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tuseriesdetv · 5 years ago

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Guía de series: Estrenos y regresos de diciembre 2019

Acaba el año y no puedes perderte las últimas novedades. ¿Ya has hecho balance? ¿Cambiará algo con estas nuevas propuestas?

¡Feliz diciembre!

Leyenda:

Verde: series nuevas.

Rojo: series de las que haremos reviews semanales.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tv movies, documentales, especiales o pilotos.

Morado: season finales.

Púrpura: midseason finales.

Calendario de series

1 de diciembre:

Eastsiders (4T y última completa) y Dead Kids en Netflix

The War of the Worlds en BBC One

Godfather of Harlem (1T finale) en Epix

4 de diciembre:

Vikings (6T y última) en History

Foodie Love (1T completa) en HBO

The Moodys (1T) en FOX

5 de diciembre:

Tell Me a Story (2T) en CBS All Access

Merlí: Sapere Aude (1T completa) en Movistar+

V Wars (1T completa), Home for Christmas y A Christmas Prince: The Royal Baby en Netlix

Same Time, Next Christmas en ABC

6 de diciembre:

The Marvelous Mrs. Maisel (3T completa) y Inside Edge (2T completa) en Amazon

Reprisal (1T completa) en Hulu

Días de Navidad, Fuller House (5aT completa), Triad Princess (1T completa), Virgin River (1T completa), The Confession Killer y Marriage Story en Netflix

Truth Be Told (1T) en Apple TV+

The Pack (3T) en HBO

See (1T finale) en Apple TV+

7 de diciembre: Steven Universe Future en Cartoon Network

8 de diciembre:

The L Word: Generation Q (1T) y Work in Progress (1T) en Showtime

Mrs. Fletcher (1T finale) y Silicon Valley (series finale) en HBO

Madam Secretary (series finale) en CBS

9 de diciembre:

Family Reunion (especial Navidad) en Netflix

Traces (1T) en Alibi

10 de diciembre: The Moodys (1T finale) en FOX

11 de diciembre:

Castle Rock (2T finale) en Hulu

South Park (23T finale) en Comedy Central

13 de diciembre:

The Expanse (4T completa) en Amazon

Runaways (3T y última completa) en Hulu

6 Underground en Netflix

14 de diciembre: Dial M For Middlesbrough en Gold

15 de diciembre: Watchmen (1T finale) en HBO

16 de diciembre:

Sticks and Stones (1T) en ITV

Good Trouble (especial Navidad) en Freeform

17 de diciembre: The Purge (2T finale) y Treadstone (1T finale) en USA Network

18 de diciembre:

Soundtrack (1T completa) en Netflix

Sticks and Stones (1T finale) en ITV

The Moodys (1T finale) en FOX

19 de diciembre:

A Christmas Carol en FX

Sacrifice en BET+

20 de diciembre:

The Witcher (1T completa) y The Two Popes en Netflix

The Aeronauts en Amazon

In The Long Run (especial Navidad) en Sky One

The Morning Show (1T finale) y For All Mankind (1T finale) en Apple TV+

Velvet Colección (series finale) en Movistar+

Van Helsing (4T finale) en Syfy

22 de diciembre: His Dark Materials (1T finale) en BBC One

24 de diciembre: Lost in Space (2T completa) en Netflix

26 de diciembre: You (2T completa) en Netflix

27 de diciembre:

The Gift (1T completa) en Netflix

The Mandalorian (1T finale) en Disney+

29 de diciembre:

Dare Me (1T) en USA Network

Mr. Robot (series finale) en USA Network

30 de diciembre: Alexa & Katie (3T completa) en Netflix

31 de diciembre: El vecino (1T completa) en Netflix

Estrenos de series

Foodie Love (HBO)

Laia Costa (Polseres vermelles, Cites) y Guillermo Pfening (Supermax, Nadie nos mira) interpretan a dos jóvenes que se conocen a través de una app de citas para amantes de la comida. Podremos ver también a Greta Fernández (La hija de un ladrón, Elisa y Marcela), Natalia de Molina (Vivir es fácil con los ojos cerrados, Quién te cantará), Yolanda Ramos (Paquita Salas, Benvinguts a la família), Nausicaa Bonnín (Sé quién eres, Servir y proteger), Eloi Costa (Pieles) o el chef Ferran Adrià.

Escrita y dirigida por Isabel Coixet (Mi vida sin mí, La librería). Ocho episodios.

Estreno: 4 de diciembre

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The Moodys (FOX)

Adaptación de la comedia australiana que nos mostrará las distintas reuniones de la familia Moody a lo largo del año, esta vez en Navidad. Protagonizada por Denis Leary (Rescue Me, Sex&Drugs&Rock&Roll), Elizabeth Perkins (Weeds, Sharp Objects), Jay Baruchel (Man Seeking Woman, This Is The End), Chelsea Frei (Sideswiped, Victoria Gotti: My Father's Daughter) y François Arnaud (UnREAL; Midnight, Texas). Escrita y producida por Rob Greenberg (Frasier, We Are Men), Bob Fisher (Sirens, Sex&Drugs&Rock&Roll) y Tad Quill (Scrubs, Angel from Hell). Seis episodios. Estreno: 4 de diciembre

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V Wars (Netflix)

Adaptación de la saga de novelas de Jonathan Maberry en la que una epidemia mortal que convierte a la gente en depredadores enfrenta a la sociedad y también a un científico (Ian Somerhalder; The Vampire Diaries, Lost) y a su mejor amigo (Adrian Holmes; Arrow, Continuum), ahora líder de los vampiros, mientras se forja una guerra entre los dos bandos. Completan el cast Jacky Lai (Beyond), Peter Outerbridge (Orphan Black, Nikita), Laura Vandervoort (Smallville, Bitten), Kyle Breitkopf (Being Human, Rusty Rivets) y Kimberly-Sue Murray (Killjoys). Escrita por William Laurin y Glenn Davis, creadores de Missing y Aftermath. Diez episodios. Estreno: 5 de diciembre

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Reprisal (Hulu)

Tras haber sido dada por muerta, una implacable femme fatale (Abigail Spencer; Timeless, Rectify) planea su venganza contra una banda de fanáticos de los coches. Con Rodrigo Santoro (Westworld, Lost), Mena Massoud (Jack Ryan, Aladdin), Madison Davenport (Sharp Objects, From Dusk Till Dawn), Rhys Wakefield (True Detective, Home and Away), David Dastmalchian (MacGyver, Twin Peaks), W. Earl Brown (True Detective, I'm Dying Up Here), Gilbert Owuor (Goliath, Mute), Rory Cochrane (CSI Miami, Argo), Craig Tate (Snowfall, Aquarius), Wavyy Jonez (Unsolved, See You Yesterday), Shane Callahan (Outsiders, Under the Dome) y Lea DeLaria (Orange Is the New Black). Creada, escrita y producida por Josh Corbin (StartUp). Diez episodios.

