#mcgiggers

[mcgiggers]

London, Paris - March 2024

Just back from a fantastic art viewing adventure in the old world which featured stops at the Tate Modern and Goldsmiths Centre for Contemporary Art in London, and the Musée d’Orsay, the Foundation Louis Vuitton and the Bourse de Commerce in Paris. The four-day trip was on the back end of a stay in the 13th century hilltop village of Petritoli, located in Le Marche, where local churches and those in the neighboring towns displayed marvelous medieval and renaissance style treasures. In the big cities, however, the focus was more on contemporary offerings. The whole made for a fascinating journey through an exciting part of art history.

London

An attempt to see the Yoko Ono exhibit at the Tate Modern was stymied by sold out crowds. The serendipity in poor planning however resulted in an opportunistic visit to the museum’s permanent collection, more specifically the magical second floor featuring modern masters and post war stalwarts. With entire rooms dedicated to the likes of Joan Mitchell and Gerhard Richter, among others, the walk-through played out like a greatest hits tour where around every corner an even more marvelous sensory treat was served up. Highlights of the visit included: Georges Braque’s early cubist masterpiece “Clarinet and Bottle of Rum on Mantlepiece”, 1911, oil on canvas (31.9 x 23.6 in.); Giorgio Griffa’s painterly “Tre linee con arabesco n.111”, 1991, acrylic on unstretched and unbleached canvas (114.4 x 76.4 in.); and Agnes Martin’s contemplative grid patterned renderings “On a Clear Day”, 1973, thirty screenprints on paper (each 12 x 12 in.), edition 32 of 50.

On the other side of town on the campus of one of the world’s most renowned art schools, a Matt Connors exhibit, Finding Aid, opened its doors at the Goldsmiths Centre for Contemporary Art. Featuring new and older works by the American abstract artist, the expansive grouping of paintings, sculptures and drawings cleverly paired Connors’ soft geometric abstraction and minimalist marking styles.  Showstoppers included: the large-scale bold vertical diptychs “Mural for a Gay Household I” and “Mural for a Gay Household II”, 2018-2020, acrylic on canvas; the vibrant “Red Top (deployed hatch)”, 2015, acrylic on canvas; and the sparse “Echo Implies Room (Orange/unprimed)”, 2012, acrylic and colored pencil on canvas.

Paris

Forty-eight hours later, the Eurostar abetted transition to Paris was speedy and eventless. Even under cloudy skies, the City of Light was totally sublime and uniquely picturesque. The art stops along the way were knockout shows in beautiful venues which in and of themselves were artistic and architectural marvels. At the Musée d’Orsay, the magnificently repurposed train station was the setting for the Paris 1874: Inventing Impressionism exhibit. The show celebrates the 150th anniversary of the inaugural exhibit of the then avant-garde movement and chronicles the transition from staid and traditional realism to hazier and freer interpretations of subject matter capturing a moment in time, an impression, so to speak. The cast of characters that led the way included MVPs in the annals of art history - Monet, Renoir, Degas and Cézanne, among others, all of whom figure prominently in the exhibit. The highlights included: Auguste Renoir’s “La Loge”, 1874, oil on canvas (31.5 x 24.8 in.); Claude Monet’s “Impression, soliel levant”, 1872, oil on canvas (19.63 x 25.63 in.); and Edgar Degas’ “Classe de danse”, circa 1870, oil on wood (7.75 x 10.63 in.).

The next visit on the journey was the futuristic Frank Gehry-designed Foundation Louis Vuitton and the Mark Rothko retrospective. The comprehensive exhibit brought together 115 or so works of the powerhouse American abstract artist and presented a chronology of the evolution of his early figurative renderings to mystical and surreal style paintings and finally, to his entrancing iconic floating forms. The highlights included: the early representational scene “Contemplation”, 1937-1938, oil on canvas; the surrealist masterpiece “Slow Swirl at the Edge of the Sea”,1944, oil on canvas; and dozens upon dozens of mesmerizing large format colour abstractions, including, “Orange and Red on Red”, 1957, oil on canvas (68.8 x 66 in.) and “No. 14”, 1960, oil on canvas (114 x 105 in.).

The last planned stop in Paris was the Pinault Collection at the impressively remodelled Bourse de Commerce. Spiralling up the majestic rotunda, works by contemporary art rockstars were prominently displayed. Among these were: Peter Doig’s haunting “Pelican (Stag)”, 2003-2004, oil on canvas; Maurizio Cattelan’s poignant “Him”, 2001, wax, human hair, suit, polyester resin and pigment; and a monumental installation by Sturtevant replicating the mythical room staged by Marcel Duchamp at the 1938 International Surrealist Exhibition in Paris.

Closing off the trip and reaching back in the art history timeline, a truly memorable work was discovered by happenstance during an unplanned visit to Eglise Saint-Séverin. Dating back to the 13th century, the gothic style place of worship housed numerous elaborate chapels which were all built around altars and adored by art of the time. A particular work stood out as it was presented alone hung high on a huge wall under a circular stained-glass window surrounded by nothing else but the serenity of the immediate environment. It totally radiated under the spotlight that illuminated a depicted religious figure sitting at a table who perhaps was Saint Séverin, a devout 6th century hermit and the church’s namesake.

Meanwhile, in the new world, there was a lot more commotion as Hogtown’s Jurassic Park was hit with an asteroid of epic proportions that essentially wiped out all remnants of a recent championship team.  The Dinos were dissected and dismantled. Gone are Crazy Eyes and OG-Won Kenobi, and team leader Scottie B and the much-maligned Austrian Big succumbed to season ending injuries. All the while, the newly minted Raptors including RJ the Prodigal Son Barrett and Immanuel La Squig Quickley struggled to stay healthy and make their mark. The result has been a team that is nowhere near relevant in the standings nor the hearts of fans. With the prospect of a lengthy and bumpy rebuilding process ahead, Dino fans can perhaps take some solace in rooting for the success of Raptor expats applying their trade elsewhere or maybe even Canadian hoopsters playing for true championship contenders. It’s all a lot rosier than the current state of affairs in Jurassic Park.

For more information on any of the venues, artists or works mentioned, or the sad sack Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[katierosefun]

So I just saw your Dr Sleep/Shining Au McGigger thing which is so beautiful and wholesome. But then I got to the part about Palpacreep kidnapping Shining kids and my brain immediately went “bro, what if Obi-wan shaves his beard and goes undercover as one of the kids to root out the new threat?” Idk, maybe I’ve been reading too much SWModdy

First of all, wOW my heart did a happy little dance at getting validation for my little AU thank you so much 🥺

Second of all, OBI-WAN SHAVING HIS BEARD AND GOING UNDERCOVER—

Listen. I’m just saying that Obi-Wan would 100000/10 go undercover despite the huge and obvious danger because he is selfless and not about to let Palpacreep take any more kids. I guess in this AU he’d be a little younger than I imagined then, since I kinda pictured TCW-era AU but ssshh let’s keep going with it—

So idk Obi-Wan shaving off his beard and going undercover. He is horrified by the state of the kids Palpacreep has taken, and he’s trying really hard to stay cool stay cool stay cool, but like since Anakin and Ahsoka have the Shining, they periodically interrupt Obi-Wan, and every time, Obi-Wan’s like “pls leave you guys are going to get all of us into trouble”, but each time Anakin and Ahsoka show up, they’re just?? Worried??

Because listen, they kNOW that Obi-Wan going undercover is a scary scary idea, but Obi-Wan without his beard makes him look like 15 years younger, so uh. there’s a moment when Obi-Wan’s out cold, and Anakin and Ahsoka make the mistake to (idk what the term would be, but u know) *pop up* and they’re both taken aback and also ready to join the fight because oh no obi-wan looks really really young without his beard and also why is he going undercover alone what an idiot

I’m sorry I must have just totally veered in a very different direction from your intended point—but anyways, yes, good undercover Obi-Wan. What a selfless bastard with zero self-preservation skills.

[paris-in-flames]

I’m trying to art

Arting iz hard.

'M trying to go see if i can go find plain black tees at the mall that don't flaunt my tiddies 'cuz i want to make me an xø tee.

...i mean, i still need the paints and to do sum stencil thingie mcgiggers 'coz text, but i can deal w/ that online.

Can you believe i'm actually going outside? Scandalous

[mcgiggers]

London, San Marino, Toronto - October 2023

Just back from fabulous art viewing experiences abroad and in Toronto. Stopovers included: Frieze London, Frieze Masters and the 1-54 Contemporary African Art Fair in London as well as the Philip Guston exhibit at the Tate Modern; La Galleria Nazionale in the Republic of San Marino; and Art Toronto in Hogtown. The whole, for the most part, was enjoyed in the context of a three week stay in Italy where the hilltop medieval village of Petritoli, located in Le Marche, served as home base, and offered spectacular vistas of land, sea and mountains, all longstanding muses throughout history. Without looking too hard, traces of Ellsworth Kelly’s curves, Jasper Johns’ crosshatches and Frank Stella’s grids could all be seen in the roofscapes and landscapes, providing a breathtaking backdrop to daily activities, whether art related or other.

London

The transition from bucolic and sunny Petritoli to chaotic and rainy London was drastic but exhilarating. Frieze Week in mid-October is the global launching pad for the all-important fall season in the art world. With summer days in the rear-view mirror, an intense focus radiated from the London art scene with the convergence of exhibit openings, important contemporary and modern auctions, and preeminent art fairs. While the weightiness of a challenged economy and ongoing wars was perhaps most evident in the squishy auction results, elsewhere, the mood and excitement were upbeat as fair venues and exhibits were flooded by art fans and aficionados.

