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caveartfair · 6 years ago

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5 Standout New York Exhibitions to See This March

Here, we share a roundup of notable shows to see in New York this March, chosen by Artsy Editors.

Derrick Adams at Luxembourg & Dayan

Through April 20th

64 East 77th Street

Installation view of Derrick Adams, “Derrick Adams Interior Life,” 2019, at Luxembourg & Dayan, New York. © Derrick Adams. Courtesy of Luxembourg & Dayan, New York and London.

Derrick Adams, Interior Life (Figure 8), 2019. © Derrick Adams. Courtesy of Luxembourg & Dayan, New York and London.

Installation view of Derrick Adams, “Derrick Adams Interior Life,” 2019, at Luxembourg & Dayan, New York. © Derrick Adams. Courtesy of Luxembourg & Dayan, New York and London.

Derrick Adams, Interior Life (Figure 1), 2019. © Derrick Adams. Courtesy of Luxembourg & Dayan, New York and London.

Derrick Adams has wallpapered Luxembourg & Dayan’s pristine Upper East Side townhouse with brilliant hues and mismatched styles. They serve as backdrops for his signature mixed-media collages on paper: vibrant, patterned side profiles of African-American figures that Adams observes from his Brooklyn studio’s stoop. The characters on view at Luxembourg & Dayan are a riot of patterns and geometric shapes: They wear floral tops, stripes, and a red-and-white polka-dot blouse. At the opening earlier this week, Adams mentioned that these will be his last works in the series. “What better way to do them,” he asked his audience, “but do it out?”

And do it out he’s done. On the entry level, the wallpapering suggests a fireplace with two statuettes on top: one resembling a black power fist, the other conveying hands pressed in prayer. On another level, you’ll find a faux kitchen, decked out with real recipes taped to the fake wooden cabinets: Patti LaBelle’s Sweet Potato Pie, Bobby Seale’s Spicy Chicken Barbecue, and more. The exhibition interrogates sartorial, culinary, and architectural influences on design and style. In all, it’s a colorful journey into an imaginary domestic realm. (Adams’s work is also on view at Mary Boone Gallery, 745 Fifth Avenue, March 7th–April 27th.)

Charlotte Posenenske at Dia Beacon

March 8th–September 9th

3 Beekman Street, Beacon, New York

Installation view of Charlotte Posenenske, Vierantrohr (Square Tube), Series D, 1967, at Offenbach, Germany, 1967. © Estate of Charlotte Posenenske. Courtesy of the Estate of Charlotte Posenenske; Mehdi Chouakri, Berlin; and Peter Freeman, New York.

Installation view of Charlotte Posenenske, Vierantrohr (Square Tube), Series D, 1967, at Haus Konstruktiv, Zürich, 2010. © Estate of Charlotte Posenenske. Photo by Dr. Burkhard Brunn, Frankfurt am Main. Courtesy of the Estate of Charlotte Posenenske; Mehdi Chouakri, Berlin; and Peter Freeman, New York.

Charlotte Posenenske, Eight Series C Reliefs, 1967. © Estate of Charlotte Posenenske. Courtesy of Daimler Art Collection, Stuttgart/Berlin.

In contrast to much Minimalist sculpture—which, if rigorous, can feel austere and humorless—Charlotte Posenenske’s galvanized steel structures are almost comical. Installed in the solemn, light-filled galleries of Dia Beacon, they look like misshapen air ducts plunked on the wood-slatted floor. Full of slants, bends, and obvious seams, they offer character-filled alternatives to the pristine, simple constructions of the Donald Judd boxes just around the corner.

Posenenske has a compelling backstory, too. She was born in Germany in 1930 and went into hiding to avoid the Nazis. She did not escape the Holocaust unscathed, though—her father committed suicide when she was a child. Throughout the 1950s, Posenenske focused on making accessible, politically responsible art. Anyone who bought her steel or cardboard structures could choose how to assemble the individual pieces.

Artmaking, however, proved unsatisfying for her progressive ambitions. In 1968, Posenenske quit her practice to become a sociologist. She died young, at age 54 (of cancer), and curators are just beginning to re-insert her name into the art historical canon. The Dia exhibition proves she’s a crucial addition to the minimalist legacy.