Estreno: 6 de diciembre

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Días de Navidad (Netflix)

Miniserie que seguirá a Sofía, Esther, María y Valentina, cuatro hermanas unidas por un secreto, en tres etapas distintas de la vida pero siempre durante el día de Navidad en la casa familiar en la montaña. Protagonizada por Victoria Abril (Nadie hablará de nosotras cuando hayamos muerto, Kika), Verónica Forqué (Kika, Bajarse al moro), Ángela Molina (Carne trémula, Las cosas del querer), Elena Anaya (La piel que habito, Habitación en Roma), Verónica Echegui (Fortitude, Yo soy la Juani), Nerea Barros (La isla mínima, El Príncipe), Charo López (Secretos del corazón, Lo más natural), Susi Sánchez (La enfermedad del domingo, La piel que habito), Alicia Borrachero (Crematorio, Hospital central), Francesc Garrido (Sé quién eres, Gran reserva), Carla Tous, Anna Moliner (Cites, Tiempos de guerra), Miquel Fernández (Cites, Fariña), David Solans (Merlí, Bajo sospecha), Antonio Dechent (Sé quién eres, La peste), Gonzalo Cunill (La señora, Bandolera), Nausicaa Bonnín (Sé quién eres, Servir y proteger), Iván Morales (Gran hotel, El cor de la ciutat), Manel Barceló (Com si fos ahir, El cor de la ciutat), Carles Arquimbau (Com si fos ahir, Cuéntame cómo pasó), Julio Manrique (Isabel, Porca misèria), Sarah Perriez, Andreu Benito (Sé quién eres, Polseres vermelles), Carme Sansa (Nit i dia, Joc de dos), Berta Castañé (Com si fos ahir, Bajo sospecha), Mar Ayala (Com si fos ahir) y Mariona Pagés. Creada y dirigida por Pau Freixas (Polseres vermelles, Sé quién eres). Tres episodios. Estreno: 6 de diciembre

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Triad Princess (Netflix)

Angie (Eugenie Liu; The 9th Precinct, Behind Your Smile) ha crecido a la sobra de su padre, miembro de una tríada, pero decide desafiar sus deseos y empezar su propia vida trabajando como guardaespaldas encubierta de un actor famoso (Jasper Liu; Plant Goddess, When I See You Again). Escrita y dirigida por Neal Wu (At Cafe 6). Seis episodios.

Estreno: 6 de diciembre

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Virgin River (Netflix)

Adaptación de la serie de novelas románticas de Robyn Carr centrada en Melinda Monroe (Alexandra Breckenridge; This Is Us, The Walking Dead), una mujer que contesta a un anuncio para trabajar como enfermera practicante en un remoto pueblo de California y así dejar atrás sus dolorosos recuerdos. Con Martin Henderson (Grey's Anatomy, The Ring), Tim Matheson (Hart of Dixie, The Good Fight), Annette O'Toole (Smallville, It), Jenny Cooper (Law & Order: True Crime, Open Heart), David Cubitt (Medium, Van Helsing), Lexa Doig (Continuum, Arrow), Daniel Gillies (The Originals, Saving Hope), Lauren Hammersley (Orphan Black, Mr. D), Benjamin Hollingsworth (Code Black, Cult), Ian Tracey (Continuum, Travelers) y Colin Lawrence (The Killing, Riverdale). Escrita y producida por Sue Tenney (7th Heaven, Good Witch). Diez episodios. Estreno: 6 de diciembre

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Truth Be Told (Apple TV+)

Adaptación de la novela 'Are You Sleeping' de Kathleen Barber (2017), en la que una podcaster de true crimes (Octavia Spencer; The Help, Hidden Figures) investigará de nuevo el caso de un asesino en serie (Aaron Paul; Breaking Bad, The Path), incriminado por ella por matar al padre de dos gemelas idénticas (Lizzy Caplan; Masters of Sex, Castle Rock), quien ahora dice haber sido inculpado por un crimen que no cometió. Con Elizabeth Perkins (Weeds, Sharp Objects), Ron Cephas Jones (This Is Us, Luke Cage), Mekhi Phifer (ER, Frequency), Michael Beach (The 100, Third Watch), Tracie Thoms (Love, UnREAL), Haneefah Wood (One Day at a Time, Zoe Ever After), Tami Roman (Moonlight), Annabella Sciorra (The Sopranos, The Hand That Rocks the Craddle), Nic Bishop (Body of Proof, Snowfall), Molly Hagan (Jane the Virgin, iZombie), Rico E. Anderson (Hit the Floor), Everleigh McDonell (Good Girls), Billy Miller (Ringer, Ray Donovan), Brett Cullen (Devious Maids, Narcos), Hunter Doohan, Lyndon Smith (Crazy Ex-Girlfriend, Parenthood) y Katherine LaNasa (Imposters, Satisfaction).

Escrita por Nichelle Tramble Spellman (The Good Wife, Justified) y producida por Reese Witherspoon (Big Little Lies, The Morning Show). Diez episodios.

Estreno: 6 de diciembre

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The L Word: Generation Q (Showtime)

Continuación de la serie The L Word (2004-2009), que seguía las vidas personales y profesionales de un grupo de amigas lesbianas de Los Ángeles. Ahora, diez años después, conoceremos a un nuevo grupo de personajes LGBT que se suman a Bette (Jennifer Beals), Alice (Leisha Hailey) y Shane (Katherine Moennig). Con Arienne Mandi (In the Vault), Leo Sheng (Adam), Jacqueline Toboni (Grimm, Easy), Rosanny Zayas (Otherhood), Sepideh Moafi (The Deuce, Falling Water), Stephanie Allynne (One Mississippi), Brian Michael Smith (After, Queen Sugar) y Freddy Miyares (When They See Us). Escrita, dirigida y producida por Marja-Lewis Ryan. Ocho episodios. Estreno: 8 de diciembre

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Work in Progress (Showtime)

Comedia sobre una lesbiana gorda de cuarenta y cinco años de Chicago (Abby McEnany) cuya desgracia y desesperación la llevan a una relación amorosa intensamente transformadora. Completan el reparto Theo Germaine (The Politician), Karin Anglin, Celeste Pechous y Julia Sweeney (Saturday Night Live), que se interpretará a sí misma. Creada por McEnany junto a Tim Mason y escrita y producida por Lilly Wachowski (Sense8, The Matrix). Ocho episodios

Estreno: 8 de diciembre

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Traces (Alibi)

Una joven que aspira a ser ayudante de laboratorio (Molly Windsor; Three Girls, Cheat) descubre que el caso ficticio que está estudiando es muy parecido a uno de su pasado y tratará de llevar a un asesino frente a la justicia con la ayuda de dos investigadoras del SIFA -Scotish Institute of Forensic Science. Completan el reparto Laura Fraser (The Missing, Breaking Bad), Jennifer Spence (You Me Her, Travelers), Martin Compston (Line of Duty), Laurie Brett (EastEnders), Vincent Reagan (Delicious, The White Princess), Michael Nardone (Shetland, Silent Witness) y John Gordan Sinclair (Marple, Ill Behaviour). Basada en la idea del novelista Val McDermid y escrita por Amelia Bullmore (Scott & Bailey, This Life). Seis episodios. Estreno: 9 de diciembre

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Sticks and Stones (ITV)

Thomas Benson (Ken Nwosu, Killing Eve) es un padre y marido trabajador que suele liderar los equipos con los que debe conseguir nuevos clientes. Cuando se queda en blanco durante una presentación y pierde el nuevo acuerdo, aunque hace todo lo posible para recuperar al cliente, comienza a sentirse atacado y menospreciado. ¿Ha perdido su confianza y está paranoico o realmente su equipo y el mundo entero se han vuelto en su contra? Completan el reparto Ben Miller (Johnny English, Death in Paradise), Alexandra Roach (Utopia, No Offence), Sean Sagar (Top Boy, Our Girl), Susannah Fielding (Black Mirror, The Great Indoors), Gwilym Lee (Jamestown, Bohemian Rhapsody), Phoebe Nicholls (Fortitude, The Elephant Man), Ritu Arya (Humans, Doctors), Michael Cochrane (Downton Abbey, The Iron Lady) y Debbie Chazen (Holby City).

Drama psicológico escrito por Mike Bartlett (Doctor Foster, Trauma) y dirigido por Julia Ford (Safe). Tres episodios.

Estreno: 16 de diciembre

Soundtrack (Netflix)

Drama musical sobre las historias de amor que unen a varios personajes de Los Ángeles vistas a través de la música que les define. Con Jenna Dewan (Supergirl, Witches of East End), Madeleine Stowe (Revenge, Twelve Monkeys), Callie Hernandez (Graves, Too Old To Die Young), Paul James (Greek, The Path), Christina Milian (The Oath, Grandfathered), Jahmil French (Degrassi: The Next Generation, Let's Get Physical), Campbell Scott (Royal Pains, House of Cards), Marianne Jean-Baptiste (Broadchurch, Blindspot), Megan Ferguson (Grace and Frankie, Hart of Dixie) y Evan Whitten (The Resident, Mr. Robot).

