A view of the booths at Pier 94 from the stairs to Pier 92.
Photo by J. Block.
As I wandered through the booths on Thursday afternoon, I found myself singing the lyrics of the Björk song, “It’s Oh So Quiet.” “It’s oh so quiet/It’s oh so still…” Since I didn’t have to fight my way through the chic mob usually in attendance at the fairs, my mind, not occupied with complex navigation routes, was free to wander. I started counting…
Number of Bare Breasts: 32
Number of Bare Asses: 116*
*There were at least 100 asses alone in Elmgreen
and Dragset’s Indecent Self curtain in Victoria Miro’s booth.
This year, the fair was less feeding frenzy and more ice cream social. Instead of doing business, gallerists chatted among themselves, talking shop and gossiping. If they weren’t nattering on, they were eating or checking their email. They looked bored.
Number of VCR tapes: 1,500
Number of Resin Bones: about 1,000
Number of dollar bill airplanes: At least 600*
*Found stuck in the wall of the Galerie
Guy Bärtschi’s booth, the work of artist Tom Molloy.
I enjoyed the relative somnolence. It meant that not only did I get to keep silly tallies, but also that I got an unimpeded view of a handful of excellent pieces. I quickly spied three new works by one of my favorite contemporary artists, Axel Geis. His atmospheric and moody oils of knights, children and generals in fancy dress captivate my inner history geek. The most compelling of the three, and likely the most modestly priced, was the atypically diminutive painting of a dark knight set against a pale, misty background hanging in Jan Wentrup’s booth.
Giant Meat Sculptures: 2
Cereal Portraits of the Newly-elected President: 2*
*at Cereal Art, natch
I found signs of actual business being transacted at Galeri Charlotte Lund’s booth. I saw two, count them two, red dots on wall labels. I stopped short in front of Ulrika Minami Wärmling’s rather goth painting of what looked like a life-size doll. The painting is both fascinating and disconcerting because the doll, all disturbingly bent limbs and glassy eyes, appears to loom over the viewer.
My progress through the fair was also arrested by Deborah Poyton’s monumental canvas, on view at Michael Stevenson’s booth. The gigantic canvas features a nude, older man and women splayed across a bed amid the detritus of an overstuffed bedroom. Both the figures are realistically, yet sensitively rendered in all their aged glory. As a young woman, I found myself contemplating my future while contemplating the work. I thought to myself, “They look pretty good, right? At least they still seem to be having a healthy sex life. I can look forward to that, right?”
I gave up the ghost after a few hours. Even without the pushy crowds, fairs are exhausting. I couldn’t be bothered to attempt the Escheresque staircase to the Pier 92. Seriously, was that the best Armory could come up with? Four flights of rickety metal stairs? I’ll pass.
-Gallery Crawler
Photography at The Armory
One must have an attack plan when visiting art fairs of this scale. They are much too large to digest in even two visits, but it is the job of the writer to assess what is worth sampling in the dim sum of this year’s Armory Show. While I don’t presume to decide what others should consume, to focus on photography would gave me the pleasure of disregarding what was not in my media- like going vegetarian to narrow down the menu choices at a restaurant. This decision did make my journey much easier, however, there were those category-challenging pieces, like photo-light box installations and digital works, that made me wonder if they were on my menu. Lucky for me, nothing was terribly appetizing.
One of the first pieces I encountered was Doug Aitken’s Vulnerable, which was both timely and disturbing. Across an entire wall in the 303 Gallery, New York booth was the word “Vulnerable:” made of a large-scale photograph of a runway with airplanes, which was then cut into letters and illuminated by light boxes making the word and image into a sign. I am not easily taken in by word art, but this struck a cord, being a frequent traveler. After the Hudson River airplane crash, even the Canadian geese outside the pier in the snow-covered park were stressful. The environment plays a huge role in the experience of these large fairs and the art that dwells within them. The worst aspect is the rabbit-warren nature of the aisles and booths. As well, the pier was stuffy and hot with lots of expensive perfume and very little air circulation- not boding well.
After two hours of walking the aisles, I was a bit bored. Yet, I perked up when I found the Regina Gallery from Moscow. Although there were only a couple pieces, I initially found the works in their booth quite offensive (try as I may to not be offended by art). The photographs were by Sergey Bratkov, known for his provocatively political work. This series comprises four large-scale portraits, each with a woman sitting on a chair, stockings pulled down and holding a petri dish with a name written on it in her lap. I assumed they were prostitutes in some sort of mafia harem. But something about these women was compelling, and after spending some time with them, I eventually asked the dealers about the work. The work was called Princess. Bratkov’s inspiration was his wife’s inability to conceive; these were all portraits of other women who also could not have children. The petri dishes each had the name of a king written on them (I had not noticed this previously) and apparently the women each fantasized about becoming royalty by having a King’s heir. Princess was also a comment on the madness of post-Soviet society as capitalism took hold.