Frieze London and Frieze Masters art fairs ran concurrently under the stars, so to speak, in separate tents in the wonderful greenspace of Regent’s Park. Frieze London’s defining focus is on living artists and contemporary art. This year’s edition, the 20th, included over 160 participating galleries with a strong contingent of 40 or so international exhibitors. Noteworthy was the caliber of presenting galleries and works on display. While remaining very faithful to the contemporary focus, large well-established mega galleries were ever so present along with their roster of anointed stars, perhaps at the expense of the more experimental flair historically more synonymous with Frieze. A walking distance away through a maze of outdoor sculptures, Frieze Masters hosted over 130 galleries that showcased an eclectic mix of art works ranging from archaeological finds dating to thousands of years BC to 20th century masterpieces. Fair highlights included:  Tabboo!’s “Desert Moon”, 2021, acrylic on canvas (60 x 50 in.); Simone Leigh’s “Untitled”, 2022, stoneware, 25.75 x 11.75 x 16.5 in.); and Anna Mark’s “R 1002”, 1968, synthetic resin, sand, pigment on canvas, mounted on wooden frame (20 x 20.25 in.).

Elsewhere in the city at Somerset House, the 11th edition of 1-54 Contemporary African Art Fair was in full swing with a line-up of over 60 galleries showcasing more than 170 artists. There, the excitement of discovery and seeing new things being done by emerging talents was palpable. Highlights included: Godwin Champs Namuyimba’s “Fathering spirit”, 2023, acrylic on canvas (90.5 x 78.75 in.); Emmie Nume’s “When we use to”, 2021, mixed media on paper (55.5 x 41.75 in.); and a pair of works by Theresa-Anne Mackintosh, “Walking with my body conscious” and “Comfortably dazed”, 2023, oil and acrylic on canvas (each, 34.25 x 39.5 in.).

Also in London, a captivating Philip Guston retrospective was being held at the Tate Modern. Spanning a 50-year career, the comprehensive survey included everything from the artist’s more classical early works to pieces depicting his fiery brand of abstraction and, most prominently, paintings and drawings featuring his iconic comic-like figures and imagery that captured the anxious and turbulent world around him. The whole made for an intense and sometimes unsettling experience. While the museum walls were bursting with large scale masterworks that chronicled the Guston story, it was a small self-portrait that was most memorable - “Untitled”, 1968, acrylic on board. Barely noticeable behind the artist’s gaze painted in the foreground were the remnants of an earlier work of a hooded figure. The effect hauntingly captured Guston’s lifelong nightmarish preoccupation with racism.

San Marino

The next art stop was an unplanned pleasant surprise that surfaced during a day trip to San Marino. Located on the northeastern side of the Apennine Mountains and surrounded by Italy, San Marino is the fifth smallest country in the world, and it boasts a historic center high up on Monte Titano at approximately 2500 feet above sea level that features three medieval towers dating back to the 11th century. There was almost a Vegas-like surrealness to the place with throngs of tourists making the pilgrimage to take in the spectacular views and medieval setting. Nestled in one of the few quiet corners of the historic city and a bit isolated from the many churches, palazzos and eateries was La Galleria Nazionale di San Marino, the country’s center of modern and contemporary art.Housed in the renovated Logge dei Volontari, the museum is dedicated to showcasing its collection of post war art which was amassed from international art biennials held in San Marino beginning in the mid-50s. It was totally surprising to come across fantastic works by lesser-known American artists, including: James Brown’s “Opera Contro Natura”, 2003, mixed media and collage on folded linen (59 x 98.75 in.); and David Row’s “B.N.I.”, 1992, oil on canvas (in three parts, overall, 66 x 85.75 in.).

Toronto

Returning back from the old world with only one viewing day left at Art Toronto, the opportunity was seized to cap off the art adventure with a visit to Canada’s premiere contemporary and modern art fair. While the corridors were filled with rumblings of challenging times, the viewing experience was fantastic. Over 100 galleries took to the floor of the Toronto Metro Convention Center and offered up works from over 1000 artists. As a bonus, the launching of Jack Bush’s catalogue raisonné drew out many of his works that were scattered throughout the fair, including two favorites: “Untitled”, 1962, gouache on paper (35.25 x 23 in.); and “Red, Orange, Green”, 1965, serigraph, edition 67 of 100 (25.5 x 20 in.). Other fair highlights included: Emma Kohlmann’s “Tulip”, 2023, oil on linen with cherry frame (14.25 x 12.25 x 1.25); Catherine Desroches’ “Déliason du corps contre le ciel”, 2023, bronze, pine, plywood, lost wax casting dust, foundry kiln ashes, graphite powder, charcoal on newsprint and on panel (84 x 49 in.); Marcel Barbeau’s “Iris”, 1962, acrylic on canvas (76.4 x 51.2 in.); and Jean-Paul Riopelle’s “Sans titre (1958.006P)”, 1958, oil on paper (25.5 x 19.75 in.).

Meanwhile, the sports scene in North America was frenetic with activity as all major sports leagues were in some state of play. In Dinoland, emotions were cautiously optimistic following a perfect pre-season and a home opener win. After that celebratory moment, however, reality set in for rookie Head Coach Darko Rajaković. Three losses later, the new system was being questioned, and all the ghosts of last year’s disappointing season were surfacing. A win against a star-laden Bucks team provided some glimmer of hope, but that too was soon quashed with a thumping courtesy of ex-Dino Head Honcho Nick Nurse and his 76ers. Can a Fredless team be so different? It’s got to be the system. It’s early, I know, but it doesn’t bode well. Up next, Wemby-mania in the Lone Star State. Ugh.

For more information on any of the artists or works mentioned, the fairs, exhibits, Petritoli and Coach Darko’s system, “Just Google It”.

There you have it sportsfans,

MC Giggers

(Https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - September 2024

Just back from the Armory and related art festivities in the Big Apple which also hosted the US Open and New York Fashion Week. The eclectic mix of aficionados made for a raucous and visually entertaining backdrop for the supercharged events. On the art front, the Armory Show was center stage as it celebrated its 30th edition and its second at the revamped Javits Center. Other fairs visited were Independent 20th Century and Art on Paper. While the sheer proliferation of fairs in the last decade can inevitably result in hit or miss experiences, the gatherings nevertheless offer the opportunity to see thousands of works by a broad range of local and international artists all under one roof which, with some patience and visual filtering, always yields marvelous art finds.

This year the Armory featured over 235 leading galleries representing more than 35 countries. The notable absence of the mega-galleries and smaller overall international representation gave the fair a more local feel with an energized NYC vibe. The smorgasbord of primarily post-war contemporary offerings ranged from figurative to abstract with a hint of conceptual. The Javits Center easily accommodated the bulked-up size of the fair, and the comfortable spacing and layout enhanced the viewing experience.  Some highlights included: Deni Lantz’s dreamy John Zurier-inspired “Untitled”, 2024, oil and beeswax on canvas (72.0 x 59.84 in.); Anouk Lamm Anouk’s ethereal “post/pre Nº 64”, 2023, acrylic on linen (19.75 x 21.63 in.); Paul Feeley’s iconically shaped “Untitled (January 29)”, 1962, oil-based enamel on canvas (57 x 81 in.); and, Sara Siestreem (Hanis Coos)’s playful “foxes on the moon”, 2024, acrylic, graphite, Xerox transfer on panel board (49 x 72 in.).

Independent 20th Century fair was more highbrow. From a gallery perspective, that might be fine if the right people are showing up; from a fair goer perspective, the offering was more nuanced. Set in the historic Battery Maritime Building for the second year in a row, the smallish 32-exhibitor show primarily championed artists that applied their trade between 1900 and 2000. The highlights included: Squeak Carnwath’s painted patterns and thoughts in “Dick & Jane”, 1996, oil and alkyd on canvas (76 x 102 in.); Tom Fairs’ nightscape “Untitled”, c. 1998-99, mixed media on heavy paper (30 x 22 in.); and Rebecca Ward’s translucent “king ranch lll”, 2013, bleach on canvas (40 x 30 in.).

Art on Paper continued its run on the courts of Basketball City on Pier 36 and celebrated its tenth edition with a 100-gallery roster featuring top modern and contemporary paper-based art. On a relative basis, the offering was probably the most accessible from a price point perspective compared to that of other fairs which likely contributed to its enthusiastic appreciation by art fans.  Highlights included: David Richardson’s “White Roses #3”, 2024, chalk on paper (14 x 11 in.); Simone Christen’s “Moment of Bliss l”, 2023, ink on raw linen (30 x 24 x 1.5 in.); and Herman Cherry’s “Untitled #35”, 1968, oil on rag paper (18.25 x 23 in.).

One of the most impressive sights viewed during the New York visit was a billboard by Glenn Ligon spotted from the High Line at 18th Street and 10th Avenue. This new version of “Untitled (America/Me)” spans 25 x 75 ft and features an altered image of Ligon’s iconic 14 ft 2008 “Untitled” which stretches 14 ft across spelling out the word “AMERICA” in neon lights that flicker on and off.  In 2022, Ligon revisited “Untitled” by creating a print, the original “Untitled (America/Me)”, that manipulated a photograph of the neon by drawing X’s through letters leaving only M and E untouched. The billboard is a reprisal of that modest sized print (14 x 11 in., edition of 50) on a gargantuan level, magnifying perhaps the polarized state of affairs in America today.  