Creada por Joshua Safran (Quantico) y escrita por Safran (Gossip Girl, Smash) y Korde Arrington Tuttle (Them: Covenant). Diez episodios.

Estreno: 18 de diciembre

A Christmas Carol (FX)

Miniserie basada en la novela de Charles Dickens (1843) en la que Ebenezer Scrooge (Guy Pearce; Memento, Mildred Pierce), un hombre viejo y amargado que odia la Navidad, recibe la visita de tres fantasmas que le muestran su pasado (Charlotte Riley; Peaky Blinders, Trust), su presente (Andy Serkis; The Lord of the Rings) y su futuro (Jason Flemyng; The Curious Case of Benjamin Button, The League of Extraordinary Gentlemen). Con Tom Hardy (Taboo, Peaky Blinders), Stephen Graham (Taboo, This Is England), Joe Alwyn (Boy Erased, The Favourite), Vinette Robinson (Sherlock, The A Word), Kayvan Novak (What We Do in the Shadows), Lenny Rush (Apple Tree House) y Johnny Harris (Fortitude, This Is England).

Escrita por Steven Knight (Peaky Blinders, Taboo), dirigida por Nick Murphy (Save Me, Prey) y producida por Ridley Scott (The Good Wife, The Terror) y Tom Hardy (Taboo, Venom). Tres episodios.

Estreno: 19 de diciembre

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The Witcher (Netflix)

Adaptación de la serie de novelas de Andrzej Sapkowski en las que se basan los videojuegos del mismo nombre. En ella, el brujo Geralt de Rivia (Henry Cavill; Man of Steel, Justice League), un cazador de monstruos modificado genéticamente, busca su lugar en un mundo violento en el que los humanos le temen o le desprecian. Con Freya Allan (War of the Worlds, Into the Badlands), Anya Chalotra (Wanderlust, The ABC Murders), Jodhi May (Game of Thrones, Genius), Björn Hlynur Haraldsson (Fortitude), Adam Levy (Knightfall, Snatch), MyAnna Buring (Ripper Street, Kill List), Mimi Ndiweni (Black Earth Rising), Therica Wilson-Read (Profile), Millie Brady (The Last Kingdom, Teen Spirit), Eamon Farren (Twin Peaks), Joey Batey (Knightfall, The White Queen), Lars Mikkelsen (House of Cards, Borgen), Royce Pierreson (Line of Duty, Murdered by My Boyfriend), Maciej Musial (1983), Wilson Radjou-Pujalte (Hunter Street), Anna Shaffer (Harry Potter, Hollyoaks), Rebecca Benson (The White Princess), Shane Attwooll (The Bastard Executioner), Luke Neal (Gunpowder), Matthew Neal (Gunpowder), Tobi Bamtefa (Tin Star), Sonny Serkis (The White Queen, The Casual Vacancy), Roderick Hill (Longmire, The Newsroom), Inge Beckmann (Troy: Fall of a City), Charlotte O'Leary, Natasha Culzac, Amit Shah (Jekyll & Hyde, The Hundred Foot Journey), Tom Canton (Death Comes to Pemberley) y Colette Tchantcho (The Witcher).

Escrita por Lauren S. Hissrich (The Defender, The West Wing). Ocho episodios. Ya está renovada por una segunda temporada. Estreno: 20 de diciembre

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The Gift (Netflix)

La vida perfecta de una joven pintora de Estambul (Beren Saat, Fatmagul) cambia completamente cuando conoce a un arqueólogo (Mehmet Günsür, Muhtesem Yüzyil) que descubre una relación entre ella y el templo más antiguo jamás descubierto.

Escrita por Sengül Boybas, Fatih Unal y Jason George (Scandal, Ingobernable). Ocho episodios. Ya está renovada por una segunda temporada.

Estreno: 27 de diciembre

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Dare Me (USA Network)

Adaptación de la novela de Megan Abbott (2012) que explora los celos, la lealtad, el miedo y las dinámicas de poder entre dos mejores amigas y animadoras de instituto de un pequeño pueblo del Medio Oeste, Addy (Herizen Guardiola, The Get Down) y Beth (Mario Kelly, Patricia Moore), tras la llegada de la nueva entrenadora (Willa Fitzgerald, Scream). Con Rob Heaps (Imposters), Zach Roerig (The Vampire Diaries), Paul Fitzgerald (Younger, Veep), Joyful Drake (Let's Stay Together), Tammy Blanchard (Tallulah, Into the Woods), Antonio J. Bell (Greenleaf), Alison Thornton (Girlfriends' Guide to Divorce, Dirk Gently), Tamberla Perry (Bosch, How to Get Away with Murder), Chris Zylka (The Leftovers, Twisted) y Taveeta Syzmanowicz (The Next Step).

Escrita y producida por Abbott. Ocho episodios.

Estreno: 29 de diciembre

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El vecino (Netflix)

Basada en el cómic homónimo de Santiago García y Pepo Pérez, nos habla de Javier (Quim Gutiérrez; Azuloscurocasinegro, Ventajas de viajar en tren), un joven en un momento difícil tanto personal como profesional que recibe los superpoderes de un extraterrestre que muere al caerle encima (Jorge Sanz; Si te dicen que caí, ¿Qué fue de Jorge Sanz?). Tendrá la ayuda de su vecino (Adrián Pino, Malviviendo) incluso para esconder su nueva identidad ante su novia periodista (Clara Lago; El viaje de Carol, La cara oculta). Con Catalina Sopelana (Quién te cantará, Matadero) y Sergio Momo (Zona hostil). Creada por Miguel Esteban (El fin de la comedia, Museo Coconut) y Raúl Navarro (El fin de la comedia, El intermedio), escrita por Carlos de Pando (El ministerio del tiempo, 7 Vidas) y Sara Antuña (La víctima número 8, Los hombres de Paco) y dirigida por Nacho Vigalondo (Colossal, Open Windows).

Estreno: 31 de diciembre

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caveartfair · 6 years ago

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Sotheby’s will auction off the prized collection of David Teiger, estimated to bring in over $100 million.

Peter Doig, Buffalo Station I, 1997–98. Estimate in excess of £6 million ($7.8 million). Image courtesy Sotheby's

As the fall contemporary art auctions get closer, the three major houses have started to trickle out consignment announcements, and today Sotheby’s dropped a major one. Over the course of multiple sales in London, New York, and Hong Kong, the auction house will offer prized works from the collection of David Teiger, the New Jersey collector who died in 2014 after amassing a vibrant, eclectic collection that began with a fascination with folk artists and turned to a devotion to iconoclastic contemporary artists. Sotheby’s expects the estate to bring in more than $100 million.

“A true visionary, David Teiger collected with an avant-garde spirit, often rejecting art world consensus to forge his own path,” Alex Branczik, the European head of contemporary art at Sotheby’s, said in a press release Thursday morning. “His collection reflects the early patronage he offered to young artists such as Mark Grotjahn, John Currin, and Glenn Brown, as well as to dealers such as Tim Blum, Andrea Rosen, and Gavin Brown. A time capsule of collecting in the late 1990s and early 2000s, this is one of those rare groups of works that perfectly capture the essence of the art and the spirit of collecting of its time.”

The first works from the collection will be sold in London, during the evening sales timed to when collectors are in town for the Frieze art fair. The selection includes two important works by Peter Doig, Buffalo Station I and Buffalo Station II (both 1997–98), inspired by photos Doig took after a Rolling Stones concert in Buffalo, New York. The sale will also include work by Grotjahn and Brown.