Nari Ward at the New Museum

Through May 26th

235 Bowery

Installation view of Nari Ward, Amazing Grace, 1993, from “Nari Ward: We the People,” 2019, at the New Museum, New York. Photo by Maris Hutchinson/EPW Studio.

Installation view of Nari Ward, Hunger Cradle, 1996, from “Nari Ward: We the People,” 2019, at the New Museum, New York. Photo by Maris Hutchinson/EPW Studio.

Installation view of Nari Ward, Carpet Angel, 1992, from “Nari Ward: We the People,” 2019, at the New Museum, New York. Photo by Maris Hutchinson/EPW Studio.

Nari Ward’s Amazing Grace (1993) is one of the most moving installations on view in New York right now. Walking into a dimly lit room, the viewer encounters hundreds of used strollers, situated around fire hoses laid side by side on the floor. The titular hymn fills the room, enhancing the theatricality and gravity of the piece. Even without knowing the artist’s intent, the work conveys a haunting sense of loss as it evokes that famed, six-word Ernest Hemingway story: “For sale: baby shoes, never worn.”

In fact, the Jamaica-born, New York–based Ward found all the strollers abandoned in Harlem during a 1993 residency at the Studio Museum. The locally sourced, sullied symbols of innocence suggest the city’s ongoing contention with AIDS, drugs, and homelessness. If Amazing Grace is a highlight, it’s just one of many outstanding multimedia pieces in the artist’s solo exhibition. Hunger Cradle (1993) consists of a network of yarn, rope, and found materials that weave above the viewer’s head like a tangled web of domestic objects. Ward may be best known for scavenging materials from shopping carts to codfish, and his ability to turn trash into veritable treasure is a very special brand of alchemy.

David Byrd at White Columns

Through March 9th

91 Horatio Street

David Byrd, Nurse With Dietary Cards, 1998. Photo by Marc Tatti. Courtesy of White Columns, New York.

David Byrd, Changing Stations, 1990. Photo by Marc Tatti. Courtesy of White Columns, New York.

Installation view of David Byrd, “David Byrd,” at White Columns, New York, 2019. Photo by Marc Tatti. Courtesy of White Columns, New York.

The quiet tones and pared-down compositions of Giorgio Morandi meet the gentle, cartoonish figures of a Pixar film in the paintings of David Byrd, who died in 2013 at age 87. Byrd himself lived a secluded life: Born in 1926, he joined the Merchant Marines and fought in World War II; briefly attended the Dauphin School of Art in Philadelphia and the Ozenfant School of Fine Art in New York; and worked menial jobs for decades. In 1958, Byrd became an orderly in the psychiatric ward of a Veterans Affairs hospital, which offered an abundance of aesthetic inspiration. He observed how people moved and interacted in the spare settings, then translated their pain and isolation to canvas.

A particularly moving title, Patient Expiring (1972), leaves the viewer wondering: breathing or dying? In the composition, a figure lies in a blue-blanketed bed with a bent knee. In the open, light-filled doorway, an orderly’s hands appear, making a checkmark on a clipboard. It is, perhaps, a parable of the artist’s work—peering at the shapes of life and death and bringing them into the light via gesture. Byrd received only one show in his lifetime, at Seattle’s Greg Kucera Gallery in 2012. White Columns is showing a small but excellent selection of the art trove he left behind. (Anton Kern Gallery is also showing Byrd’s work at 16 East 55th Street through March 9th.)

Judith Linhares at P.P.O.W

Through March 16th

535 West 22nd Street

Judith Linhares, Rave, 2018. Courtesy of Judith Linhares and P•P•O•W, New York.

Judith Linhares, High Desert, 2018. Courtesy of Judith Linhares and P•P•O•W, New York.

Judith Linhares, Dawn, 2017. Courtesy of Judith Linhares and P•P•O•W, New York.

