In the midst of Armory Arts Week, the (Un)Scene Art Show and Clio Art Fair both bill themselves as “outsider” art fairs that emphasize passion and personality rather than fashion. (Un)Scene, in particular, rejects the slickness of contemporary art galleries, with hand-painted signs requesting viewers to check their egos in addition to their coats. Inside the dark gallery space, densely populated with artwork on nearly every surface, overwrought and ostentatiously crafty — bordering on tacky — creations abound. Some pieces might as well have been sourced or cobbled together from thrift-store finds. A giant inflatable turtle with a floatie clings to one wall and a sheep, its wool coat composed of golf balls, lounges in a corner. Ropes of hot glue are visible on a canvas encrusted with hundreds of children’s plastic toys. The works in (Un)Scene, even the Chris Ofili painting in the show, are refreshing in their lack of pretense.
Clio Art Fair, which occupies two gallery spaces in Chelsea, looks more like a contemporary art gallery with its white-washed walls, bright lighting, and shiny frames. The works are composed of a wide variety of materials, but united by a distinctly cheeky, playful bent. A black and yellow striped sculpture, constructed from plastic bags, recalls the shape and pattern of a bumblebee and a Pez head, sprouting wild hair, wags its tongue at gallery visitors. Unlike the other art fairs of the week, both Clio and (Un)Scene are decidedly anti-institutional spaces filled with eclectic and diverse works.
A new study details the creation of a hyper-flexible material inspired by an unexpected source: the humble sea cucumber.
The extensive exhibition confronts the Netherlands’s often-forgotten colonialist legacy.
The 1,600-year-old fragment was part of a dodecahedron, a mysterious object that experts believe may have been linked to the occult.
The Renaissance work by Francesco Salviati is the museum’s first painting on marble.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
Who tells a tale adds a tail: Latin America and contemporary art explores contemporary Latin American art without conforming to external expectations.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?