Upon his death, Teiger was eulogized in an obituary by Zoë Lescaze in ARTnews for his passionate style of collecting, as well as his quirky but generous spirit. He required all visitors to his home to wear custom deerskin moccasins to not get oil from human skin on the limestone. And in the obit, his personal assistant relayed a tale about Teiger, saying that once, when art handlers came to install work, he treated them to a full meal that he cooked, setting the table himself and putting out wine.

Proceeds from the Sotheby’s sales, which will continue through May of next year, will benefit the Teiger Foundation.

from Artsy News

#Artsy News

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proauction-blog · 8 years ago

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Top Ten Living British Artists at Auction

This summer, we’re taking a look once again at the top ten British artists over the past ten years. Looking at the artnet Price Database, we kick off with the top artists by lot, and then give a list of artists by value over the same period. Comparing it to last year’s ten-year look at artnet News’ most expensive living British artists at auction, some of the same names pop up—Damien Hirst, Peter Doig, and Bridget Riley—though some of the rankings have shifted a bit. This year Doig edged out Hirst for the top slot after one of his paintings scored a record $25.9 million this past May. Among new artists who broke into the top slots this year were more YBAs including Chris Ofili and Tracey Emin. Also notable was the addition of Anish Kapoor since many of the top prices garnered at auction tend to be for paintings rather than sculpture. Meanwhile, perennial contemporary favorites including Glenn Brown, David Hockney, and Antony Gormley hold their respective rankings from last year.

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Europe’s leading specialist auctioneers and valuers of catering & hospitality and food processing equipment.www.proauction.ltd.uk

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caveartfair · 7 years ago

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Snow Storm Couldn’t Stop Armory Show Crowds, but Early Sales Were Scattered

Installation view of Gagosian’s booth at The Armory Show, 2018. Photo by Adam Reich for Artsy.

Despite a vigorous snowfall that beat steadily down upon New York City all day, collectors made the journey to a remote strip of highway on Manhattan’s West Side to attend Wednesday morning’s VIP preview of The Armory Show, the first stateside test of the art market in the new year. While some out-of-towners may have been stuck at home due to cancelled flights, there was still a crush of VIP cardholders squeezed into the entrance, waiting to get through the gates as soon as the clock struck noon.

Sales were leisurely at the outset, but enough work changed hands to suggest the market is stable, despite the volatility of the weather and the equity markets so far this year.

“The weather isn’t on our team, but we’re doing pretty good here,” said Johann König, whose König Galerie had sold Katharina Grosse’s vividly colored painting o.T. (2017) for €140,000 ($173,000), and a gigantic Erwin Wurm bronze—a giant red suitcase walking on human legs—also for €140,000.

For König, a longtime devotee to The Armory Show, the fair represents a way to stay tethered to New York without splurging on a brick-and-mortar space here. König Galerie is based in Berlin, and last October debuted a space in London, but has no plans to open in New York.

Installation view of Sean Kelly Gallery’s booth at The Armory Show, 2018. Photo by Adam Reich for Artsy.

“I’ve been doing Armory for a long time, and it’s because of New York collectors—they come, they come, they come multiple times,” throughout the fair’s duration, König said. “It’s not even so much American collectors—just New York collectors.”

Other dealers said The Armory Show is also a chance to connect with collectors who fly in from elsewhere in the country, many of whom were stuck due to the freak blizzard.

“We had a group of collectors from Boston who got held up, but they’ll come tomorrow,” said Alex Logsdail, a director at Lisson Gallery. The London-based gallery now has two locations in New York, but isn’t yet a member of the Art Dealers Association of America (ADAA), so they focus on the Armory. This year, they sold Tony Cragg’s wt (extended) (2016) for £350,000 ($434,000), Carmen Herrera’s Cadmium orange with blue (1989) for $600,000, and Laure Prouvost’s The Hidden Paintings Grandma Improved - We Are Coming Out (2017) for £300,000 ($372,000).

If anyone was missing in action, Sean Kelly hadn’t noticed. He said that The Armory Show is consistently one of the best fairs for his business, year after year.

“We’ve been packed,” he said. “The volume of people and people coming back everyday—it’s one of the most successful fairs we do.”

Installation view of Galerie Thaddaeus Ropac’s booth at The Armory Show, 2018. Photo by Adam Reich for Artsy.

His booth, just by the fair’s entrance, featured a brand new portrait by Kehinde Wiley, fresh from the studio, “the first one he did after the portrait of Obama,” Kelly said, beaming.

Clearly, Wiley’s newfound fame will be a boon to sales—the painting was priced at $150,000, which is the same as his all-time auction record, and sold within minutes of the fair opening. He also sold a work by Hugo McCloud for $65,000, a work by Sam Moyer for $50,000, and a work by Shahzia Sikander for $90,000.

But other dealers and advisors worried that sales were slower than in past years, and not just because of the weather.

“None of the big guys are selling, because they didn’t bring their best stuff,” said one advisor, who asked not to be named. “[The collectors] think the galleries are waiting for Hong Kong, and they’re saving their best material for that.”

Perhaps collectors found the pricing to be a bit off. Galerie Thaddaeus Ropac had two brand new, large-scale paintings by Alex Katz, priced at $500,000 and $550,000. And while someone had placed a hold on one, neither had sold by the early evening. (Sofia Coppola certainly seemed intrigued when she floated through the booth.) Katz’s market is hot but perhaps not at that range—a painting of a similar size sold at the Sotheby’s Contemporary Curated sale last Friday for $200,000 against a $90,000 high estimate.

And Gagosian, lured back to the fair for the first time since 2013, may have similarly overestimated the appetite for big-ticket works, as its glorious solo booth of Nam June Paik included a 2005 work that had been hidden away since his death in 2006—TVs cresting to form an arch over a lion strutting atop a platform.

Installation view of Victoria Miro’s booth at The Armory Show, 2018. Photo by Adam Reich for Artsy.

The centerpiece is a treasure, for sure, but Gagosian wasn’t able to sell it by the end of the first day. It seems collectors were slow to come around to a $1.5 million price tag at a fair where, in general across all galleries, work is usually more moderately priced.

“That doesn’t seem to be in line with Nam June Paik’s auction history,” said a former auction specialist, who is now an advisor.

The top price for a work by Paik at auction is $646,897, recorded at Christie’s Hong Kong in 2007.

But sources at the gallery did indicate other, smaller works had sold, and it was one of the more talked-about presentations at the fair.

“The installation, performance and video-based strategies which seem to dominate the current contemporary art landscape are unthinkable without the profound influence of Nam June Paik,” Nick Simunovic—who is the director of Gagosian’s Hong Kong outpost, and put together the booth—said in an emailed statement. “At the same time, his work is too little known, especially in relation to his enormous stature.”

Victoria Miro, which has two locations in London plus one in Venice, also had an ambitious booth set up: The gallery decided to play house here at Pier 94, setting up “furniture” by Elmgreen & Dragset through a series of “rooms,” with stately paintings installed throughout.

“We decided to do a booth about the domestic,” said Glenn Scott Wright, director and partner at the gallery.

In the “living room” there are a few delightful Milton Avery paintings from the 1940s, as well as masterful portraits by Alice Neel and, through booth walls set up into a corridor, paintings by Yayoi Kusama. Collectors had put some of the work on hold, including two Averys and two Kusamas. The work tended to be on the more expensive side for the fair, with an upper limit of €800,000, and that may be why buyers had not yet pulled the trigger by Wednesday afternoon.

Installation view of Victoria Miro’s booth at The Armory Show, 2018. Photo by Adam Reich for Artsy.

But even if dealers weren’t closing at the show, they were buying elsewhere: Some could be seen on their phones, either watching or actively participating in the Sotheby’s Contemporary Evening sale in London, which started at 2:00 p.m. New York time. The auction ultimately raked in a very encouraging £109.2 million ($151.9 million) with a Peter Doig selling for £14.3 million ($19.9 million) and a Christopher Wool for £10.4 million ($14.4 million) over a £6.2 million ($8.6 million) high estimate. The prices achieved in London will only help spur on sales in New York, as more collectors start to come in as the week goes on.