Meanwhile back in Hogtown, it’s time to heat up the grill with BBQ season nearly upon us. The burning question is who is going to run with the Barnes, Barrett and Quickley trio. The Big Austrian is a prime candidate in the middle, but who will suit up at the number 4 spot? The ask is for a 6��8” 240 lbs. defensive stalworth that can guard in space, run the floor and knock down 3’s at a 38% plus clip. The current roster’s cast of characters are not obvious candidates. Tricky Dicky, Kelly Canuk and B-Squared each fall short in a few categories. As the auditioning plays out in training camp and the pre-season, there may be some surprises among the lesser known and yet unproven entities on the payroll, but hope is not a strategy. The whole spells for some uncertainty regarding the upcoming season. Barring injuries, the Dinos may be good enough to better last season’s record of 25-67, but probably not good enough to make a splash beyond a play-in round. With that prospect, Sensei Masai’s hand will not be far from the tank button. In the interim, Coach Darko will have to manage as best as he can and be ready to pivot at any time.

For more information on any of the artists or works mentioned, and the starting lineup for the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Toronto - June 2024 (Summer Solstice Road Trip)

Just back from Hogtown and Larry Gaudet’s “Eris” book launch. While the event was outside the traditional focus of Art Beat’s purview, the prospect of Gaudet’s artistry was not to be missed. As expected, the seasoned author and media thought leader delivered a rockstar performance to celebrate the kickoff of his latest.

“Eris” is a tech thriller with a next-level hacking storyline where entertainment and social media platforms are under terrorist attack as are the corporate elites that run them. As the suspense filled plot unfolds, it exposes the digital age cautions and media afflictions we have all consciously or not succumbed to. Literary types, business folks, friends and family ate it up as Gaudet’s teaser overview and citing of sample media diseases both amused and shook up the crowd. The presentation also featured a short video that introduced the main character and set up the destabilizing backdrop to the novel. The video can be viewed at www.larrygaudet.com, and the book, along with prior works, can be purchased on amazon.ca.

Outside of the book launch, some free time afforded the opportunity to recalibrate from the edgy literary world scene to the more serene visual experiences of a museum visit and a couple of gallery stops. On tap at the Art Gallery of Ontario, the “Moments in Modernism” exhibit offered a peek into the museum’s treasure trove of postwar contemporary works, featuring pop art, abstraction, minimalism and realism from the 60’s, 70’s and 80’s. Except for the misleading titling of the exhibit, the eclectic gathering of works from Canadian, US and international artists was fantastic. Highlights included: Mark Rothko’s “No.1, White and Red”, 1962, oil on canvas (102 x 90 in.) and Rita Letendre’s “Daybreak”, 1983, acrylic on canvas (78 x 144 in.). Elsewhere at the expansive “Jean-Paul Riopelle: Visual Exploration” gallery exhibit, the late mosaic “Couleur”, 1955, oil on canvas, stole the show. Finally, in Prince Edward County, it was a real treat to get a preview of a couple of Milly Ristvedt works to be included in a solo booth exhibit at the upcoming Hamptons Fine Art Fair in July 2024. Both “Sweet Earth”, 1970, acrylic on canvas (27 x 75 in.) and “Ros Solis”, 1970, acrylic on canvas (27 x 71) are exceptional period pieces.

Meanwhile in Jurassic Park, it’s been quiet in anticipation of the 2024 NBA Draft to be held on June 26th and 27th. The Dinos hold the 19th and 31st pick in what’s widely viewed as a somewhat weak class. That being said, it’s characterized as such in part because of the lack of generational talents on the board. One thing for sure is that great players will be drafted. It’s just a bit more challenging to recognize them. Over to Masai and team to spot the future stars, and with some developmental pixie dust, pull a rabbit out of a hat. Or, they could trade their picks and other assets for more proven talent. The next few days could be exciting.

For more on “Eris”, buy the book. For more information on Larry Gaudet, any of the works mentioned or Dino draft day scenarios, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Venice - May 2024

Just back from the Floating City which served as a beautiful backdrop for the 60th edition of La Biennale di Venezia, the world’s longest running and most extravagant contemporary art festival. Thematically grouped under the banner Foreigners Everywhere – Stranieri Ovunque, the exhibit privileged lesser-known artists from the global south who are foreigners, immigrants, expatriates, diasporic, exiled or refugees, and it showcased craft, tradition and the handmade which often is considered outsider or strange in the world of fine arts. The result was a marvelous adventure where some initial trepidation was quickly assuaged by an explosion of colours and creative renderings. In addition to the Biennale, numerous other exhibits and museum shows were staged concurrently throughout the city and visiting many of these in the two and a half days at hand made the experience that much more memorable.

Training for the Venice marathon was held in the hilltop village of Petritoli in the Le Marche region of Italy, where swims in the Adriatic, biking between neighboring towns and hiking in the Sibillini Mountains prepared the mind, body and soul for the viewing experience to come. The prelude to Venice also included a short stop in Monza and Carlazzo where family and food were graciously celebrated. Fuel throughout was local fare and featured Il Grecale’s calamarata in San Benadetto del Tronto, Antonio’s wood fired margherita pizza in Carlazzo and Osteria Ai Do Farai’s carpaccio di Branzino in Venice.

This year’s Biennale presented the works of over 330 artists, mostly first-time participants, and over 85 countries were represented with their own national pavilions. The principal venues were the Arsenale, a former Venetian military dockyard, which housed themed exhibits as well as some national pavilions, and the Giardini, a lush garden area at the mouth of the Grand Canal that is home to 30 or so permanent national pavilions and a Central Pavilion that featured a curated selection of works by artists from Latin America, Africa, the Middle East and Asia. In addition, there were numerous other Biennale offsite locations scattered about town.

Among the national pavilions, the Australian entry featuring Archie Moore’s monumental family tree dating back 65,000 years took top prize among in-the-know jurors.  Other standouts included: Canada with Kapwani Kiwanga’s sculptures and all-over bead work; Nigeria which featured the photography, sculpture and painting of eight artists; and Italy with Massimo Bartolini’s labyrinth of metal scaffolding and sound machines. The highlights in the themed sections included: Costantino Nivola’s “Bozzetto per lo show-room Olivetti a New York”, 1953, plaster casting on sand and polychromy; Dalton Paula’s “Chico Rei”, 2024, gold leaf and oil on canvas; Pacita Abad’s “You Have to Blend In, Before You Stand Out”, 1995, oil, painted cloth, sequins, buttons on stitched and padded canvas; Fanny Sanin’s ”Oil No. 7”, 1969, oil on canvas; and Kim Yun Shin’s “Add Two Add One, Divide Two Divide One”, 1979, Korean red pine wood.

Piggybacking on the Biennale fanfare, numerous museums and converted palazzos and churches also staged wonderful shows all over the city. Stops included: The Peggy Guggenheim Collection which displayed its permanent collection of 20th century masterworks by leading European and American artists; the “William de Kooning and Italy” exhibit at Galerie dell’Accademia di Venezia; Pierre Huyghe’s “Liminal” at Punta della Dogana; Julie Mehretu’s “Ensemble” at Palazzo Grassi; the “Beati Pacifici: The Disasters of War and the Hope for International Peace” from the Bailey Collection at Chiesa San Samuele; and Berlinde De Bruyckere’s “City of Refuge III” installation at the Abbazia di San Giorgio Maggiore. Particularly memorable were: Pierre Huyghe’s “Offspring”, 2018, sensor based self-generative system for sound and light; Julie Mehretu’s “Among the Multitude XIII”, 2021-2022, ink and acrylic on canvas (48 x 60 in.) and “Black City”, 2007, ink and acrylic on canvas ( 120 x 192 in.); and magnificent de Kooning statues, including “Cross-Legged Figure”, 1972, bronze (edition of 7 plus 3 AP) and “Clamdigger”, 1972, bronze (edition of 7 plus 3AP). As for the Bailey and De Bruyckere exhibits, both were eerie and beautiful and set in surreal repurposed church spaces which were worth seeing on their own.

Meanwhile, crunch time hoops were being played in the new world. Regrettably Crazy Eyes and his Pacers were efficiently ousted by the Celtics, and with that, Dino fans on the legacy bandwagon were left a bit short of reliving glory days through the success of former players. The show nonetheless must go on, and the finals will tip off featuring the dominant Celtics and the surprising Mavericks and arguably the best guard matchups in the game. As for the Dinos, the focus turns to the upcoming draft and planning for next season. As of yet, neither Crazy Eyes nor OG-Wan Kenobe have signed with the teams they were traded to, and, by now, they surely must realize that change is overrated. So maybe, just maybe, is a return to Jurassic Park a possibility? Highly unlikely. The Biennale runs through November 2024. With the next edition two years away, it would be great if the Dino rebuild was on the same timeline, but that’s probably being a bit too optimistic. The next few years will truly test the mettle of fans.

For more information on the Biennale, the other exhibits and the ongoing Raptor reset, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - May 2024

Just back from action-packed Frieze art week festivities in the Big Apple which featured stops at Future Fair, Nada New York and Frieze New York. The art fair spree dovetailed nicely with the launch of the major post-war, contemporary, and modern auction previews scheduled for later this month at Sotheby’s, Christie’s and Phillips. The fairs and auction previews together served up fantastic art viewing opportunities for art fans and aficionados alike. And, as if that wasn’t enough given the mere 24 hours of viewing time on hand, serendipity delivered the icing on the cake with the timely opening of Tammi Campbell’s marvelous gallery exhibit of recent paintings and sculptures.