The first line of Judith Linhares’s bio on her website reads: “Judith Linhares came of age in the socially turbulent ‘take-it-to-the-streets’ days of feminism, underground comics, and poetic reverie in Northern California.” Psychedelic shades still infuse the painter’s recent work, though she’s now living in Brooklyn. Her presentation at P.P.O.W shines with magenta and goldenrod, emerald and chartreuse. And the figures are no less colorful: Nude women gnaw on chicken wings, ride a horse, and lounge on craggy rocks beneath a lion.

Plants and animals abound, though in a decidedly expressionistic, unnatural manner. One painting, which features a crazed, cartoonish dog with pointy ears and a lolling tongue, earns its title, Rave (2018). Like contemporary painters Robin F. Williams and Mira Dancy, Linhares elevates her subjects into large-scale, mythological figures—but she’s been doing it since the 1970s. (Linhares’s work is also on view at the gallery’s booth at ADAA’s The Art Show, at the Park Avenue Armory through March 3rd.)

from Artsy News

#Artsy News

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reneeacaseyfl · 5 years ago

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Trump Comes for Baltimore, Baltimore Claps Back: raceAhead

Over the weekend, President Donald Trump launched a now-familiar style of attack on Maryland Rep. Elijah Cummings. Racist.

“Rep, Elijah Cummings has been a brutal bully, shouting and screaming at the great men & women of Border Patrol about conditions at the Southern Border, when actually his Baltimore district is FAR WORSE and more dangerous. His district is considered the Worst in the USA……” the president tweeted.

It continues: “Cumming District is a disgusting, rat and rodent infested mess.” And, “If racist Elijah Cummings would focus more of his energy on helping the good people of his district, and Baltimore itself, perhaps progress could be made in fixing the mess that he has helped to create over many years of incompetent leadership.” And more today: “If the Democrats are going to defend the Radical Left “Squad” and King Elijah’s Baltimore Fail, it will be a long road to 2020.”

CNN anchor and Baltimore native, Victor Blackwell, broke down Trump’s attacks on-air on Saturday’s “CNN Newsroom” program.

“Donald Trump has tweeted more than 43,000 times,” Blackwell said. “He’s insulted thousands of people, many different types of people. But when he tweets about infestation, it’s about black and brown people.” Pausing to collect himself, and with water in his eyes, he said, “You know who did [live there], Mr. President? I did. From the day I was brought home from the hospital to the day I left for college. And a lot of people I care about still do.”

It was a powerful reminder that “diversity” is personal in newsrooms and in public policy.

The Baltimore Sun editorial board also wasted little time responding to the president’s Twitter rant, part political analysis, part Maryland pride. It’s a clapback for the ages:

“[W]e would tell the most dishonest man to ever occupy the Oval Office, the mocker of war heroes, the gleeful grabber of women’s private parts, the serial bankrupter of businesses, the useful idiot of Vladimir Putin and the guy who insisted there are “good people” among murderous neo-Nazis that he’s still not fooling most Americans into believing he’s even slightly competent in his current post. Or that he possesses a scintilla of integrity. Better to have some vermin living in your neighborhood than to be one.”

There are many things at play here, mostly political. Cummings has earned the president’s ire by leading investigations into his administration as chairman of the House Oversight and Reform Committee. The tweets, and Baltimore’s grim crime statistics, have become partisan talking points. Turns out, Jared Kushner, the presidential son-in-law, owns more than a dozen Baltimore-area apartment complexes in low-income zip codes that have been cited for code violations. Baltimoreans and their supporters are defending their city and killing it in the hashtag game.

My best (and perhaps only) contribution might be a little context. It all starts with Jim Crow.

To have a serious discussion about what’s happening in Baltimore, it’s smart to start with the apartheid-style residential segregation ordinances that the city’s mayor put into place from 1910 to 1913. I’m not being hyperbolic: I’m summing up a 1982 paper published by law professor Garrett Power in the Maryland Law Review. In it, Power explains how a generally progressive administration purposefully segregated a reasonably integrated city—“to promote the general welfare of the city by providing, so far as practicable, for the use of separate blocks by white and colored people for residences, churches and schools.”