Some of the most important collectors, to be sure, were already in town and present at the fair on Wednesday. Don and Mera Rubell, Susan and Michael Hort, Jill and Peter Kraus, Beth Rudin de Woody, Glenn Fuhrman, and Frank Moore showed up. Actor Paul Rudd was checking out the booth of Los Angeles stalwart Regen Projects, which signed a 15-year lease for its first New York space in Tribeca last September—founder Shaun Caley Regen said she hopes it will be open by the fall. Director John Waters was seen chatting with Artists Space director Jay Sanders. Actor, collector, and sometime-curator Steve Martin (who also authored a novel about the art world) zipped through the champagne lounge with black earplugs in.

And as is often the case, some artists were present to witness the selling of their creations. Tara Donovan watched as Pace Gallery sold the entire booth of her work, with prices between $35,000 and $65,000. (Though the giant work that filled the courtyard, an installation made of glass tubes that crests into a wave, had not sold as of Wednesday for its asking price of $450,000.)

Hank Willis Thomas attended the show while his dealer Jack Shainman sold a giant screenprint of his on retroreflective vinyl for $85,000. The mysterious members of the anonymous collective Bruce High Quality Foundation were hanging around their first new public work in years: “Ways to Die,” a project series in the Platform sector that consists of 250 “self-portrait” collages.

But perhaps the most epic artist-is-present scene was at the booth of Marc Straus, which had a solo presentation of paintings by the 79-year-old co-founder of the Viennese Actionists, Hermann Nitsch. Nitsch is best known for a series of performances called “Orgien Mysterien Theater”—that would translate to “Orgy Mystery Theater”—which involves a lot of ritualistic sex and animal sacrifice and blood and guts. It gets protested a lot. Nitsch’s work at The Armory Show was also eye-catching, if not as controversial: blood-colored paint splattered on canvas, gory and glorious, but all contained to the wall and as far as we know not involving the harm of any animals.

And at the booth’s dead center was Nitsch himself, squatting on a chair in overalls and a bowler cap. Asked whether he enjoyed attending an art fair and watching his work get sold, he responded slowly and with a strong Austrian accent: “I’m just glad I don’t have to be here every day.”

from Artsy News

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caveartfair · 8 years ago

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Art Market Rebounds at Art Basel in Basel

Installation view of Hauser & Wirth’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

As they strolled the halls of the Messe Basel for the 48th edition of Art Basel in Basel on Tuesday, the art world’s elite collectors were reaching deeper into their pockets this year than they have for at least the past two editions of the fair. Just hours into Tuesday’s VVIP preview, many dealers were reporting multiple sales in the seven- and eight-figure range—a welcome reappearance of a phenomenon that had been rare at art fairs since the market’s most recent peak in 2014.

“People are in the mood to buy,” said Eleanor Acquavella, as the ink dried on a sale of Jean-Michel Basquiat's Three Delegates (1982) for between $15 million and $20 million.

She was one of a number of dealers showing paintings by the newly sought-after artist, following last month’s record-breaking sale of an untitled 1982 painting at Sotheby’s for $110.5 million to Japanese billionaire Yusaku Maezawa.

“All of a sudden it seems cheap,” Acquavella said of the eight-figure sum paid for her painting.

By all indications, she said, the market is strong, with wealthy patrons allocating ever more money to art. Art, she said, has “been proven to be a good investment time and time again.”

Installation view of Jean-Michel Basquiat, Three Delegates, 1982, at Acquavella’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

UBS’s president of wealth management Jürg Zeltner agreed that art is still a relatively attractive investment as long as interest rates are low.

“I don't know if art is an asset class,” he said. “What I do know is that money is worth less due to central bank interventions. And it does look to me that a lot of private investors are also looking to invest money in art. They have a passion for it, and if you see the thousands of clients we bring to this platform, you can see that this is a trend here to stay.”

Art Basel’s global director Marc Spiegler said more than 90 Netjets flights were scheduled to land at the Basel’s EuroAirport this week, despite what he called politically and economically “volatile times.”

“It’s a time where it becomes harder for many galleries to work through and continue to support their artists,” Spiegler said. “Our role this week is to help our galleries succeed, to help them find new patrons from all over the world.”

Many among Art Basel in Basel’s 291 galleries from 35 countries that are exhibiting this week commented on just how global that crowd of patrons has become. Hauser & Wirth partner Marc Payot said he had seen a rise in Chinese and Japanese collectors.

“Even more now, Basel is the fair where, internationally, curators and collectors really come,” he said.

Installation view of Philip Guston, Scared Stiff, 1970, at Hauser & Wirth’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

Payot pointed to the sale of an untitled Eva Hesse work from 1961 to a Chinese museum for $2.5 million as a testament to the growth of demand from Asian collectors here in Basel. But the Hesse was far from the most expensive work to sell from Hauser & Wirth’s stand on opening day. Philip Guston’s Scared Stiff (1970) took that honor, with Payot confirming that it went for a price in the region of $15 million.

With no fewer than 14 works selling for above six figures by mid-afternoon, Payot said, “It’s the absolutely best first day of Art Basel in our history.”

The Guston sale—notched just after the artist’s celebrated Venice show “Philip Guston and the Poets”—places the work second among Guston’s most expensive works known to have been sold, according to auction records (the $2 million paid for an untitled lithographic crayon and oil work from 1969 also makes it into Guston’s top 20). It also serves as continued strong evidence of private dealers’ importance at the top end of the market (private dealers increased their share of the art market by 3% last year to 57%, according to a report commissioned by Art Basel and UBS).

“It shows that we are becoming absolutely competitive with the auction houses,” Payot said. He noted dealers are competing not only on the prices they can achieve for museum-quality works such as the Guston, but on the expertise they bring on an artist’s work. For Hauser & Wirth, that includes Guston’s and that of the other 23 estates that the gallery now represents, seven of which were brought into the program in the past two years.

Installation view of Di Donna’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

This focus on artists’ estates is part of the growing appetite in the market for historical material in recent years. At Art Basel, the number of secondary market dealers on the ground floor has dramatically increased.

A newcomer to this portion of Art Basel in Basel this year, dealer Emmanuel Di Donna, said that the fair was seeking to bring back an upper segment of collectors such as his who “know what they’re looking at and are used to spending $1 million and up,” he said, after some top collectors stopped attending thanks to the fair’s focus on the “hot contemporary,” as Di Donna put it.

“I think they understood the need to have top-end material in the secondary market to bring some of that money back,” he said, reporting the $5 million sale of an abstract Gerhard Richter canvas from 1989 as well as works by John Baldessari, Ed Ruscha, and Joan Miró for between $700,000 and $1 million.

Art Basel’s second floor, typically home to presentations of work coming straight from artists’ studios or recent gallery shows, had a higher share of historical material than in years past. Victoria Miro gave her entire booth over to works by American painter and printmaker Milton Avery. It marks both the first time the gallery has mounted a solo presentation at Art Basel—they are scant across the fair, given galleries’ need to maximize the massive sales opportunity this week offers—and its first exhibition with the artist in Mayfair since beginning to work with the estate.

Installation view of Victoria Miro’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

The gallery’s co-director Glenn Scott Wright noted that multiple works by Avery sold on opening day, as well as pieces by Yayoi Kusama, Chris Ofili, and Peter Doig in the gallery’s closet, for sales totaling well into the seven figures.

“We’re very happy. We can go home tomorrow,” he said.