In contrast to the troubling reality of women in Russian society, I was met by a beautiful image from Shilpa Gupta of 2008 at the Galleria Continua, San Gimignano booth. In the large photo on canvas, Untitled, 42 males standing in the ocean foreshore lined up each covering the eyes, mouth or ears of the boy or man in front of him. Although the see no evil, hear no evil, speak no evil theme is fairly well thrashed, this was a different interpretation in such a gorgeous setting that I was challenged to find new meanings in its simple message. Having I heard Gupta speak at Art Basel Miami Beach in 2007, I expected something that would make me think from her.
The thin line between fine art and documentary photography is a changeable one and it seems that the exploitation of women and minorities is a consistent and distinct theme in both. While there were some quite interesting land and cityscapes, I was not overwhelmed by anything especially. Maybe the idea that a person with a great deal of money could actually live with these images in their home is the most challenging for me.
The winner in most presented works category had to go to Diane Arbus. Her work was on sale at no less that three different exhibitor booths and two even were presenting the same photo, the 1970 A Jewish giant at home with his parents in the Bronx, NY. While Arbus’ work is usually striking and provocative, seeing it in this context made it seem a bit less empathetic and bit more tragic. Mapplethorpe was also shown in several booths, although a wider range of his work was on show. Flowers in one booth and portraits in another- nothing naughty and not even the best of the genre.
The Armory Show has been presenting new works since 1999, first at the 69th Regiment Armory, the site of the legendary Armory Show of 1913 that introduced Modern art to America. This year there is a new section, The Armory Show—Modern, for exhibitors specializing in historically significant Modern and contemporary art. It was a comforting to see some of the older works that inspired new generations of artists and a bit disheartening as well. I was pleased to see four Andy Goldsworthy images, Touching North, from 1989 at the Springer and Winkler Galerie, Berlin booth. As an orchestrator of natural performance art, Goldsworthy went to the North Pole and built a standing circle out of ice blocks, then photographed it as the sun moved, creating a stunning and ephemeral installation/photograph series.
To make overall assessment is beyond my ken, however, I felt it was summed up by an older gentleman who was resting his feet next to mine on the Calvin Klein furniture display, “It just the 2009 version of everything we have already seen.” While this was not an earth shattering analysis, neither was photography at The Armory Show.
-Elizabeth Windsor
Shopping at the Armory
The New York collector is faced with certain limitations, very few live in converted lofts or turn of the century mansions that can offer expansive exhibition space. Apartments in the city are intimate small spaces that are not ideal for the presentation of art. I have adopted a few practical guidelines when reviewing large shows.
1. The work cannot rot, stain or shed.
2. Work cannot require dedicated upkeep.
3. Most apartments do not have 13’ ceilings or expansive wall space so no massive paintings. Floor space is at a premium, so sculpture needs to be within practical dimensions. Weight is also very important to consider; old walkups cannot sustain massive bronze, steel or granite installations.
Armed with this set of simple rules, I walked from the subway to the pier expecting a long wait in line. It was with some relief there was no line to queue in, and that the fair was comfortably empty. Dealers in mandatory black attire worked their laptops, cells, and the morning paper as the few attendees began their sweep of the galleries. The house finches were happily singing above the lighting grid and seemed contented, for the moment, by a feast of gourmet crumbs and croissants. It was in this atmosphere of morning song that I began the fair.
The first artist that caught my eye was the survey presented by Hauser & Wirth of the sculptor Hans Josephsohn. Josephsohn is in his late 80’s and his sculpture shows the hallmark influences of African totemic, Egyptian hieratic and Cycladic simplicity that are so integral to the modernist aesthetic. The sculptures range from larger than life to the convenient tabletop and present a range of subjects from full standing figures to the reclining nude. The most abstract and monumental work seems based on the ‘S’line that extends from the human shoulder to hip. The patina on all of the sculpture is a friendly soft brown and dusty in an archeological sense. What shines through the formalism of this sculptor’s work is the warmth and whimsy of his forms; his figures are inviting and alive with the feeling of an individuals’ presence.
Hema Upadhyay who is represented by Bodhi Art, is a performance artist, sculptor and social critic. Her work explores the social challenges that India is facing; an economic revolution that has broaden a social division which can allow the construction of luxury skyscrapers that overlook the tin and corrugated slums of Mumbai. Upadhyay manages deftly to avoid the obvious social critiques in her work, and specifically in the photo-triptych titled BYE.