That decision helped ensure low-income black residents were isolated in slum-like conditions with substandard services, which eventually became codified in every kind of public policy. It led to, among other things, decades of housing equity failures.

Fast forward to 1995. Thompson v. HUD was a groundbreaking fair housing lawsuit that claimed the U.S. Department of Housing and Urban Development (HUD) violated the Fair Housing Act of 1968 by concentrating African-American residents of public housing in the most impoverished and underserved neighborhoods of Baltimore. The suit was triggered by a plan to demolish a dangerous high-rise public housing development, which should have ben an opportunity to introduce affordable housing across the city. Instead, rampant white NIMBYism made sure that replacement units would be relegated to segregated neighborhoods. The suit was filed on behalf of 14,000 African American families living in public housing.

It was 10 years of legal grinding before the team behind the lawsuit earned a victory lap: In January 2005, a federal district court judge found that HUD “failed to achieve significant desegregation” and accused them of treating Baltimore City as “an island reservation for use as a container for all of the poor of a contiguous region.”

Not a long hop between 2005 and today, am I right?

The Thompson summary is an easy read and offers a helpful primer on how housing segregation created two separate and profoundly unequal Baltimores. And this analysis from the Poverty and Race Research Action Council helps put Thompson into a broader context of similar lawsuits around the country.

I recommend reading both before you gear up to fight your political opponents.

I’ll also leave the last policy word to Professor Power who warned 37 years ago that without real system change, Baltimore’s ugly past would persist. The history “cautions us to discount the righteous rhetoric of reform; it reminds us of the racist propensities of democratic rule; and it sets the stage for understanding the development of a covert conspiracy to enforce housing segregation, the vestiges of which persist in Baltimore yet today.”

On Point

Puerto Rico’s governor-in-waiting says thanks but no thanks Puerto Rico Justice Secretary Wanda Vázquez is next in line for the governor job, but the controversial figure and close ally of the recently ousted Gov. Ricardo Rosselló has turned down the job, most recently, via Twitter. “I reiterate, I have no interest in occupying the position of Governor,” she said. “I hope that the Governor identifies and submits a candidate for the position of Secretary of State before August 2 and I have told him so.” The secretary of state is the preferred candidate for the position. USA Today

Barack Obama endorses an op-ed critical of the Trump Administration The opinion piece was published Friday night in the Washington Post, with the title: “We are African Americans, we are patriots, and we refuse to sit idly by.” The piece was co-signed by 149 African Americans who worked in the Obama administration, and serves as a rallying cry. “Witnessing racism surge in our country, both during and after Obama’s service and ours, has been a shattering reality, to say the least,” they write. “But it has also provided jet-fuel for our activism, especially in moments such as these.” The former president rarely comments on politics. “I’ve always been proud of what this team accomplished during my administration. But more than what we did, I’m proud of how they’re continuing to fight for an America that’s better,” he said, tweeting a link to the post. It’s an impressive list of names, by the way. Washington Post

A content creator is under fire for a cartoon character that turns black when she ‘loses her beauty’ Dina and the Prince Story is a cartoon uploaded by My Pingu Tv, a YouTube channel that animates, and occasionally ruins, popular children’s fairy tales. Such is the case of Dina, who is an angel, whatever, and who has caught the eye of the prince but has been warned not to talk to him. When she does anyway, blah blah blah, a curse is fulfilled: The lovely young white angel is magically transformed into a human with dark brown skin and kinky dark hair. “Dina turns and we see she is not as beautiful; her glow is gone, and her face is scarred,” yadda yadda. I suppose it could have been worse if ugly Dina was wearing a Baltimore t-shirt, but not by much. “Fans” were not having it. Come for the story, stay for the comments. Shadow and Act

On Background

Blue Note Records turns 80 Fans of John Coltrane, Art Blakey, and Herbie Hancock already know and love the Blue Note story, a label born in the waning days of the Depression and responsible for finding and amplifying the bebop trailblazers. Co-owners Albert Lion and Francis Wolff even gave an 18-year-old Sonny Rollins an early shot. But they didn’t stop there. Everyone will enjoy this history from Giovanni Russonello, complete with short clips from some of the great artists. My Blue Note fandom began and ended with ‘Trane, so I was delighted to learn that they never stopped producing cutting-edge talent, from Bobby McFerrin in the ‘80s, James Hurt in the ‘90s, and Ambrose Akinmusire more recently. And Norah Jones! Who knew. New York Times