Collectors’ enthusiasm seemed to extend across market segments and artistic movements. As further sales rolled in during the later afternoon on Tuesday, the early picture of the market at Art Basel in Basel was broadly encouraging. This contrasts with collectors’ tastes in recent years, which tended to run towards specific types of works: abstraction by young male artists in 2014, followed by a taste for young, female figuration in 2015, and last year’s retreat to historical works as the market for those types of works subsided.

Even the spotlight from events like the Venice Biennale and documenta has caused fewer upward spikes for those artists’ markets than it has in prior years. The market’s rising tide at Basel instead seems to be lifting all boats, with sales strong even for works in the lower five figures and particularly in the six-figure range.

The wide-ranging success of the fair highlights the multiple spheres of influence and taste profiles that are currently supporting the market, an evolution from the U.S.- and Europe-centered industry of the past. That diversification, as in an investment portfolio, tends to strengthen the market and leave it less vulnerable toward flash-in-the-pan trends and swings in the market. That’s a hopeful sign for more sustainable and significant growth in the future.

Installation view of Sprüth Magers’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy.

For example, Sprüth Magers’s director Silvia Baltschun sold works from a range of artists from different time periods and stages of their careers: An untitled 1969 Craig Kauffman, with yellow and magenta acrylic lacquer running translucent over plastic sold for $950,000; an untitled George Condo work from this year sold for $700,000; and young artist Sterling Ruby’s Yellow Sky (2017) went for $325,000, among others.

“The first two hours, I couldn’t even breathe, barely,” said Baltschun.

White Cube director of private sales Mathieu Paris reported selling Georg Baselitz’s Das hoffnungslose weiße Bild (2017) for €440,000 “immediately” as the fair opened as well as Antony Gormley’s HOME (2014) for £350,000; Tracey Emin’s You Came to me at night (2017) and A moment - A Feeling - For you (2017) for £250,000 and £300,000, respectively; and Imi Knoebel’s Union II (2016) for €160,000.

He said that collectors were making decisions much more quickly than had been the case in the past two years.

“I really have the feeling that the market is back,” he said.

—Alexander Forbes

from Artsy News

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caveartfair · 8 years ago

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The 20 Best Booths at The Armory Show

The Armory Show underwent a successful makeover this year, opening its doors yesterday to a labyrinth of bigger booths, wider aisles, and a whopping 70 one- and two-artist presentations—making for a stronger fair. But the amount of carpeted pavement one must pound to see all 208,000 square feet hasn’t abated. To help you navigate the show’s two long piers, featuring presentations by 210 galleries from 30 countries, we highlight 20 booths you can’t miss.

Victoria Miro

Galleries Section, Booth 600

With works by Yayoi Kusama, Hernan Bas, Alice Neel, Peter Doig, Sarah Sze, Maria Nepomuceno, Ian Hamilton Finlay, Jules de Balincourt, Verne Dawson, Barnaby Furnas, Alex Hartley, Secundino Hernández, Christian Holstad, John Kørner, Wangechi Mutu, Chris Ofili, Celia Paul, Tal R, Kara Walker

Installation view of Victoria Miro’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

Grounded in a green swath of astroturf, Miro’s booth resembles an ecstatic, surrealist garden. The brilliant floor covering connects the presentation, which features standout works by Yayoi Kusama, Alice Neel, Peter Doig, Sarah Sze, and Maria Nepomuceno (to name a few), with Kusama’s large-scale installation situated at the heart of the fair. Titled Guidepost to the New World (2016), it’s a dreamlike environment that roots Kusama’s red and white sculptures, resembling fairytale mushrooms on acid, in a mossy carpet. According to director Glenn Scott Wright, the installation sold in the fair’s first hours.

Kayne Griffin Corcoran

Galleries Section, Booth 200

With works by James Turrell, Mary Corse

Installation view of Kayne Griffin Corcoran’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

Armory Show first-timer Kayne Griffin Corcoran’s booth is the first visitors see upon entering Pier 92—and its draw is like that of a moth to a flame. Mary Corse’s glistening painting, measuring 102-inches square, hangs on the outside of booth and serves as a gateway into an installation devoted to two practices that employ light as medium, as well as “challenge perception,” says gallery director Genevieve Day.

The second artist, James Turrell, is announced by a pink glow that emanates from behind the wall that supports Corse’s painting. It leads to two recent works by the famed Light and Space movement pioneer on the back wall of the booth. Priced between $500,000 and $850,000, they represent the artist at his best: A rectangle and a diamond pulse ever-so-slowly with mesmerizing gradients of colored light. On the first day of the show, Diamonds (Squares on point) Glass (2015), in particular, was drawing interest from collectors. A cascade of colors emerge from its center, which looks as if it stretches back, like a portal, into another dimension.

While Turrell’s work is more well-known—and also higher-priced—Corse’s paintings stood out as an exciting new find for some fair visitors, as well as a good buy. Corse came of age in Los Angeles at the same time as Turrell but wasn’t in dialogue with his male-dominated group of Light and Space artists. She was, however, independently inspired by painting’s ability to manipulate perception, especially through an engagement with light.

Her spellbinding monochrome canvases embed glass microspheres into paint; when light catches at the right angle, the surfaces scintillate brilliantly. They are priced between $100,000 and $350,000, and several had sold by the close of the fair’s first day.

Downs & Ross

Presents Section, Booth P11

With works by Ragna Bley, Yanyan Huang

Installation view of Downs & Ross’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

This jewel-box booth presages an exciting future for the young gallery Downs & Ross, which recently opened as a joint effort between two Lower East Side spaces, formerly known as Tomorrow and Hester. The gallery’s first Armory Show presentation joins the new paintings of Oslo-based Ragna Bley and Florence-based Yanyan Huang. Both artists, according to gallery co-founder Alex Ross, “extend the language of biomorphic abstraction.” Each practice brims with exuberant, lush strokes that evoke, in Huang’s work, sensuous, overflowing foliage, and in Bley’s, tempestuous seas and volatile atmospheric shifts.

Sprüth Magers

Galleries Section, Booth 800

With works by Michail Pirgelis, Sterling Ruby, Thomas Ruff

Installation view of Sprüth Magers’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

A massive shard of metal commands Sprüth Magers’s installation. It’s the work of 40-year-old Greek-German artist Michail Pirgelis, who mines airplane graveyards for the materials that become his dystopian-minimalist sculptures. The Berlin, London, and Los Angeles-based gallery pairs Pirgelis’s work with Thomas Ruff’s recent series of manipulated, archival newspaper clippings related to early space travel and a quartet of Sterling Ruby’s sculptures and collaged wall works made between 2011 and 2016.

Laveronica arte contemporanea

Presents Section, Booth P10

With works by Marinella Senatore

Installation view of Laveronica arte contemporanea’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

In advance of Marinella Senatore’s April solo exhibition at the Queens Museum, Laveronica brings a mini-survey of the work that the Italian, London- and Paris-based artist made during several recent stints in New York. It’s an ambitious project for the gallery’s first Armory Show outing, which successfully introduces Senatore’s complex performative practice—one that hinges on community engagement—within the confines of a small booth. One work on display, Jammin’ Drama Project (2011–2014), engaged over 500 New Yorkers across neighborhoods to explore the abundance of spontaneous poetry and rap that fills the city’s streets.

Jeffrey Deitch

Galleries Section, Booth 732

With works by Florine Stettheimer, Cecily Brown, Philip Taaffe, Lisa Yuskavage, Thomas Lanigan-Schmidt, Joe Brainard, Thomas Trosch, Rob Wynne, Aurel Schmidt, Walter Robinson, Joe Coleman, Laura Owens, Tschabalala Self, John Currin, Rachel Feinstein, Elizabeth Peyton, Pavel Tchelitchew, and more

Installation view of Jeffrey Deitch’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

After a several-year hiatus from The Armory Show, Deitch has returned with a show-stopping booth exploding with Rococo-inspired decor, hot pink walls, and a salon-style hanging of paintings by the likes of Cecily Brown, Laura Owens, and Tschabalala Self.