The Fairs

Frieze New York was the marquee fair, and it celebrated its 12th year as part of the cultural landscape in the city and its fourth outing at The Shed since relocating from Randall Island. The evolution of the fair since then has been considerable. From a corporate perspective, it is now part of famed Ari Emanuel’s sports and entertainment conglomerate, and, on the art front, the offering got slicker and more rarefied, featuring top-tier highly curated contemporary galleries and works. This year’s boutique-sized edition of 65 or so exhibitors included global mega galleries and international and local blue chippers. Standout works included: Nate Lowman’s “Golf Course Marilyn”, 2024, oil and alkyd on linen (50 x 30 in.); Uri Aran’s “Everything (Timeline)”, 2023, gesso, acrylic, oil, oil pastel, graphite, wood stain, clear polyurethane, charcoal, color pencil, china marker, and mixed media on canvas (87.25 x 42 x 1.5 in.); and, Richard Aldrich’s “Untitled”, 2022, oil and wax on panel (20.5 x 13.13 in.).

NADA New York has long been synonymous with contemporary and emerging art, and the fair continued to build on its reputation as being the go-to event for up-and-coming galleries. For this year’s edition, over 92 galleries, art spaces and non-profit organizations convened in the heart of Chelsea to showcase their stars, including, remarkably, 34 first time presenters. The show highlights included: a pair of works by Shaan Syed “Gorilla, Geurilla” and “To, Too, Two”, 2023, oil and paper collage on linen (35.3 x 31.5 in., each); Emma Schwartz’s “Thought You Should Know (again)”, 2024, oil, charcoal and chalk pastel on canvas (68 x 48 in.); and, Jule Korneffel’s “Alex’s Garden”, 2023, acrylic on canvas (82 x 80 in.).

Future Fair, on a relative basis, was the newest kid on the block, yet the four-year old upstart exuded a palpable vibe and excitement. With a focus on emerging galleries, the contemporary art fair featured over 100 artists from 26 countries, collaborating with over 60 local and international art dealers. Collectively creating a very accessible environment, the artists, works, and gallerists fostered a strong sense of engagement with fairgoers. Highlights included: Gwen Hardie’s assembled triptych “05.29.23”, pure venetian red and naples yellow on indian red, “09.15.23”, darkest cadmium red on indian red and “06.19.23”, lavender on warm umber (24 x 24 in., each); Beck Lowry’s “Red Threat (after Aseem)”, 2023, painted weaving on handmade wooden armature (plywood, crochet thread, oil paint) (12.5 x .75 x 1 in.); and Carolyn Case’s “Night Kitchen”, 2024, chalk pastel on pastel card with artist frame, ceramic porcelain and glaze (17 x 20 in.).

The Auction Previews

The previews for the prominent spring edition of the post-war, contemporary, and modern art auctions at Sotheby’s, Christie’s and Phillips opened to the public and welcomed everyone from the most serious global big hitters gearing up to shell out whatever it takes to walk home with a masterwork to casual and ardent fans savoring the opportunity to look at phenomenal works before they again disappear into private collections. As always, the previews were masterfully staged in wonderful spaces. Supersized showstoppers included: Andy Warhol’s “Flowers”, 1964, acrylic, fluorescent paint and silkscreen ink on linen (82 x 82 in.); Frank Stella’s “Lettre sur les sourds et muets II”, 1974, synthetic polymer paint on canvas (140.88 x 140.88 in.); Felix Gonzalez-Torres’ “(Untitled) America #3”, 1992, 42 light bulbs, porcelain light sockets and electrical cord (length 504 in.); and, Rashid Johnson’s “Anxious Red Painting September 24th”, 2020, oil on linen (72.25 x 96.25 in.). Beyond the headliners, marvelous less conspicuous works were sprinkled throughout. Memorable ones included: Brice Marden’s “Small Parchment Study #1”, 1999, oil on natural vellum stretched over plywood; Henry Taylor’s “Cruel Kids”, 2005, acrylic on canvas (28.5 x 28 in.); and Agnes Martin’s “Earth II”, 1959, oil on canvas (71.33 x 48 in.).

Tammi Campbell Exhibit

In between fairs and auction previews, Tammi Campbell’s As Long As It Lasts exhibit kicked off and featured a walk through with the artist who provided fascinating insights into her practice and the specifics about works on view. With the continuous evolution of her creative re-engineering processes and next gen wrappings, Campbell continued to push appropriation to new heights, all while making the work uniquely her own. Highlights included: the Cy Twombly inspired “Untitled (1970)”, 2024, chalk on blackboard with walnut frame (48.75 x 59.25 x 1.4 in.); and a replica of a famous Andy Warhol work with a twist “Double Elvis (Ferus Type) with Bubble Wrap and Packing Tape”, 2024, acrylic on canvas (81.25 x 58.25 x 1.25 in.).

As spirited art week festivities unfolded across the city, local sportsfans were also whipped up into a frenzy as both their hometown Rangers and Knicks advanced to the second round of their respective playoff series. On the hoops front, with the Knicks now set to tip off against the Pacers, Dino fans can also partake in some playoff excitement (by extension) as former Raptor stars Pascal Siakam and OG Anunoby, sporting Pacers and Knicks uniforms, respectively, are pitted against each other. The exuberance of “Crazy Eyes” versus the zen of “OG-Won Kenobe” - one of the two will get to the conference finals which should provide some solace and maybe even bring a smile to Dino nation.

For more information on any of the artists or works mentioned, the upcoming auctions, and the fate of former Dino stars, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2023

Just back from an action packed two and half days in Miami which featured stops at half a dozen art fairs and visits to a few private collections and a museum. With worrisome headlines front and center and a squishy economic outlook, one might have expected a more subdued reception to this year’s art week festivities in Magic City, but by all accounts, it was full steam ahead for art fans and aficionados. The fairs seemed to get super-sized, the crowds appeared to be bigger, and the city was grid locked for the better part of full days and evenings as people tried to make the most of all that was being offered. Once you eventually got to wherever you were going, it was all great. The art rose above all the noise, and a marvelous viewing experience was served up and fully appreciated.   

The itinerary for the trip included: INK, Untitled and Scope fairs on arrival in South Beach; the de la Cruz and Margulies private collections, the Rubell Museum, and NADA and Art Miami fairsthe next day in and around the Miami Design District; and then Art Basel Miami Beach back on the other side of Biscayne Bay on departure day. While not all fairs are created equal, part of the thrill is the journey and finding those special works that resonate wherever they may show up. And, in that regard, there were many exciting discoveries and some magnificent reacquaintances.

The mainstay and anchor of the art festivities was Art Basel Miami Beach which celebrated its 21st edition with 277 exhibitors from 33 countries. While that was the official gallery count, multiple booths by some gallerists together with the proliferation of focus sections spread throughout the Miami Convention Center catapulted the number of exhibits to well over 300. With a view to making it more manageable for fairgoers (albeit questionably so), the fair was organized into curated groupings featuring top-of-the-line modern and contemporary galleries in the main section and then, in other dedicated spaces, diverse curatorial initiatives such as emerging artists, thematic exhibitions and large-scale projects, among others. Perhaps at the expense of a shrinking modern master presence and notwithstanding the diversity in presentation concepts, the focus of the fair was clearly tilted towards the new as established and emerging contemporary art was at the forefront. There was also noticeable excitement around Untitled in what seemed to be an invigorating revamping of that fair’s physical presence and gallery lineup. Under its fortified bright white tent situated right on the beach, Untitled lived up to its billing as the quintessential Miami art fair and delivered a strong roster of 166 North American and international exhibitors focused intensely on contemporary art. Among the other visits, the incredible collections at the de la Cruz, the Margulies and the Rubell did not disappoint, and the opportunity to enjoy beautiful paintings, sculptures and on-site installations housed in marvelous settings without the chaos of crowded fair corridors was surreal.

Across all fairs, there were many memorable pieces. At Art Basel, the showstoppers included: Rebecca Morris’ “Untitled (#14-15)”, 2015, oil and spray paint on canvas (111 x 113.5 in.); Antonio Ballester Moreno’s “Azul”, 2023, acrylic on jute (78.75 x 57 in.); Gareth Nyandoro’s “Street Canteen”, 2023, ink on cut paper mounted to canvas (57.5 x 94 in.); and Phoebe Boswell’s “A Knowledge Becoming”, 2023, pastel on paper (60.25 x 48.5 in.). At Untitled, the highlights included: Rafael Lozano-Hemmer’s “Thermal Drift Density Map”, 2022, custom software, computer, thermal camera, screen (dimensions variable), edition of 6, 1AP; and Concetto Pozzati’s “Inventario”, 1963, oil on canvas (60.63 x 75.25 in.). Other special sightings included: a pair of Esteban Vincente works, “The West”, 1980, oil on canvas (68 x 56 in.) and “Inside Red”, 1986, oil on canvas (56 x 68 in.) at Art Miami; Vanessa Gully Santiago’s “Self Portrait in a Red Dress”, 2022, acrylic on canvas (30 x 24 in) at NADA; and Peter Grippe’s “Figure”, 1950, watercolour on paper (8 x 5 in.) at INK. Special kudos to Sudanese-Canadian artist Azza El Siddique’s critically acclaimed installation, “Final Fantasy”, involving metal work scaffolding, dripping water, eroding clay-fired pots with a central four-sided monitor scrolling the English translation of Egyptian and Nubian funerary texts. Emitting a mystical transcendental vibe, the temple-like installation captivated fairgoers and was an Art Basel fan favorite.