Today’s essay: On being, joy, and loitering Ross Gay is a writer, gardener, former college gridiron player, and an English professor at Indiana University Bloomington. But in this resplendent conversation with On Being host Krista Tippett, he’s also an expert in “adult joy.” Gay describes it as “[J]oy by which the labor that will make the life that I want, possible. It is not at all puzzling to me that joy is possible in the midst of difficulty.” Joy is always possible, a valuable framing for troubling times. The interview itself is a delight; Gay’s parents were a mixed-race couple in the wake of Loving vs. Virginia and he explains how his life experience has helped him understand joy. “I have really been thinking that joy is the moments—for me, the moments when my alienation from people—but not just people, from the whole thing—it goes away,” he says. Then he reads aloud his extraordinary essay, “Loitering.” Take a break, listen to the whole interview, and know joy. On being

How to cover immigration This resource, from Harvard’s Shorenstein Center on Media, Politics, and Public Policy is designed for journalists, but it works for anyone who wants to publish anything from a memo to public remarks on the subject of immigration. The number one issue with immigration reporting is a lack of context. Is the event you are highlighting a single event or part of a broader history? “It’s really tempting, I think, at this moment for journalists to say the Trump administration is doing x, y, z. I think it’s really important for journalists to ask the question, ‘When did this program start?’ Or, ‘When did this issue start?’” says PRI’s Angilee Shah. Click through for more, including a public Google document with over 89 immigration data sources. Journalist’s Resource

Tamara El-Waylly helps produce raceAhead.

Quote

“wow man last year i was sleeping on my sisters floor, had no money, struggling to get plays on my music, suffering from daily headaches, now i’m gay.”

—Lil Nas X, via Twitter

Credit: Source link

The post Trump Comes for Baltimore, Baltimore Claps Back: raceAhead appeared first on WeeklyReviewer.

from WeeklyReviewer https://weeklyreviewer.com/trump-comes-for-baltimore-baltimore-claps-back-raceahead/?utm_source=rss&utm_medium=rss&utm_campaign=trump-comes-for-baltimore-baltimore-claps-back-raceahead from WeeklyReviewer https://weeklyreviewer.tumblr.com/post/186635302737

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velmaemyers88 · 5 years ago

Text

Trump Comes for Baltimore, Baltimore Claps Back: raceAhead

Over the weekend, President Donald Trump launched a now-familiar style of attack on Maryland Rep. Elijah Cummings. Racist.

CNN anchor and Baltimore native, Victor Blackwell, broke down Trump’s attacks on-air on Saturday’s “CNN Newsroom” program.

It was a powerful reminder that “diversity” is personal in newsrooms and in public policy.

The Baltimore Sun editorial board also wasted little time responding to the president’s Twitter rant, part political analysis, part Maryland pride. It’s a clapback for the ages:

My best (and perhaps only) contribution might be a little context. It all starts with Jim Crow.

Not a long hop between 2005 and today, am I right?

I recommend reading both before you gear up to fight your political opponents.

On Point

On Background

Tamara El-Waylly helps produce raceAhead.

Quote

“wow man last year i was sleeping on my sisters floor, had no money, struggling to get plays on my music, suffering from daily headaches, now i’m gay.”

—Lil Nas X, via Twitter

Credit: Source link

The post Trump Comes for Baltimore, Baltimore Claps Back: raceAhead appeared first on WeeklyReviewer.

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weeklyreviewer · 5 years ago

Text

Trump Comes for Baltimore, Baltimore Claps Back: raceAhead

Over the weekend, President Donald Trump launched a now-familiar style of attack on Maryland Rep. Elijah Cummings. Racist.

CNN anchor and Baltimore native, Victor Blackwell, broke down Trump’s attacks on-air on Saturday’s “CNN Newsroom” program.

