring back to Suh’s original premise of the home as a physical entity, as well as an emotional experience, we are placed in this complex structure as both ‘private’ and ‘public’ viewers. In one way the elongated home visualises the ‘private’ life of an individual, while the ‘public’ global identity seeps into the design through the fragile material.

Do Ho Suh: Hub, 260-10 Sungbook-dong, Sungbook-ku, Seoul, Korea, 2016; polyester fabric on stainless steel pipes; 296.1 x 294.7 x 131.2 cm; 116 5/8 x 116 1/8 x 51 5/8 in; © Do Ho Suh; Courtesy of the artist, Lehmann Maupin, New York and Hong Kong, and Victoria Miro, London.

I encourage you not just to see the exhibition first-hand, but to interact and engage with the artwork. The unfortunate irony of this brilliant collection of work is the influence of present day technology, and our infatuation and dependence upon our mobile phones. The majority of people visiting exhibitions today try to capture every moment and work of art into a single photograph. This degrades the original intentions of Do Ho Suh and his exploration of life as a journey, as a photograph destroys the steps travelled in order to take it. Life is about the experiences seized by your eyes, not the artificial screen of a phone or lens of a camera; rather than living through your phone, live through reality.

Do Ho Suh‘s ‘Passage/s’ is on display at the Victoria Miro Gallery, London until 18th March, 2017.

Martin Kline, Palm Beach #5, at Art on Paper

It’s the first week of March in New York City, which for art lovers only means on thing: Armory Week! In its third edition, the Art on Paper 2017 fair exhibits paper-based art that frequently pushed the boundaries of what a work on paper could be. The medium-driven focus of the fair sets itself apart from the other larger-scale Armory Week fairs. The 84 galleries hosted at Art on Paper are from all over the United States, with several international additions from Barcelona, Buenos Aires, Kyoto, London, Shanghai, and Copenhagen.

Jaq Belcher, Lions Gate, hand-cut paper, 8,300 cuts, copyright Heather Gaudio Fine Art

Upon entering the space, visitors are greeted by two site-specific installation pieces. Tahiti Pehrson’s “The Fates” is composed of three colossal, 17-foot towers of hand cut paper, and Timothy Paul Myers, in collaboration with Andrew Barnes, crafted a domestic installation made entirely of felt. These are the first of many works of art that incorporate and utilize paper, but are not necessarily what you would think of when you hear the term ‘art on paper.’

There was a wide scope of artists included familiar modernists like Picasso & Matisse in the Master Fine Arts Gallery, to the all-star lineup of Sol LeWitt, Ed Ruscha, John Baldessari and Alex Katz at Richard Levy Gallery, and a few unheard of standouts. My favorites included Martin Kline’s rhythmic dry brush oil series “Palm Beach” (cover image) at Heather Gaudio Fine Art, whose bright blue compositions imitate patterns that occur in nature. Also in Heather Gaudio Fine Art were a few equally mesmerizing works by Jaq Belcher, whose sculptural, hand-cut leaves in “Lions Gate” cling to a single piece of paper. More of a traditionalist, Ekaterina Smirnova “Blue Path” at Villa del Arte Galleries appears to be an updated, watercolor version of French Impressionism. And Donald Martiny, whose works appear at Spender Gallery, resemble thick, impasto paint strokes but are actually made of pigmented polymer, and are so three-dimensional that he blurs the line between sculpture and painting.

Ekaterina Smirnova, Blue Path, watercolor. Courtesy of Villa del Arte Galleries

George Billis Gallery’s display of Steven Kinder’s geometric abstractions and the hodgepodge of artists grouped together in Tamarind Institute were the more underwhelming booths. The most bizarre were the black and white photographs by Morton Bartlett that showed kitschy images of dolls posed in occasionally provocative positions. His display in Marion Harris’s booth was visually eye-catching… When you stepped close enough to realize the subject matter.