Among the private collections, it was great to again see longstanding much admired works, including:Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; an installation of familiar works at the de la Cruz by Félix González-Torres which included “Untitled” (America #3), 1992, 42 light bulbs, extension cords and porcelain light sockets (variable size), “Untitled” (Portrait of Dad), 1991, white mint candies, endless supply (ideal weight 175 lbs), and “Untitled”, 1989/1990, offset print on paper, endless copies, two stacks (56 x 23 in. each, ideal height 26 in.); and Leondro Erlich’s “Elevator Pitch” at the Margulies, 2011, automatic door operator, sliding doors, stainless steel, button panel, rear screen video projection, Mac mini-computer, 5 minutes, looped.

While things were frenzied in Miami, it was probably equally so in Hogtown as Torontonian sports fans relished the very real possibility of landing Shohei Ohtani. The Dodo Birds were among the few shortlisted in the hunt for the truly generational talent, but regrettably, after all was said and done, the Dodgers signed him with the lure of perpetual sunshine and a whopping $700 million 10-year contract. Quite incredible.  For a short while, the hype served as the perfect smokescreen for the plight of the woeful Dinos who continued to plod along below the 500 mark in the win/loss column. It has been reported that Coach Darko has offered to pick up the team dinner tab when the boys string together three victories. With the team on a three-game losing streak, the more relevant matter at hand is what Coach Darko is doing to stop the bleeding. Fasting, KETO, Paleo? Hunger, or lack thereof, does seem to be part of the issue as lackluster performances add up. One can only assume that Sensei Masai is gearing up for a splash at the trade deadline in February 2024. Meanwhile, Coach Darko has his hands full.

For more information on any of the artists, works or venues mentioned, or the fate of the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(https://mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - September 2023

Just back from a long-anticipated return to Armory week festivities in the Big Apple. Fueled by the pent-up excitement following a self-imposed two-year hiatus and not deterred by the sweltering heat and overcrowded New York streets, the art viewing experience was over the top - fantastic fairs, surreal MoMA moments and great gallery shows. Stopovers included: The Armory Show, Independent 20th Century and Art on Paper fairs; a pilgrimage to the MoMA; and a half dozen or so gallery visits.

The Fairs

The Armory Show held court as the centerpiece of the two-day jaunt. While the fair has long been part of the city’s cultural landscape, bringing together the world’s leading contemporary and modern galleries in the revamped Javits Center elevated the fair-going experience for all stakeholders. Art fans, exhibitors and artists have all benefited from the move two years ago from Piers 92 and 94. While the art is ultimately what matters most, venue counts as well, and creating an atmosphere where art fans can best appreciate wonderful pieces and exhibitors can best showcase their artists is important. With its outstanding gallery lineup, topnotch presentation space and user-friendly layout, The Armory Show delivered on all fronts.

This year the fair assembled over 225 leading international galleries representing more than 35 countries and over 800 artists. Along with the revitalization brought about by the venue upgrade, the show’s focus has also evolved to having a more contemporary and emerging artist bias where previously older post war painters also shared the spotlight. With that change, the crowds also seemed to get younger, less staid, and more eclectic, all making for a vibrant and exciting ambiance.  Some highlights included: Landon Metz’s organic flowing shapes in “Untitled”, 2023, dye and canvas, diptych (40 x 64 in.); Mario Martinez’s abstract expressionist inspired “Inside, Outside”, 2004, acrylic and charcoal on canvas (86 x 133.5 in.); and Nicole Coson’s imprinted found objects in “Untitled”, 2023, oil on linen (79 x 51 in.).

The vibe at the Independent 20th Century fair was more reflective and subdued but also enjoyable in a different sort of way. Set in the historic Battery Maritime Building, the focus of this 35-exhibitor show was to celebrate unsung artists that applied their trade between 1900 and 2000. Donning the walls were works of lesser known heroes such as Jack Tworkov, James Brooks and Midred Thompson, among others. The fair highlights included three large scale works from Paul Feeley featuring his archetypal jack-like forms set in a colour field backdrop, namely, “Vespasian” and “Germanicus”, 1960, and “Untitled”, 1961, each oil-based enamel on canvas.

Art on Paper was staged on the courts of Basketball City on Pier 36 and celebrated its ninth edition with a 100-plus gallery roster featuring top modern and contemporary paper-based art. The atmosphere was light and lively and lent itself well to the creatively used to highlight the fair’s signature medium. Highlights included: Eric Stefanski’s earnest and satirical “Im Fuckin Trying”, 2023, oil and graphite on paper affixed to panel in artist’s frame (44 x 34 in.); Gigi Mills’ “Night Sail and Shephard”, 2023, oil, paper and crayon on paper (43.5 x 38 in.); and Alyssa Salomon’s “Time & Place for Considering Optimism & Sunlight”, 2020, cyanotype on Abaca/Kozo paper (38 x 25 in.).  A showstopper also included a collection of six exquisite Michael Loew cubist nudes, 1951, india ink on paper on board (each 9 x 6 in.).

The Museum

The MoMA experience kicked off with early morning access tothe Ed Ruscha / Now Then exhibit. The show surveyed six decades of output and featured over 200 works in mediums including painting, drawing and photography. Peppered throughout were many of his easily recognizable images mined from Los Angeles iconography such as the Hollywood sign, Standard Oil stations and the Twentieth Century Fox logo. Equally impactful were the word paintings reflective of guttural utterances he came across in his day-to-day activities. Special pieces among these included: “Honk”, 1961-62, oil on canvas and “Oof”, 1962, oil on canvas.

The Ruscha exhibit then flowed into a pilgrimage to several extraordinary works in the MoMA permanent collection. These included: Andy Warhol’s “Campbell’s Soup Cans”, 1962, acrylic with metallic enamel paint on canvas, 32 panels; Jasper Johns’ “Flag”, 1954-55, encaustic, oil and collage on fabric mounted on plywood, three panels; Jackson Pollock’s “One: Number 31, 1950”, 1950, oil and enamel paint on canvas;  Henri Matisse’s “The Red Studio”, 1911, oil on canvas; Pablo Picasso’s  “Les Demoiselles d’Avignon”, 1907, oil on canvas; and, Vincent van Gogh’s “The Starry Night”, 1889, oil on canvas. While these works are all very familiar and are plastered on everything from mugs to T-shirts, a firsthand visual of their mastery is a magical reboot and a reminder of their greatness.

The Galleries

Memorable gallery exhibits visited outside the fair circuit included: John Zurier “On the Back of a Mirror”; Caroline Monnet “Worksite” and Ellsworth Kelly “Ellsworth Kelly at Gemini: An Exploration of Color”. Standouts among these included: John Zurier’s dreamy “Langspil(Echo)”, 2023, oil on linen (25.6 x 19.6 in.); Caroline Monnet’s biological experiment “Depredation”, 2023,  mold on gypsum board, 15 parts (each 13 x 13 in.) and powerful “In Silence We Speak Volumes”, 2023, oriented strand board, acrylic (47 x 47 in.); and Ellsworth Kelly’s stunning “Red Curve (State ll)”, 1988, 1-color lithograph, edition of 15, #3 (26 x 84 in.).

While art fans were scurrying about to the various venues sharing the New York City stage with sportsfans who were in town to witness Coco Gauff’s crowning achievement, on the other side of the world in the Philippines, hoopsters were being treated to a different brand of basketball at the FIBA World Cup, the toughest albeit not glitziest of international hoops tournaments. When all was said and done, the gold medal went to Germany who outlasted Serbia in the finals while Canada upset the USA in an overtime thriller for the bronze. That was a historic finish for Canada on the FIBA world stage and a major disappointment for the USA who fielded an all-NBA team - true, maybe not the best of the lot and three players were out with an undisclosed illness (bad pancit, maybe), but still, a great victory for Canada thanks to standout performances from Shai Gilgeous-Alexander who was named to the All-Tournament team and bronze medal game MVP NBA villain par excellence Dillon Brooks. Another huge positive stemming from the tournament was the show put on by Dennis Schröder who led the German team to the top podium finish. The speedy and crafty guard was named FIBA World Cup MVP and will be bringing his talents to Toronto. Let’s hope Flash can carry over his success to the Dinos as he steps into the prime ball handler role vacated by Steady Freddie’s departure. Something to look forward to.

For more information on any of the artists or works mentioned, the MoMA, the gallery exhibits and Schröder’s transition to the Dinos, “Just Google It”.

There you have it sportsfans,

MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2022

Just back from two and half days in Miami and returning fully saturated and totally satiated from an intense and marvelous art viewing experience. Art has once again become a full contact sport and long gone are the notions that hybrid formats work just as well.  Instead, throngs of art fans and aficionados fearlessly braved the crowded corridors of art venues and city streets satisfying their craving for firsthand looks at everything from the bright and shiny new thing to postwar contemporary masterworks. As entertaining as the art on display, were the people doing the looking, and Miami during Art Week has a knack of drawing out the best of them ranging from the ultra-extreme eccentrics to the minimalist uber cool contemporary hipsters and everything in between. At the center of it all however was more art than the mind can reasonably process and the amazing adventure it was to attempt to do so.  

