I didn’t expect to say this, but Independent Projects is a lovely fair. Started by the creators of the Independent, Armory Week’s alterna-fair, and taking place in the same location, the former Dia Art Foundation building on West 22nd Street in Chelsea, Independent Projects simultaneously builds on and slims down its sister fair’s model. As with the Independent, the space remains quite open — galleries are given actual walls and differently sized, mostly angular areas to suit their needs, rather than the usual boxy art fair booths. And there are fewer galleries at Independent Projects (39 to the Independent’s 56), which means everyone gets a little extra space.
A large part of the reason the show feels so relaxed and open, though, is that each gallery has brought only one artist, and in some cases only one artwork. Though this model wouldn’t work for every fair, it does, as you’d expect, do wonders for the viewer experience; it allows you to spend quality time with the work.
And there is quite a bit of work worthy of that time at Independent Projects. Some of my favorite showings included glistening porno rocks by Aura Rosenberg at Martos Gallery, sculpted cat planters by June Hamper (the mother of Billy Childish) at White Columns, trippy and cheeky paintings and drawings by John Tweddle at Kayne Griffin Corcoran, obsessive woven paintings by Mark Barrow and Sarah Parke at Elizabeth Dee, beguiling work in a range of media by Gianfranco Baruchello at Massimo De Carlo, roughly tactile and sculptural paintings by Rosy Keyser at Maccarone, and Duane Hanson’s mind-bending “Flea Market Lady” (1990) at Karma. To name a few.
In a further attempt to subvert the traditional art fair model, Independent Projects will remain for a week, changing from a marketplace to an exhibition after this weekend. Guides will be on hand to lead visitors through the show and explain the work, while the dealers go home, leaving just the art behind.
Independent Projects continues at Center548 (548 W 22nd St, Chelsea, Manhattan) through November 15.
Black American Portraits features over two centuries of artworks centering Black artists and subjects.
A love of Black art and history was the bedrock of the friendship between Dell Marie Hamilton and Susan Denker, who had markedly different racial, economic, and generational subject positions.
With what he says is his final museum bow, Fitzpatrick shines a light on the colorful diversity that composes his city.
The question of race — however hidden, however camouflaged by the shouts of the crowds — is a constant theme and an unanswered challenge.
Weisman Museum of Art Presents Highlights From the Kinsey African American Art and History Collection
An exhibition at Pepperdine University in Malibu chronicles the achievements and contributions of African Americans over the last five centuries.
Brink is not a fun book, and it shouldn’t be.
Those who want to visit the museum muse have a surgical, KN95, N95, or KF94 face mask.
The residency program awards 17 visual artists a year of rent-free studio space in New York City. Applications are due by February 15.
This week, another Benin bronze is returned to Nigeria, looking at the Black Arts Movement in the US South, Senegal’s vibrant new architecture, why films are more gray, and much more.
It is precisely Moon’s openness to using any source that makes her work flamboyant, captivating, odd, funny, smart, uncanny, comically monstrous, and unsettling. And, most of all, over the top.
Tensions between resistance to Surrealism as cultural imperialism and the embrace of it as a universalist vision of freedom unfettered run through the show.