Donald Martiny, Study for Cofan, at Art on Paper

Donald Martiny, Study for Cofan, polymer and pigment on paper

Amid the abundance of things to see, and the frenzy of visitors and art professionals, there were a few booths that stand out in my memory. Gallery Poulsen was one with the overtly political works of art, including one entitled “What the Fucking Fuck Just Happened” by William Powhida, as well as Artemesia’s installation created from torn pages of used books, and the technicolor portraits at Sasha Wolf Projects.

Art on Paper is open at Pier 36 (299 South Street) on the Lower East Side of Manhattan on March 2-5

Knock knock! Art news here! London Art Fair 2017 opened to the public and 129 galleries showed some of the most exciting, fresh and sexy art collections! The social confusion of 2015-2016 seems to have created the environment for the most beautiful clarity in art. Art screams at you this year. It wants to be on your wall, not in a museum.

John Piper, Public Bar. Courtesy of the Waterhouse & Dodd

Many young entrepreneurs are now looking to invest in an alternative asset class. They want to use their new fortunes to invest in something that gives them a visual satisfaction. They are aware of the fact that they might discover a new Richter. Galleries are exploiting this feeling with marketing, doing a great job parenting the relationships between young artists and young collectors. Talent is being exploited beautifully and respectfully and not just experimented with.
This year’s London Art Fair enabled collecting at all levels, from museum quality Modern British art to the very new in contemporary art. 17 different countries including China, France, Germany, South Korea and the USA marked the most international edition of the fair to date.

Juliette Losq, Lethe. Courtesy of the Waterhouse & Dodd

The Fair also welcomed The Lightbox Woking as their 2017 Museum partner, celebrating their 10th anniversary with a curated exhibition of highlights from The Ingram Collection entitled ‘Ten Years: A Century of Art’, situated at the front of the fair.
As new features and highlights for 2017, The London Art Fair offers Modern British art with Waterhouse & Dodd’s debut in the pavilion; new galleries such as Christopher Kingzett Fine Art, Katharine House Gallery, Beaux Arts London and Peter Harrington Gallery. Many contemporary art galleries are making their international debut at the fair, including Pi Artworks (Istanbul/London), Atelier Aki (Seoul) and Victor Lope Arte Contemporaneo (Barcelona). The Art Projects ‘Dialogues’ curated by Miguel Amado, presented a series of five collaborations between galleries encouraging new forms of representation and fostering relationships on a global scale. ‘Stranger Collaborations’ showcases artistic collaborations formed via the internet and is curated by Pryor Behrman in the Art Projects Screening Room. The Fair also highlighted ‘Photo50: Gravitas’ a group of exhibitions of lens-based works curated by Christian Monarchi, founding editor of Photomonitor and contemporary Korean artist Jaye Moon’s LEGO street art sculptures, installed by Hanoi Gallery in locations throughout the Fair.
London retains the status of a global arts hub even post-Brexit and as Sarah Monk, Director of the London Fair, commented: ‘the exhibitors are used to riding out the ups and downs of the economy.’ Indeed, the overall feeling that I got from last year was that art is thriving in today’s context.

Jeff Robb, Unnatural Causes 20. Courtesy of the Pontone Gallery

Our top pick galleries this year were: Flowers, Waterhouse & Dodd, Tag Fine Art with the Hanbury Collection, Sardac Gallery, GBS Fine Art, Pontone Gallery and of course Hanmi, which was also one of our favorites of last year. Make sure to stop by Skipwiths as well to see amazing Kwang Young Chun, a star on the rise.
There is a radical return to beauty: nature, simplicity, clean shapes and colors and I must emphasize again, a return to sexy! Art this year is refreshing, cool, exciting and it could just turn into a love affair. In a time when experts fail to give the right predictions and answers, when society is at a turning point, art seems to be the way out for life and society. This little black book of the global feeling gathers all the cultural influences, interconnections and togetherness against all odds.
Art is real and real has just got surreally good!

oleg-kulik

The “Kollektsia!” exhibition at the Pompidou Center in Paris was born out of a donation of more than 250 artworks from the Vladimir Potanin Foundation, collectors, artists and their families. While not being too exhaustive, this ensemble of works by major Russian artists adequately offers a panorama of some forty years of contemporary art in the USSR and then in Russia, covering the most important movements. It includes works by confrontational artists created outside official structures, from the Moscow conceptual school to Sots Art, from non-conformism to perestroika (a political reform within the Communist Party of the Soviet Union during the 1980s, widely associated with Soviet leader Mikhail Gorbachev and his glasnost [openess] policy reform).