The three photos of BYE are all taken from a single elevated view that is looking down onto a
A portion of the work presented at the Armory Show was winnowed away due to the limitations that I set on myself. The grand statements, sweeping gestures and several fine large scale works were eliminated. In the case of Josephsohn, he has only in the last several years reached the notice of the collector; Upadhyay remains a relative unknown. As artists, each demonstrates a clear and mature artistic expression that stands above many of their contemporaries and each has created works that are museum quality in material and thought while remaining approachable.
-J. Block
Yvon Lambert at The Armory Yvon Lambert is a name synonymous with quality in the international art world with a roster that includes Lawrence Weiner, Tom Wesselman, Louise Lawler, and On Kawara. On Pier 94, however, Yvonne Lambert is showing a collection of work too predictable to be remembered. I realize that The Armory Show is an art fair and not in any way a museum show. But, for a gallery whose current exhibition on Jenny Holzer, who has a show opening at The Whitney Museum of American Art next week, is an art fair staple. The Holzer shown at Yvon Lambert (readers will not necessarily get the booth number thing), however, is an unimpressive example of the artist’s LED screen work. Holzer is one of the most important and interesting artists of her generation, but the quality of the work shown at the gallery’s book is not going to make shoppers in this economy excited to pry open their wallets for a poor example of her work. Just as predictably, the gallery is showcasing two prints from artist Zoe Leonard who currently has a solo show at the Hispanic Society sponsored by the DIA Foundation. Placed to the side of the booth as if an after thought, these two prints neither draw any attention nor do they seem connected to the overall space in any way. Although most of the work is disappointing, there is one piece that, although easily overlooked, is quite interesting. Installed directly across from the Leonard photographs, is what seems to be a Robert Gober sculpture. The work, however, is a piece by Carter entitled, Constant (James Franco as an inanimate object as Robert Gober statue) 2008. Taken from the artist’s last show at the gallery, Carter cast the leg of actor James Franco to both recall the Gober leg sculptures and to refer to his own film by the same name. In the film, the Gober-like sculpture is shown on one side of a wall and Franco, with what looks to be a missing leg, is shown on the other. The work brings into question what is happening on “the other side,” which can be interpreted as the afterlife, the general unknown, or the life of the “other.” By far the most interesting work at the both, Carter’s work, however, would have a much greater impact if the video portion of the work was shown as well. -Ashley Young
London-Based Exhibitors at the Armory Show
Eighteen of the 177 booths at The Armory Show, the International Fair of New Art, originated in
White Cube represents the work of art heavies Anthony Gormley, Damien Hurst, Jake & Dinos Chapman, Gilbert & George, and Tracey Emin, among others. Their display provided a “something for everyone” approach, with a work or two from each of their big names in some of their most recognizable forms. Considering some inspiration for the exercise room? How about a Liza Lou beaded figure, bent over in a yoga pose, with hands like sprouting branches, all made in shiny black beads and tastefully sized to fit on a small plinth or side table. Looking for something a bit bolder? Tracey Emin’s Contamination of the Soul (2008) might suit. The work takes the form of a hand-crafted quilt with confessional statements and threats (“My Brain is Full of Festering Shit” “Don’t Dare Touch Me”) sewn in and across the patches of colorful fabric. This work is just right for an edgy but not uncomfortable statement over the headboard of a grand napper. Sam Taylor Wood’s Escape Artist (2008) would hang easily in the living room, providing a wonderful conversation piece for guests. A large-scale C-print, the work depicts a floating figure, buoyed by four helium-filled balloons, one tied to each limb. “The precarious nature of this angel is poised so delicately and juxtaposes brilliantly with the devilish desire to prick the balloons and watch her fall – don’t you think?” Guest One says to Guest Two. “Yes I would like another highball, thank you.”
Lisson Gallery took a similar tack, displaying a wide range of recognizable and easily “domesticated” works. Among their wares were three sculptures by Anish Kapoor. Each labeled Untitled 2008, these pieces offered the perfect mix of mystery and grandeur in alabaster, wood and Japanese lacquer, or resin and paint. The works are of a scale that would complement and undoubtedly define a foyer or entrance way. During my brief visit, I witnessed several parties admiring and cooing over the work as if it would soon be a key display in situ. Kapoor’s works are mesmerizing in their technique and transformational in their optic power; however, they are perhaps best appreciated as large public works (as in Cloud Gate (2006) installed in
Hotel, run by Christabel Stewart, followed a distinctly different directive. The booth was minimally occupied, showing a total of ten works by five artists. The individual pieces shared a sensibility of “the things found in the closet of that vacant creepy house up the way” and, like all good tales of fantasy, demanded imagination to reach fulfillment. Juliette Blightmans’ installation, for example, features a portable record player from which footsteps resound and a small monitor projecting ongoing static. If you wait long enough, a Cezanne still life appears on the tiny screen, an homage to tangible beauty embedded in color and shape. But the image is brief, shortly shifting back to static. The record ends and to begin again, the needle needs resetting. Hosting a time-based work at the fair is a bold move, primarily because few will pay the temporal price to secure the experience. Of those who do, the percent that will continue to be interested may shrink to naught. What Stewart successfully achieves is not selling the object but projecting her brand: in one sweep she demonstrates the nature of her gallery and its stable of artists. These artists are making work reflecting current visual tropes—ephemerality and mythology—placed within easily digestible images and common textures. The other artists presented included Carol Bove, Duncan Campbell, David Noonan and Alexis Marguerite Teplin.