The action-packed itinerary for the brief visit was staged to tackle a host of fairs, some private collections and a few museums. As always, step management, strategic ubering and timely refueling (notably an award-winning grilled octopus and a killer salmon a la plancha con coliflor) were keys to pulling it off and maintaining some semblance of sensory balance. The roadmap featured: Art Basel Miami Beach, NADA, Art Miami, Untitled and INK art fairs; the de la Cruz, Juan Carlos Maldonado and Margulies private collections; and the Institute of Contemporary Art and the Rubell Museum.

While all the stops had something to offer, a few rose above the rest. Sitting at the top in the fair category, Art Basel celebrated its 20th edition in style with 283 exhibitors from 38 countries showcasing a highly curated offering of top-end modern and contemporary art. In addition to featuring some of the world’s most renowned galleries, the fair also included 26 rookie participants. In that regard, it was great to see that certain perennial NADA and Art Miami exhibitors had graduated to the bigger stage. There was also noticeable excitement around NADA’s 146 gallery offering and a palpable feeling that the fair has reclaimed its legacy reputation for exhibiting cutting edge contemporary art and being the definitive launching pad for emerging stars. Among the other visits, the incredible viewing spaces at the de la Cruz and the Rubell housed over-the-top beautiful paintings, sculptures and on-site installations reflecting the astute collecting preferences of their founders.

There were many memorable pieces. At Art Basel, the showstoppers included: Henrik Olesen’s three-piece installation “Portrait 1, Portrait 2 and FuBleiste”, 2020, oil and mixed media on cotton and HDF (15.8 x 11.8 in.), oil and mixed media on Masonite, framed (19.7 x 17.2 in.) and one skirting board, paint (98.2 x 1.8 x 1.2 in.); Leon Polk Smith’s cascading “Constel: Blue Red straight line thru three Ovals”, 1969, paint on canvas (121 x 132 in.); Katherine Bradford’s dreamy “Quiet Beach”, 2022, acrylic on canvas (72 x 60 in.); and Martha Tuttle’s ethereal textile-based abstraction “Mystic and wonderworker”, 2022, wool, silk, pigment, steel and stones (7.9 x 10.2 in.). At NADA, the highlights included: Benjamin Echeverria’s “Nevada”, 2022, oil, acrylic, adhesives on canvas in artist’s frame (68.2 x 65.2 in.); Jay Payton’s “Biohazardous Medical Device”, 2022, mixed media on cardboard (65 x 48 in.); and Melissa Joseph’s “Sensory Deprivation”, 2022, archival print and needle felted wool on industrial felt (30 x 30 in.). Other fair highlights included: Sam Francis’ “Untitled (SF75-119)”, 1975, acrylic on paper (13.5 x 11.5 in.) at Art Miami; and Jasper Johns’ “Target, from Meyer Shapiro”, 1973, screenprint on Ohiro Mimitsuki paper (23.9 x 16.3 in.), A.P. 9/13 at INK. Among the private collections and museums, the standouts included: Laura Owens’ celestial ecosystem “Untitled”, 2016, oil flashe, screenprinting ink, charcoal and sand on linen (108 x 84 in.) at the de la Cruz; Matthew Angelo Harrison’s repurposed sculpture “Dark Silhouette: Timid Male Figure”, 2018, wooden sculpture from West Africa, polyurethane resin and anodized aluminum at the ICA; Noah Davis’ “Painting for my Dad”, 2011, oil on canvas (76 x 91 in.) at the Rubell; and Pier Paolo Calzolari’s “Haiku (Scarpetta rosa)”, 2017, salt, thick flannel, tempera, oil pastels on wood at the Margulies. One of the more interesting installations, Yayoi Kusama’s “Narcissus Garden”, was also at the Rubell. This version of the familiar Kusama work featured 700 shimmering silver spheres spread out over the length and width of the museum’s 200-foot-long main corridor providing a totally immersive experience for patrons who navigated around the beach ball size orbs while glancing at their reflections along the way. Special kudos to Essa Mohamoud and her Art Basel debut of “Ebony in Ivory, I”, 2022, shea butter, Italian black marble, wax and damar resin (60 x 30 x 30 in.), unique edition 4 of 5. This sculpture was a noted standout at Art Toronto 2022 and more than held its own among the best of the best.

While the mood was festive in Miami during the week, things in Jurassic Park were more worrisome especially after the Dinos suffered back-to-back thrashings at the hands of the Pelicans and the Nets. Thankfully, the Magic arrived in Hogtown on Saturday night and the Raptors came away with a decisive victory. It’s unclear however how much comfort fans should take in besting Orlando, the worst NBA team. Having put forward 10 different starting lineups in the last 10 games, clearly Coach Nurse still seems to have some tinkering to do before settling on a definitive starting five and a reliable second unit rotation. With Gary I Never Saw I Shot I Didn’t Like Trent Jr. moving to an off-the-bench scoring role, there’s a starting slot or two up for grabs. For sure the core unit is anchored by Crazy Eyes who has quickly regained his NBA all-Star form and the Extraterrestrial One who is a total beast, but after that, it’s less clear. Baby Face Barnes has had a good year but not a great one, and Not So Steady Freddie has yet to find his stroke. Who steps up is the question … Special K - the rookie, Deux Cuisses de Poulet - the energizer, Thad the Impaler - the wily veteran? It’s a roll of the dice for now and Coach Nurse is still searching for the winning combination.

 For more information on any of the artists, works or venues mentioned, or the fate of the Dinos and any pending roster changes, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2019

Just back from Miami and a dizzying art viewing adventure that featured works by contemporary art rockstars, modern masters and the anointed next generation of art world influencers.  The two-and-a-half-day trek included visiting seven art fairs, two foundations, two museums and a handful of other pop-up venues. While the itinerary on paper was ambitious but manageable, everything this year seemed to be larger, from the size of the venues, to the number of exhibiting galleries and works on display, to the crowds of art fans and aficionados negotiating the corridors. Considering only the art fairs, the odyssey amounted to over 1000 gallery visits with each displaying 10 to 20 works at a time. Fully appreciating it all in the moment was sometimes a challenge, but thankfully moving from venue to venue allowed some time to recalibrate the senses and prepare to appreciate what was up next.

The journey unfolded with INK, Untitled and Scope art fairs on the day of arrival; the de la Cruz and Juan Carlos Maldonado foundations, the Rubell Museum and Institute of Contemporary Art Miami, the Gagosian and Jeffrey Deitch exhibit, and NADA and Art Miami fairs on the next day; and Pulse and Art Basel on the last day. Among the stops, the art fairs were more frenetic, overcrowded and most challenging to process in real-time while the other venues, notably the museums and foundations, were a welcomed oasis offering a more highly curated presentation in an environment more conducive to better appreciating the great works on display.

Each fair attempted to cater to a niche in the marketplace by recruiting the exhibitors that sponsored the artists whose works were consistent with the fair’s mission and appealed to their targeted audience. Art Basel stood out among all fairs on delivering quality works and superior presentation. Set in the city’s sprawling convention center, it is the anchor of the art week festivities and remains the premier show. Featuring leading modern and contemporary art, 270 or so exhibitors put forward a highly curated offering of 20th and 21st century works. This year, in addition to maximizing the use of the 500,000 square feet of ground floor exhibition space, the fair organizers expanded upwards to include an additional 60,000 square feet of space with a 26-foot-high ceiling and tasked 34 galleries to display large scale works. This new Merdians section of Art Basel was a monumental hit and featured fantastic paintings, sculptures and video installations, among other alternative medium offerings. Hosting approximately 180 galleries, Art Miami, the next largest fair in size, focused primarily on presenting the works of post-war contemporary artists with an emphasis on glitzier pop offerings. As for the other fairs, Untitled’s lineup of 125 galleries had a more international flavor; NADA delivered on championing new voices in contemporary art; Scope presented largely commercial offerings; Pulse was a mixed bag; and INK presented exclusively works on paper.

While not all fairs hit the mark, there were highlights throughout. At Art Basel, the showstoppers included: Jenny Holzer’s “Red X”, 2016, redacted US government document, oil on linen (80 x 62 x 1.5 in.); Christopher Wool’s “Untitled”, 2018, oil and etching on paper (23.5 x 18.75 in.); Elliott Puckette’s “Untitled”, 2019, gesso, kaolin and ink on board (50 x 42 in.); Leon Polk Smith’s “Constellation Six Circles”, 1969, acrylic on canvas (72 x 64 x 1 in.); and Martha Tuttle’s “Arrangement 6”, 2019, wool, linen and pigment (32 x 25 in.).  Highlights at the other fairs included: Richard Gorman’s “Big Red”, 2005, woodblock print, edition of 40 (59 x 42 in.) at INK; Michael Berryhill’s “Wedge”, 2017, oil on linen (20 x 17 in.) and Megan Rooney’s “Flowing in silk flowers bought for someone else”, 2016, pencil, ink, pastel and acrylic paint on magazine pages (24.5 x 31.5 in.) at NADA; Mr. Brainwash’s “Pop Scene (PS19060)”, 2019, silkscreen on paper (36 x 36 in.) at Art Miami; and Zuzanna Kozlowska’s “Beauty is a state of mind”, 2019, iron (8 x 10 x 14 ft) at Pulse.