The first section of the show is dedicated to non-conformist art since the late 1950s when artists revived the aesthetic practices of the avant-garde and sought innovations of their own formal approach. My favourite pieces are the “Milk Box” sculpture (1970) by Igor Shelkovski, a hanging object called Space-Movement-Infinity — the first kinetic work in postwar Russian art and some intriguing photographic works by Francisco Infante-Arana. The non-conformist artworks are not following a homogeneous movement with shared objectives. However, as a whole they represent the budding diversified creativity confronting the strictly controlled official structures in art in the USSR.

andrei-monastyrsky

Andrei Monastyrsky, I Breathe and I Hear, 1983. Image courtesy of Centre Pompidou

My favourite section of the exhibition is of the more playful Sots Art, invented by Komar and Melamid to subvert, in a Pop-art way, the codes of the mass propaganda that saturated Soviet life. In contrast to the Pop artists — confronted by a superabundance of consumer goods — Sots artists, such as Alexander Kosolapov, Boris Orlov and Leonid Sokov, sought to demythologize official cliché and the ideological environment of the Soviet society through absurdity and paradox. For instance, the eye- and phone-camera-catching “Malevich-Marlboro Triptych” (1985) by Alexander Kosolapov demonstrates how the artist drew on broad iconographic sources from both Soviet and Western clichés while using an advertising image. On the other hand, Leonid Sokov’s hanging sculpture “Glasses for Every Soviet Person” (1976) delivers ironic humour through simple graphics and raw wooden texture.

Alongside Sots Art, the 1970s brought about Moscow Romantic Conceptualism which accord greater importance to text and language, with artists working at the intersection of poetry, performance and visual art, such as Dmitri Prigov and Andrei Monstyrsky. The latter advocated a conceptual art that reflected the ascendancy of literature in Russian culture. A section of the exhibition pays homage to Dmitri Prigov who was known for writing verse on cans. The conceptualists also embraced the power of text through performance, such as “I Breathe and I Hear” (1983) by Andrei Monstyrsky, who is a part of the Collective Actions group; the group taht has carried out a lot of planned performances.

The onset of perestroika brought an exploding sense of freedom and accelerating artistic processes from the mid-1980s onwards. Following the sudden liberalization, artists were then able to take part in exhibitions and find a place on the international art arena. This period in Russian history not only witnesses the diversifying artistic approaches, but also paved the way for legitimizing of formerly marginalized art. In 1988, a first auction organised by Sotheby’s in Moscow gave a tangible value to unofficial art, and the boundary between official and unofficial abruptly disappeared. In this sense, the impressive “Last Supper” (1989) by Andrei Filippov, with hammers and sickles on a red table, is one of those works marking the end of “unofficial art” while it preceded the dissolution of the Soviet Union. Perhaps some of Yuri Leridrman’s works in 2009 displayed at the exhibition could reflect this lively flourishing of creative energies in post-Soviet era; the artist juxtaposed painted plants onto collage of newspapers, thereby transforming textual material into images.

 

“Kollektsia!”, 14 September 2016 – 27 March 2017, Centre Pompidou, Paris.

Touria-el-Glaoui

I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.

Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.

While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.


You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?

I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.

How did you personal background (your farther is a famous artist) influence you throughout your career?

Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.

How did the idea for 1:54 come about? What challenges did you face/still facing?

When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.

Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?

As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.

Who’s your favourite artist?

This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.

I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.

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1:54 Contemproary Art Fair, Somerset House Courtyard View. Zak Ove installation. Courtesy of Artsy.

Who are the artists to watch at 1:54 this year in London?

I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.

What are your future plans for the fair and beyond?

1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.

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