Another East Ender, IBID PROJECTS, provoked interest through minimal display and maximum intrigue. Four small items hung on the wall; two sculptures were placed on the floor between. As with Hotel, the artist’s names are hand written in scrawling pencil beside the works and the curious had to lean in to gain its secrets. The booth’s collective energies spoke of a mysterious underbelly, with objects from a nearer-than-ever other world. Amj Smith’s painting literally comes off the canvas and onto the sheetrock, as if the artist couldn’t see where the forms divided. Ross Chisholm’s painting cuts off the head of its elegantly dressed baroque heroine, seemingly oblivious to the violence depicted. Marianne Vitale’s sculpture seems to be the result of a teapot ambush—a vessel with handle and spout bleeds gloppy blue stuff that also holds the culpable and murderous arrows. Each work hinted at a vast cavern of thought forming this end result.
greengrassi chose another way to distinguishing itself, presenting a single work by A. Ruppersberg. As the Crow Flies/ How I Miss the Avant-garde (2008) is a political satire that comments on both the death of conceptualism and its ongoing heritage. A sign requested viewers to move its collection of candy-colored posters, some listing prominent artists and their dates of birth and death and others with variations of the words “you” and “me”, from one hook to another. The action forced an engagement with the words and ideas and, in turn, animated a passive homage into a community act. The work boils down to “it all lives in you and is you.” Art.
-Diane Vivona
Armory 2009: Now Fitter, Happier and More Productive
In the last days of 2008, I attended an Art Dealer’s Association of America (ADAA) discussion about the future of art market. One of the observations that emerged from the five-strong panel was that the dizzying secondary market of contemporary art would become more diverse as prices “normalized”. More recently an article by the New York Times’ Holland Cotter echoed this idea, suggesting that the financial crisis would encourage diversity in the teaching of art and therefore future art production. It was with great interest, therefore, that I attended this year’s Armory Show on Pier 94. In more prosperous times, the Armory was a precious gem in the art fair calendar, boasting excellent quality without the brouhaha of the
My first impressions were… good. There was a considerable crowd, but it was still possible to walk amongst and through it to look at work of particular interest. I did notice a few more distraction props around the stands, iPhones, Blackberries and laptops; perhaps a safety net in case The Worst Happened and no one showed up? Some galleries even resorted to outright bribes, with cake and chocolate.
Kukje Gallery from
Christine Hill, The Volksboutique Armory Apothecary, 2009. Photo: Hermann Feldhaus
Courtesy Ronald Feldman Fine Arts,
Christine Hill at Ronald Feldman’s booth, demonstrated great ingenuity with her Volksboutique Armory Apothecary: a one-stop shop of diagnosis and cure, all conveniently packaged in brown paper for that Apothecary-specific magic. Without once straying into gimmicky territory, the stand was packed with curious bystanders all asking questions or awaiting diagnosis. The artist herself put the hours in, selling her wares for as little as $ 20 a go. Who wouldn’t want to leave an art fair with an extra stash of “valor” or “wisdom” for emergencies?
The introduction of Armory Modern in Pier 92 could not have been more badly timed and whilst I applaud the organizers of the fair for their persistence, I felt under-whelmed as I roamed this “second” fair. Armory Modern simply did not have a sufficiently distinctive identity to separate itself from all the other modern and contemporary art fairs. The Armory organizers should concentrate on the strength of the original Armory brand, especially now as the exhibitors demonstrate increasing creativity within the limitations of the booth format, making the fair more interesting for the visitors. Less is always more.
-Sarah Kershaw
The benefits of this type of travel are many, but focusing on just the dining aspect.
Posted by: grand canyon tour from phoenix | March 23, 2011 at 05:23 AM
so pretty.You are a good teacher. Lucky student!
Posted by: The Hermes Birkin | December 31, 2011 at 03:29 PM