Beyond the fairs, the de la Cruz collection, the Rubell Museum and the ICA Miami featured top-notch contemporary offerings staged in fabulous venues. Notable works included: Nate Lowman’s “Mellow Yellow”, oil, dirt and dental floss on canvas (57 x 28 in.) and Gregg Ligon’s “Masquerade #4”, 2006, silkscreen and coal dust on canvas (78 x 52 in.) at the de la Cruz Collection; and Jeff Koons’ “Three Ball 50/50 Tank (Dr. J Silver Series)”, 1985, glass, steel distilled water and three basketballs, ed.1/2 (60.75 x 48.75 x 13.25 in.) at the Rubell Museum; and many fantastic works making up the Sterling Ruby retrospective at the ICA Miami.

With all that was on display at the fairs, foundations and museums, one of the works that garnered the most attention (and press) was Maurizio Cattelan’s “Comedian”. On view at Art Basel, it consisted of a banana duct-taped to a gallery wall. It was a limited-edition work that came with a certificate of authenticity by the artist and instructions on how to replace the banana once it over ripened. At least three sold for between US$120,000 and US$150,000 each and one was eaten for fame.

 The banana on the wall at Art Basel was not the only thing that was slowly rotting. In Dinoland, the euphoria of a surprisingly strong start was dissipating. After surviving and succeeding despite numerous injuries, most notedly to Kyle Lowry and Serge Ibaka, the Raptors went on an Art Miami week three-game skid, their longest since November 2018, and were a Zach LaVine runner shy of dropping a fourth. The question remains as to whether this is a speed bump or reality setting in. Can Crazy Eyes really carry the team? Is the Extraterrestrial One a good enough sidekick? Can Steady Freddie stay healthy? Meanwhile, Kyle is a bull in a china shop with the most argued calls per second of play in the league and the G-Man flirts in and out of consciousness. With K’Why returning to face the Raptors in Hogtown on Wednesday, team chemistry will again be put to the test. Depending on how the wind blows after that, things may get shaken up before the next major art fair.

 For more information on any of the artists, works or venues mentioned, or the fate of the Dinos and pending changes, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Toronto - October 2019

Just back from Hogtown and a very energizing and engaging art viewing experience at Art Toronto. Turning 20 this year, the fair has smartly grown from its beginnings as an exhibitor trade show to a premiere gallery platform showcasing the works of primarily established and emerging Canadian artists. This year’s edition featured just over 100 galleries with strong coast to coast artist representation as well as a sprinkling of international participants. Fair attendance (on the weekend at least) seemed to be strong and crescendoed over the course of the days as art fans and aficionados got their late morning/early afternoon brunch out of the way and committed to actively navigating the fair corridors to enjoy the strong offering on display. Discoveries and visual treats were abundant, and red dots were plentiful - all of which translated into a great experience for all.

The exhibitors presented a well-balanced mix of contemporary and modern art. The highlights by the more well-established historical Canadian artists included: Jack Bush’s “Suite of Five Prints”, 1965, serigraphs on woven paper (each, 26 x 20.5 in.), featuring the iconic imagery of “Red Sash”, “Red Stripes”, “Red Orange Green”, “Nice Pink” and “Stripes to the Right”; William Paterson Ewen’s heavily worked “Full Moon”, 1987, mixed media on gouged plywood (96 x 90 in.); and  William Perehudoff’s elegant “Nanai #13”, 1969, acrylic on canvas (64 x 77 in.). More contemporary standouts included: Julia Dault’s multi-layered “Double Double Land”, 2018, leather, silver leaf, printed paper and oil on canvas (24 x 18 in.); Manuel Mathieu’s swirling “Study on a Movement”, 2019, mixed media (24 x 24 in.); Shaan Syed’s “Double Minaret (Pink and Green)”, 2017 (83.3 x 71.8 in.); Ron Terada’s satirical wordplay wall installation of 26 paintings “IL: DR 2”, 2017-2018, acrylic on canvas (120 x 408 in.); and Tammi Campbell’s ode to Ellsworth Kelly “Green Curve with bubble wrap and packing tape”, 2019, acrylic on canvas (51 x 40 x 2 in.).

In addition to the conversation around medium, technique and influences, sports talk was also prevalent with all the major professional leagues in various stages of full swing. At the top of the headlines was the World Series showdown between the Houston Astros and the Washington Nationals (provenance … the Montreal Expos a.k.a. Nos Amours). With the Astros leading the series 3 games to 2, it’s mixed emotions for anyone living in La Belle Province. Other newsworthy tidbits included: the feats of the ‘defense-powerhouse’ 8-0 Patriots; the Sabres playing like a top tier team; TFC’s run into the Eastern finals of the MLS Cup playoffs; and then there’s the Dinos. With the pervasive feeling of having been left “Hung Out to Dry” still lingering in the air, the Raptors are searching desperately for an identity and more depth beyond the eight-man rotation they’ve been running with in the early going of the post-K’Why era. Coach Nurse has a huge challenge ahead in guiding the defending champs back into the post-season. As a minimum, the core must stay healthy, the newbies need to step up and someone needs to tell Gasol that the season has started.  

 For more information on any of the artists or works mentioned and for an update on the fate of transplanted ‘Spos’ or the Dinos and the G-man’s state of consciousness, “Just Google It”.

There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Venice, Italy - July 2019

Just back from Venice which served as a surreal backdrop to the 58th edition of the Venice Art Biennale. The picturesque Floating City radiated with its abundance of stunning architecture and colours and offered mesmerizing panoramas and vistas. It’s only fitting that it hosts the Olympics of the art world and has been doing so every two years since 1895. Over time, this large-scale international gathering of contemporary art has served as a launching pad to greatness for many artists and that rich history contributed to the buzz in the air. In addition to the Biennale, numerous other exhibits were staged concurrently throughout the city and visiting many of these in the three days at hand was a memorable art viewing adventure.

This year’s Biennale featured 79 artists from all over the globe and 55 national pavilions where the works of select artists representing their host nations were displayed.  The principal venues were the Arsenale, a former Venetian military dockyard, which housed some of the themed exhibits and temporary national pavilions, and the Giardini, a lush garden area that is home to 30 permanent national pavilions.  The theme of the exhibition was “May You Live in Interesting Times”, and the work product tackled topical issues such as politics, human rights, sexuality and climate change, among others. Also prevalent was the creative use of less than conventional mediums such as sound, AI, robotics and light mixed in with a rogue painting here and there. Not all of it on an individual basis was easily digestible and understandable, but as a whole, the grander and creativity of the visual presentation was mind-bending. Highlights among the themed exhibits included: Zanele Muholi’s “Sifikile, Nuoro, Italy ”, 2015, and “Phaphama, at Cassilhaus, North Carolina”, 2016, larger than life self-portraits derived from photographs and presented as wallpaper featuring the artist’s intense stare; Carol Bove’s “Bather”, stainless steel and urethane paint, a spectacular sculpture showcasing the artist’s mastery over bends, dents, torque and colour; and Sun Yuan and Peng Yu’s “Can’t Help Myself”, 2016, a Kuka industrial robot (resembling a gigantic mechanical arm with a squeegee hand) that moved relentlessly to contain and sweep a bloodlike liquid all while spattering it on the inside of the glass walls that contained the room-size installation. A standout among the national pavilions was Great Britain’s which featured the work of Cathy Wilkes. The exhibit presented a series of sculptures, paintings and prints as well as a collection of staged stray objects including glassware, a dragonfly, a coin and a toilet paper roll, among others.  With a theme of maternity and childlike figures interspersed throughout, it was a bit melancholic but so serene and beautiful.

In addition to the Biennale, other art pilgrimages included: the Peggy Guggenheim museum which featured its permanent collection of 20th century masterworks by leading European and American artists, as well as a temporary exhibit, “The Nature of Arp”, showcasing the accomplishments of Jean (Hans) Arp; “La Pelle”, major exhibit of Luc Tuymans’ paintings at the Palazzo Grassi; “Förg in Venice”, a selective presentation of the works of Günther Förg at the Palazzo Contarini Polignac; and “Jean Dubuffet and Venice”, an expansive retake of Dubuffet’s previous exhibits in the city in 1964 and 1984 at the Palazzo Franchetti. Highlights among these included: Alberto Giacometti’s “Femme debout (Leoni)”, 1947, cast bronze; Jean Arp’s “Torso”, 1931, bronze; Luc Tuymans’ “Twenty Seventeen”, 2017, oil on canvas (37.3 x 24.7 in.); Günther Förg’s “Untitled”, 2008, acrylic and oil on canvas (78.7 x 94.5 x 1.2 in.); and Jean Dubuffet’s “Pince bec”, 1960, papier-mâché (37.4 x 11.8 x 11.8 in.) and “Mire G 108 (Boléro)”, 1983, acrylic on canvas-backed paper (131.9 x 39.4 in.). While these and other works of art stood on their own, the magnificent staging of the exhibits, be it in private gardens or grandiose palazzos of another era, further enhanced the viewing experience.

Soaking in artistry of a different kind around town, some noteworthy random happenings included being immersed in an impressive multimedia presentation promoting the new Spider-Man movie which was projected on the walls of buildings in Piazza San Marco, and witnessing the  standout performance piece involving the preparation of Osteria Ai Do Farai’s sea bass carpaccio and then partaking in the raw fish delicacy that was topped with lemon juice, oil and prosecco. Awesome stuff.