“Florine Stettheimer Collapsed Time Salon,” as Deitch has dubbed the installation, resurrects his 1995 project of the same name. Originally presented in the penthouse of Gramercy Hotel’s International Art Fair (The Armory Show’s predecessor), it served to introduce Stettheimer—a Jazz-Age figurative painter, who also ran a notorious Upper West Side salon frequented by the likes of Marcel Duchamp and Georgia O’Keeffe—to an art world that had largely forgotten her contribution.

But times have changed since 1995, and this time around, Deitch is taking a different approach. “Today, there’s wider awareness of Stettheimer and a real dialogue about her work between generations,” said Deitch on the fair’s first day. “This presentation is a testament to that.”

Of the living artists Deitch asked to contribute to the 2017 iteration of the project, “all of them cited Stettheimer as an important influence,” he continued. This includes Brown, whose standout painting Sky Towers and Bridal Bowers (2016) draws directly from Stettheimer’s visual vocabulary of the city and its frollicking denizens. “Without exaggeration, we could have sold Cecily’s painting 10 times,” said Deitch of the piece, which was snapped up in the fair’s first hours.

The booth also includes exuberant canvases by on-the-rise figurative painters like Grace Weaver and Chloe Wise, along with paintings, collages, and sculptures by more established artists like John Currin, Rachel Feinstein, and Elizabeth Peyton. Prices range from $5,000 for an Aurel Schmidt drawing to $200,000 for a Pavel Tchelitchew painting.

But the most stunning piece in the booth is a work that’s not for sale. It’s one of Stettheimer’s masterworks, Asbury Park South (1920), a beach scene that captures both the flamboyance and the social tensions (namely, lingering segregation) of the Jazz Age.

Thomas Erben Gallery and Lévy Gorvy

Focus Section, Booth F8

With works by Senga Nengudi

Installation view of Thomas Erben Gallery and Lévy Gorvy’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

This sparse but powerful presentation convenes both the historic and recent works of radical performance artist Senga Nengudi. Her performative sculptures, both made between the 1960s and today, combine nylons filled with sand and ritualized movements to explore the dual fragility and resilience of the human body—and the black female body in particular. Her recent large-scale sculpture, R.S.V.P. Reverie “Scribe” (2014), is especially memorable; it stretches taut five “limbs” rendered from a rainbow of skin-colored pantyhose, each culminating in a bulbous base resembling a foot, breast, or phallus.

Donald Ellis Gallery

Insights Section, Booth 212

With works by 19th century Plains Indians

After Donald Ellis saw a 1996 show at New York’s Drawing Center of drawings by the Plains Indians, made between 1865 and 1935, he headed out west to learn more. Since then, the gallerist, whose program is devoted to antique North American Indian art, has incorporated a focus on drawings made by members of the Lakota, Cheyenne, and Comanche tribes, among others. Across the booth, he presents a wide array of the pieces, both large and small, which depict triumphant moments from battles and hunting expeditions, intimate everyday activities, and transcendent visions alike.

Galería OMR

Galleries Section, Booth 702

With works by Jose Dávila, Gabriel Rico, Matti Braun

Installation view of Galería OMR’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

It wouldn’t be hard to mistake OMR’s booth for a scene from the Stanley Kubrick-film 2001: A Space Odyssey. Together, the works of Matti Braun, Jose Dávila, and Gabriel Rico create an otherworldly environment. On the walls, Braun’s cloud-like abstractions and Dávila’s frosty glass panel, held up precariously by a white ratchet strap, feel like passages to other realms. Rico’s sculptures enhance the mystical environment. One, comprising a taxidermy lamb, a piece of glowing neon, and a plastic orange, resembles a seance circle or a sacrificial offering.

Pace Gallery

Galleries Section, Booth 530

With works by Studio Drift

Installation view of Pace Gallery’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

On the fair’s opening day, the largest and most awestruck crowd gathered around Pace Gallery’s booth, where a hulking concrete cube levitated high in the air. At around 11 a.m., the artists behind the feat—Studio Drift, duo Ralph Nauta and Lonneke Gordijn—stood under the work, taking photos while fairgoers looked on (nervously, in this writer’s case). “People have been amazed,” said Pace’s Mollie Dent-Brocklehurst of the reaction to the installation, titled Drifter (2017). “It’s very elegant, poetic, and beautiful, but also filled with wonder, strangeness, and tension.”

Nauta and Gordijn excel at probing dichotomies between beauty and discomfort and between the familiar and the phenomenal in their work. And they achieve these tensions by combining everyday materials with innovative technologies. As is the case in much of their output—including another Studio Drift project at the fair, which employs mixed reality—the artists consulted engineers and programmers in order to realize Drifter. But while Nauta and Gordijn reveal that the piece is constructed from concrete and robotics, exactly how it floats in the air remains a mystery. And the artists want to keep it that way.

“Our dialogue today, whether in politics or technology and culture, is all about what’s real and what’s fake and what’s augmented and what’s organic,” says Dent-Brocklehurst. “This work taps into those conversations and questions.” The artists echoed this sentiment, emphasizing that the piece engages the tensions between “humanity versus nature and chaos versus order” that currently headline newspapers and conferences the world over. The installation was already a crowd favorite by close of the fair’s first day. But priced at $350,000, and measuring 16 feet wide, and mobile at that, it will need to find an ambitious—and courageous—buyer.

Alison Jacques Gallery and Stuart Shave/Modern Art

Galleries Section, Booth 500

With works by Robert Mapplethorpe, Dorothea Tanning, Juergen Teller, Takuro Kuwata, Lygia Clark, Fernanda Gomes, Graham Little, Irma Blank, Erika Verzutti, Maria Bartuszová, Richard Tuttle, Ricky Swallow, Linder, Hannah Wilke, Ron Nagle

Installation view of Alison Jacques Gallery and Stuart Shave/Modern Art’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

This multi-room booth, which joins the London-based programs of Alison Jacques and Stuart Shave, stands out for its tightly curated arrangements of artworks. Juxtapositions between generally small but arresting pieces reveal stimulating—and surprising—resonances between artists. One striking corner mingles two 1998 abstractions by Richard Tuttle with a new bronze by Ricky Swallow. Next to these, feminist pioneer Linder’s recent erotic photomontage, featuring yellow roses arranged strategically over private parts, is juxtaposed with an irresistible 1970 Hannah Wilke terracotta, Yellow Rose of Texas. Other standouts include sculptures by Maria Bartuszová, Takuro Kuwata, and Ron Nagle.

Galleri Brandstrup

Galleries Section, Booth 745

With works by Joseph Kosuth, Ola Kolehmainen, Per Maning, Lars Elling, Michael Kvium, Thomas Lerooy, Marina Abramović, Sverre Bjertnæs

Installation view of Galleri Brandstrup’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

Oslo-based Brandstrup’s ambitious program is announced with an eye-catching installation by young Norwegian artist Sverre Bjertnæs on the booth’s exterior. At the fair, he forged a deep blue mural that looks like an undulating sea from marker alone. It serves as the backdrop for two intricately composed figurative paintings that reference immigration. One, titled Three Figures in a Revolution (2017) and priced at $27,000, had already sold on the fair’s first day. Other compelling works include a series of large-scale black-and-white photographs by Per Maning and a group of new paintings by Michael Kvium.

PRAZ-DELAVALLADE

Galleries Section, Booth 712

With works by Brian Wills

Installation view of PRAZ-DELAVALLADE’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

Just a month after Paris mainstay PRAZ-DELAVALLADE opened its second gallery in Los Angeles, it features young L.A.-based artist Brian Wills in a spacious solo booth. In one of the fair’s most elegant presentations, Wills’s minimalist abstractions line the walls with curiosity-piquing striations of color. Depth is evident in the works, but the eye can’t immediately discern how they’re constructed. It turns out that Wills covers wooden armatures with strands of string in different colors. The result: brilliant gradients that resemble computer-generated images but are in fact assembled meticulously by hand.