It was a powerful reminder that “diversity” is personal in newsrooms and in public policy.

The Baltimore Sun editorial board also wasted little time responding to the president’s Twitter rant, part political analysis, part Maryland pride. It’s a clapback for the ages:

My best (and perhaps only) contribution might be a little context. It all starts with Jim Crow.

Not a long hop between 2005 and today, am I right?

I recommend reading both before you gear up to fight your political opponents.

On Point

On Background

Tamara El-Waylly helps produce raceAhead.

Quote

“wow man last year i was sleeping on my sisters floor, had no money, struggling to get plays on my music, suffering from daily headaches, now i’m gay.”

—Lil Nas X, via Twitter

Credit: Source link

The post Trump Comes for Baltimore, Baltimore Claps Back: raceAhead appeared first on WeeklyReviewer.

0 notes

caveartfair · 8 years ago

Text

The 8 Best Booths at miart

The 22nd edition of miart opened to VIPs today at Milan’s Fiera Milano. This year, the first under the artistic direction of Alessandro Rabottini, sees 175 galleries from 14 countries—up 19 exhibitors from last year. The program includes several international newcomers such as Marianne Boesky Gallery, Gladstone Gallery, 47 Canal, and Stuart Shave/Modern Art, adding to the fair’s growing prestige. Below, we highlight the eight strongest presentations across this year’s fair.

pact

Installation view of pact’s booth at miart, 2017. Photo courtesy of pact.

Some of miart’s most compelling booths can be found in the Emergent section, which is devoted to young galleries. Among them is pact, a Parisian gallery just shy of a year old, which is presenting a large work on paper by Italian-Venezuelan artist Manuel Scano Larrazàbal and several sculptures by Brooklyn-based artist Amy Brener. According to gallery co-founder Charlotte Trivini, the gallery discovered Brener’s work in last year’s “Greater New York” exhibition at MoMA PS1. Brener’s pastel-colored resin and foam sculptures conjure up a mock-archaeological assemblage of objects from daily life—fossilised bed posts, flowers, and keyboards—that become almost alien in their new form.

Gió Marconi

Installation view of Gío Marconi’s booth at miart, 2017. Photo via @giomarconigallery on Instagram.

Covered in bright red paint, Gió Marconi’s unmissable booth showcases works by Russian artist Dasha Shishkin. A virtuoso with line and color, Shishkin creates a surreal, carnivalesque universe in which characters are caught in overtly erotic scenes that are playful, sinister, and sometimes sexually transgressive. The solo booth presents works from the artist’s recent years, all of which crescendo in a fresh, Matisse-esque pastel drawing of a reclining nude titled Sulphur-Yellow Interstices (2017). The goddess-like dame holds a giant mushroom in one arm, and gestures her other hands as if slapping two round fleshy rumps. In a separate room in the booth, several small etchings of gestural markings create elaborate compositions that picture genderless, ageless, and possibly non-human bodies and body fragments.

Galerie Nathalie Obadia

Swallow me, From Italy to Flander, a tapestry, 2015. Laure Prouvost Galerie Nathalie Obadia

Galerie Nathalie Obadia’s debut at miart features works by Laure Prouvost and Rodrigo Matheus. Prouvost’s assemblages are often based on the imagery of her seductive film installations. Her assemblages, like her films, combine intimate stories and objects, like Grand Dad’s mirror stick (2015), which is on view at the booth. Also on view, works by Matheus were created from found objects that have no intimate significance, but instead were chosen for their formal qualities and shapes for potential compositions. The standout work in the booth is Prouvost’s enigmatic tapestry, Swallow me, From Italy to Flander, a tapestry (2015), which pictures a dreamlike scene—including floating breasts, lush foliage, TV screens, a cat, and woman eating ice cream—across more than four meters in width.

Galleria d’Arte Maggiore G.A.M. and Sadie Coles HQ

Installation view of Sadie Coles HQ’s booth at miart, 2017. Copyright the artists. Photo by Andrea Rossetti, courtesy of Sadie Coles HQ.