Meanwhile back in new world, the tectonic plates in NBA-land literally and figurately shifted, reverberating through Jurassic Park all the way to Southern California. While still savoring the sweet feeling of claiming the NBA championship, the Dinos were dealt a disappointing blow with K’Why’s decision to join Ballmer’s Clippers. Perhaps it was just wishful thinking that he would stay. That’s neither here nor there at this point. So now what? While the Klaw was integral to delivering the ultimate prize to a championship-starved city, it came at a hefty price. The Bulldog, Big Shot Freddie, Crazy Eyes, the Extraterrestrial One and Mafuzzy Chef are a nucleus of sorts to build around, but the Dinos will need help to compete in a stronger Eastern Conference. The ball is back in Masai Ujiri’s court who will likely shuffle the deck and hopefully deliver to Coach Nurse a line-up that can continue to be competitive into the post season.  

The Biennale runs through November 2019 with the next edition debuting in two years. It would great if the Dinos were on the same timetable to repeat as champions. For more information on the Biennale, the other exhibits and a likely Raptor reset, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Québec City - January 2019 (Winter Road Trip)

Just back from a day trip to the province’s capital to take in the Marcel Barbeau exhibit, “Marcel Barbeau: in Motion”, at the Musée national des beaux-arts du Québec.  The spontaneous outing was well worth the three-hour drive back and forth. The beautiful venue, great works and captivating story behind Barbeau all contributed to making the show a top-tier art viewing experience and a fantastic tribute to the artist, one of the signatories of the Refus Global, the manifesto that launched the abstract movement in Québec and across Canada in the late 40’s.

Notwithstanding Barbeau’s contribution to the art scene, the exhibit was his first major retrospective, and although long overdue, it magnificently put into perspective a career that spanned seventy years and one that featured leading edge experimentation and discovery in non-figurative art. In applying his craft, Barbeau used a broad array of techniques (staining, soaking, sprinkling, rubbing, scraping, cutting and pasting), materials (oil, ink, enamel, felt pen) and support mediums (paper, canvas, jute, wood panels). More importantly, however, and following his strong artistic intuition, Barbeau continuously pushed boundaries by pursuing various abstract styles that yielded his own brand of Automatism, tachiste works, minimalist drawings, collages, kinetic paintings, shaped canvases, sculptures and even transdisciplinary performance paintings.  As such, there was great variety in Barbeau’s creative output over the course of his career and the exhibit showcased many representative period pieces. The highlights included: “Rosier-feuilles”, 1946, oil on wood panel (19.3 x 29.7 in.), an early abstract gestural work that preceded the formation of the Automatist movement; “Natashkouan”, 1956, oil on canvas (71.7 x 83.9 in.), an all-over tachiste painting; “Régates”, 1964, acrylic on canvas (79.9 x 60.0 in.), an op art interpretation of surface patterns seen on the St. Lawrence River; “Aie aie aie Wawaska”, 1968, acrylic on canvas (80.7 x 66.3 in.), two minimalist canvases positioned to simulate moving shapes in space; “Le Mouvement du soir”, 1980, acrylic on paper glued on canvas (107.1 x 215.9 in.), a lyrical performance piece painted as part of a dance seminar at Bishop’s University; and, “Chanson de salomandre”, 2013, acrylic on canvas (53.9 x 53.9 in.), a pairing of previously explored styles - a curved line and random paint drippings on a monochrome base. Beyond these and numerous other specific works, the expansive views afforded by the fabulous exhibit space provided amazing vistas and the special opportunity to appreciate groupings of works.

Barbeau passed away in 2016 at the age of 90. Unfortunately, the exhibit concluded its run on Sunday and will not be travelling to other cities (at least not yet) where it could easily stand up to the best of the best, including in Paris and New York where Barbeau spent considerable time and produced great works.  As a small consolation, an exhibit catalog was published and is available.

 From the Plains of Abraham to Jurassic Park … after being humbled by Double-D and his Spurs (somehow that just doesn’t ring right), the Dinos bounced back with impressive back-to-back wins over the weekend. With K’Why at the helm (and no Lowry), the Raptors beat the Bucks for the first time this season, and then behind Lowry’s leadership in his highly anticipated return to the line-up (and no K’Why), they took care of the Pacers. At some point hopefully, these guys will be on the court at the same time for a few games in a row. As it stands, K’Why and Lowry have only played 21 of 42 games together. Developing a genuine comradery over the second half of the season will dictate how far this team goes beyond that. In the interim, the Dinos retain Eastern Conference bragging rights which is something fans can nervously continue to appreciate.

 For more information on Barbeau, the exhibit, or the fate of the Dinos as the second half of the season unfolds, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2018

Just back from 60 hours on the ground in Miami and a fully immersive art viewing experience which spanned fairs, foundations, museums and pop-up shows. Fueled by some tasty grilled octopus, a killer cacio e pepe and a reserve of M&M’s chocolate covered almonds, the  journey unfolded as follows: ocean-side stops at INK, Pulse, Untitled and Scope art fairs on the day of arrival; the de la Cruz and Juan Carlos Maldonado collections, the Institute of Contemporary Art, the Gagosian and Jeffrey Deitch Pop Minimalism exhibit, and NADA, Art Miami and CONTEXT fairs on the next day; and Art Basel Miami Beach on the day of departure. Enthusiasm and attendance throughout were crazy. Aficionados and fans did not seem to be deterred by the unsettling backdrop of a recent 5 % market correction, escalating trade wars and volatile oil prices nor did the always challenging local logistics of navigating to and from venues detract participants too much from enjoying and fully appreciating the diverse and visually appetizing offerings scattered throughout the city.

Each event played to its strengths in catering to its target audience. Set in the recently upgraded Miami Beach Convention Center, Art Basel remains the anchor of the art week festivities. Showcasing leading modern and contemporary art, over 275 exhibitors put forward a highly curated offering of 20th and 21st century works. This year, premiere contemporary works continued to hold center court attention, and there also appeared to be a renewed focus on modern masters. Art Miami to some extent filled a bit of a gap in presenting the works of some post-war contemporary artists which were interspersed amid a predominantly broader range of glitzier offerings; Untitled and NADA aimed at delivering cutting edge contemporary art; Scope and CONTEXT presented flashier more commercial creations; Pulse remained a bit in limbo; and inconspicuous INK presented some upscale high quality works on paper. Among the other stopovers, the de la Cruz Collection retained its status as a perennial favorite and epicenter of beautiful contemporary art set in an incredible venue.

Sifting through it all, there were memorable pieces throughout. At Art Basel, the showstoppers included: Giorgio Griffa’s free-hanging “Canone aureo 798”, 2015, acrylic on canvas (78.7 x 47.2 in.), featuring Griffa’s typical iconography of symbols, numbers and canvas creases; and Jean Dubuffet’s gritty “La vie à la campagne”, 1949, oil on canvas (45.7 x 35 in.). Other fair highlights included: Carl Andre’s “De Kooning Gorky Pollack”, 1962, carbon copy on paper mounted on board (6 x 6.1 in.) at Art Miami; Jim Lee’s “DD CutEdgeCream”, 2018, oil enamel on linen with staples and wood (42 x 24 in.) and Rindon Johnson’s “I’ve had to accustom my temperament to that. Instead of wasting my strength and worrying about tomorrow, I put everything into the present, like a fighter and I’m tired”, 2018, indigo and leather (14 x 11 in.) at NADA; Tae Hong Park’s “Learn in Silence”, 2017, mixed media on panel (18 x 18 in.) at Scope; Louise Blyton’s “Sweet Love”, 2018, acrylic on linen (10 x 12 x 2 in.) at Pulse; and Amy Kaufman’s floating forms in “4 Rex 1”, 2016, pastel on paper (26 x 22”) at Untitled. Lucy Sparrow’s “Triple Art Bypass” installation at CONTEXT was a special treat. It featured an operating theatre and a floor to ceiling medicine cabinet, the whole made of felt including the hundreds of packaged medicines and pharmaceuticals that stocked the pharmacy shelves. As a bonus, the high energy Queen of Felt was holding court on sight to the delight of fairgoers. Notable works at the other venues included: Paul Feeley’s signature patterned “Arcturus”, 1963, oil-based enamel on canvas (60 x 60 in.) at the Gagosian/Deitch pop-up show; Sterling Ruby’s monumental “SP175”, 2011, spray paint on canvas (160 x 160 in.) at the de la Cruz Collection; and Walter Darby Bannard’s minimalist “Baffin”, 1961, alkyd resin on canvas at the Institute of Contemporary Art.

It is quite fitting that as the art week festivities drew to a close, the Dino’s and the Bucks squared off in Hogtown for Eastern Conference bragging rights and potentially home court advantage in the post season. The Dino’s struggled all game but worked their way into a lead in the dying minutes only to see the Greek Freak and his crew snap it away. The more troubling news for Raptors fans was that the Ever-So-Grumpy Lowry continued to struggle offensively and was held off the scoresheet. Also worrisome was K’Why’s inability to seal the deal in crunch time. Notwithstanding some key plays down the stretch, in four of the Dino’s seven losses this season (this game included), K’Why has had the ball in his hands and opportunity to win the game and has come up short every time. Up next are four away games against strong Western Conference teams. Coach Nurse has lots of work ahead of him to get the Dino’s back on track.

 For more information on any of the artists, works or venues mentioned, or the fate of the Dino’s as they head west, “Just Google It”.

 There you have it sportsfans,

 MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.