PROYECTOSMONCLOVA and Timothy Taylor Gallery

Galleries Section, Booth 508

With works by Gabriel de la Mora, Martin Soto Climent, Eduardo Terrazas, Julius Heinemann, Shezad Dawood, Volker Hüller

Installation view of PROYECTOSMONCLOVA and Timothy Taylor Gallery’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

In one of several shared booths at the fair, Mexico City-based PROYECTOSMONCLOVA and London-based Timothy Taylor Gallery present a venn diagram of their respective programs. Works by artists the two galleries share stand out: Gabriel de la Mora’s stunning multi-part piece, B-8 izq / 8 der I (2016), which arranges vintage speaker fabrics into a skeleton-like grid, and architect-cum-artist Eduardo Terrazas’s 1.1.263 (2016), which uses indigenous Mexican techniques to create geometric patterns. Several new 2017 works by Martin Soto Climent are also highlights.

White Cube

Galleries Section, Booth 701

With works by Cerith Wyn Evans

Installation view of White Cube’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

A towering screen of neon text greets visitors of Pier 94 and headlines a large, captivating solo booth featuring Welsh artist Cerith Wyn Evans. While Wyn Evans is already regarded as one of the contemporary art’s most rigorous conceptual artists—his work has investigated the fragility of meaning since the 1990s—he is currently readying for one of his most momentous years to date.

It’s no coincidence that White Cube has assembled a mini retrospective of Wyn Evans’s work at the fair. And the strong group of glowing, resonant sculptures, neons, and wall pieces suggests what’s to come at upcoming exhibitions like the artist’s solo at the Tate Britain in March and his inclusion in the Venice Biennale in May and the Skulptur Projekte Münster in June.

“We’re thrilled to be showing a range of Wyn’s work,” said the gallery’s director Daniela Gareh of the booth. The highlight, she noted, “is a new Murano glass chandelier titled Mantra, which is activated by a musical score composed by the artist.” The sculpture, which spins and flickers subtly to a soft score that seems to emanate from its innards, is indeed the nucleus around which the rest of the booth revolves. It also speaks to the evanescence and malleability of the meaning of art, an enduring subject of Wyn Evans’s work and here embodied by the constant movements and modulations of the sculpture, the soundtrack, and the light which accompanies them both.

These themes are reflected in the monumental neon ...later on they are in a garden…(2007). Here, Wyn Evans reproduces a fragment of dialogue from the influential French New Wave film La Jetée (1962), in which the characters attempt to piece memories together. Removed from its original context and rendered in bright light, the text at once seems to honor and question the ability of language to reveal hidden or forgotten truths.

Richard Saltoun

Insights Section, Booth 128

With works by Liliana Porter, Helena Almeida, Francesca Woodman, Hannah Wilke, Carolee Schneemann, Eleanor Antin, Claudio Abate, Robert Filliou, Valie Export, Sanja Iveković, Helen Chadwick, Gina Pane, Friedl Kubelka, Renate Bertlmann, Jo Spence, Annegret Soltau, Françoise Janicot, Marina Abramovic & Ulay

Installation view of Richard Saltoun’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

“It’s a primer in influential feminist performance art,” gallery director Niamh Coghlan says of Richard Saltoun’s impressive booth, curated by Italian critic Paola Ugolini. A 48-part photographic installation by radical Viennese feminist artist Renate Bertlmann is the centerpiece of the presentation. It’s a museum-quality work that Bertlmann considers the first piece that set her daring career in motion. Other highlights include a suite of photos from Ana Mendieta’s “Silueta Series” (1973–1978), in which she captures evanescent impressions of her body in sand and mud—some as they fill mournfully with seawater.

Axel Vervoordt Gallery

Galleries Section, Booth 504

With works by Sadaharu Horio

Installation view of Axel Vervoordt Gallery’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

In Axel Vervoordt’s cacophonous, buoyant booth you can pocket an artwork made in-situ for a mere buck. The project, called Art Vending Machine (2015) is the brainchild of Sadaharu Horio, a member of the Japanese avant-garde movement Gutai. Over the course of the fair, he churns out drawings and paintings made in a single minute within the walls of his plywood “machine.” Elsewhere in the booth, a selection of the artist’s seminal, large-scale hanging assemblages, like the excellent Failure to the Tableau Thought (1970), are on view.

Fergus McCaffrey

Galleries Section, Booth 505

With works by Marcia Hafif, Richard Nonas

Installation view of Fergus McCaffrey’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

Fergus McCaffrey’s elegant booth mingles the practices of two American artists who came of age in the 1960s and happen to be great friends. The works of Marcia Hafif and Richard Nonas, however, differ greatly—and that’s precisely what makes this presentation so compelling. Hafif’s hyper-saturated canvases featuring curvaceous forms that resemble bodily contours (she calls these her “Pop-Minimal” paintings) draw you in. Nonas’s more subtle patinaed steel sculptures cover the floor. They resemble architectural forms or ritualized objects; given Nonas’s early years as an anthropologist, they just might be inspired by them, too.

kamel mennour

Galleries Section, Booth 801

With works by François Morellet, Mohamed Bourouissa

Installation view of kamel mennour’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

On the booth’s exterior, the late French minimalist François Morellet’s stunning 2008 acrylic-and-neon painting, Deep dark, light, blue n°2, hints at the tightly curated hanging just behind it. For the Parisian gallery’s second stint participating in The Armory Show, it presents two artists who “together show the gallery’s DNA—the spectrum of our program,” said Kamel Mennour in the fair’s opening hours.

Mennour juxtaposes Morellet, a pioneering minimalist who passed away in 2016 at the age of 90, with Mohamed Bourouissa, a young Algerian-born Parisian artist whose multimedia practice explores contemporary social tensions and cultural idiosyncrasies, especially in urban environments. The two artists might sound like a surprising pairing, but the installation reveals an aesthetic dialogue between their practices: the jagged edges of Bourouissa’s sculptural collages enhance the angular, optically-dizzying patterns of Morellet’s works—and vice-versa.

The installation also reflects “a dialogue and a confrontation between different generations of art in Europe,” said Mennour. This intergenerational exchange lies at the core of the gallery’s ethos. At the fair, Bourouissa’s work represents a younger group of artists whose careers Mennour shepherds, like Camille Henrot and Alicja Kwade. Morellet, on the other hand, represents an older, well-established cohort, including Claude Lévêque, Martial Raysse, and Daniel Buren.

On the fair’s first day, visitors gathered around Bourouissa’s brand-new assemblages and Morrellet’s historic 1970s compositions alike. By the time of writing, two of Bourouissa’s works, priced between $40,000 and $50,000, were spoken for and several of Morellet’s canvases, priced between $100,000 and $500,000, were on reserve. This excitement for each artist’s work is also mirrored in the institutional landscape, where Bourouissa will have his first solo show at a U.S. institution, the Barnes Foundation, in June, and Morellet’s work will be celebrated in a retrospective at the Dia Art Foundation in the fall

Galleria d’Arte Maggiore G.A.M.

Galleries Section, Booth 519

With works by Giorgio Morandi, Lee Ufan

Installation view of Galleria d’Arte Maggiore G.A.M.’s booth at The Armory Show, 2017. Photo by Adam Reich for Artsy.

In one of two excellent booths G.A.M. brings to The Armory Show this year (the other assembles works by Roberto Sebastian Matta and his sons Gordon Matta Clark and Pablo Echaurren), the Bologna-based gallery juxtaposes the great mid-20th century Italian still life innovator Giorgio Morandi with contemporary minimalist Korean painter Lee Ufan. It’s an unlikely pairing that makes for a transcendent installation—one that reveals the ritual and philosophical qualities of painting for both artists.

—Alexxa Gotthardt

from Artsy News

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