An Italian art fair wouldn’t be complete without the work of Giorgio de Chirico, and indeed, several of his paintings could be spotted around miart. In a collaborative presentation with Galleria d’Arte Maggiore G.A.M. at Sadie Coles HQ’s booth, however, de Chirico was part of an unexpected triad that includes works by English artist Daniel Brown and German artist Daniel Sinsel. The three artists’ works offer various approaches to classicism in art, all including elements of figuration and abstraction. Sinsel’s work shares in the illusionism and eroticism implied in the subject matter of de Chirico’s, while Brown’s sculptures share more of the formal qualities with de Chirico.

Robilant + Voena

John Fitzgerald Kennedy, 1964. Sergio Lombardo Robilant + Voena

One Multicolored Marilyn, 1976-1986. Andy Warhol Robilant + Voena

Powerhouse London gallery Robilant + Voena presents a booth dedicated to Italian Pop Art from the 1960s, with one of American Pop icon Andy Warhol’s Marilyn silkscreens at its center. One one side, the booth features a selection of works by artists from Rome, including a graphite drawing of a woman wearing eyeglasses, Gli Occhiali (The Glasses) (1968), by the often underappreciated but distinctive Giosetta Fioroni.

Across the booth, a selection of work by artists from Milan includes one of Sergio Sarri’s most popular works, The Great Magician (1967), and a mixed-media collage by Enrico Baj. The opposing sides also face off with two works depicting U.S. President John F. Kennedy—a red-and-blue portrait by Sergio Lombardo on Rome’s side and a mixed-media collage by Paolo Baratella on Milan’s side.

Alison Jacques Gallery

Untitled, 2017. Fernanda Gomes Alison Jacques Gallery

Alison Jacques Gallery’s booth is part of the fair’s new section, Generations, which replaces the former THENnow section and is organized by independent curators Nicola Lees and Douglas Fogle. The section combines eight pairs of artists of different generations, though not necessarily in a straightforward pairing of modern and contemporary. Alison Jacques Gallery’s booth, among the more subdued and elegant stands in the section, features works by the Brazilian artist Fernanda Gomes and the American pioneer of fiber art Sheila Hicks.

The booth includes monochrome works that border on painting and sculpture. Both artists share a concerted attention to raw materials: Gomes with the wood or paper in her modernist sculptures and paintings, and Hicks with her threads of linen fiber. Unlike Hicks’s usual woven threads, however, these latest works were made by simply wrapping the thread around the canvass.

KÖNIG GALERIE

Untitled (Fake Dripping), 2012. Anselm Reyle KÖNIG GALERIE

Untitled, 2016. Andreas Schmitten KÖNIG GALERIE

Berlin’s KÖNIG GALERIE, one of the first booths you see when entering miart, is showing a survey of brand-new works from the gallery’s roster. A strong presentation of sculptures accompany wall works by Anselm Reyle and Jorinde Voigt. At the entrance of the booth, a sculpture by Alicja Kwade assembles mirrors and a found bar stool to play with reflections but also provide a sense of precariousness. Nearby, two of Andreas Schmitten’s slick vitrines—featuring industrial materials like metal, polyurethane, fabric, and lacquer—ooze of coolness, while Tatiana Trouvé’s elegantly simple bronze and rope sculpture hangs from the wall.

Guido Costa Projects

2 Locher - Rheydt, 2002. Gregor Schneider Guido Costa

Dead woman, 1998. Gregor Schneider Guido Costa

Guido Costa Projects’s solo booth dedicated to Golden Lion-winning artist Gregor Schneider covers several decades of his Dead House Ur project, begun in 1985, for which Schneider has been altering, building, and transforming the interior of a house owned by his family in Rheydt, Germany. A menacing cement monument transported from the house, 2 Locher – Rheydt (2002–03), sits at the center of the grey booth, surrounded by readymades such as a plastic trash bag and rope titled Dead Woman, (1998–99), objects that were presumably also found in the house. A related series of mock-conceptual black and white photographs portray the fictional story of a women’s murder at this house from multiple angles, while photographs of dolls eerily resemble family portraits.

—Laurie Rojas

from Artsy News

#Artsy News

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