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Despite the best efforts of art critics and reporters, it remains inadvisable to talk about any art fair as an exhibition, or a precisely curated experience. They’re more like avalanches of information from which viewers can filter out their own message, in the manner of an aesthetic Ouija board. However, if there is one fair in Miami that most resembles an exhibition, it’s SEVEN, which collects a group of (you guessed it) seven independent-minded New York galleries.
This year’s SEVEN moved into a new space in the outer reaches of Miami’s Wynwood district that the crew had cleaned and renovated just before the fair’s opening. Like much of the neighborhood, the space is single-level and sprawling, an extremely blank canvas. Into this void, SEVEN has carved out a flowing, friendly layout of open walls and pocket galleries that have more in common with the Museum of Modern Art’s meandering layout than the booth-by-booth construction of the flagship Art Basel Miami Beach.
In fact, SEVEN doesn’t really have anything resembling booths. The participating galleries, among them Hales gallery, Ronald Feldman Fine Arts, Postmasters gallery, PPOW, Winkleman gallery, BravinLee programs, and Pierogi gallery, mix their artists together, leading to some striking juxtapositions of work. Most significantly, the boundary-less display combats art fair fatigue and makes it easier to forget the commercial nature of the endeavor, relieving the death-march sensation of seeing far too many booths crammed with art far too quickly.
Rather than gazing up at gallery signs, the only way to tell which gallery was showing what was to look at the work labels. Throughout the fair, BravinLee had some striking highlights. A carpet by Christopher Wool, “New Linen 8” (2012) (made of hand-knotted wool, no less), spread on the floor adopted the language of printing dots to present an abstracted wash, like a pre-planned ink spill. Nearby, Fabian Marcaccio’s large, blobby abstractions, also from BravinLee, animated the gray space.
Straight-up painting was a minority voice in the fair (aside from SEVEN’s signature salon wall, seen at top), but Marcaccio’s energy was echoed in a small flock of three-dimensional, wheeled, pyramidal “tent” paintings by Tatiana Berg (shown by Postmasters) perched in the middle of one gallery space. Large enough in scale to bodily relate to and covered in a slew of colors and paint media, the tents stand out — literally. The combination of galleries and artists didn’t always work — Berg’s ebullience was dampened by a series of muddled non-objective paintings on the wall facing them.
Multimedia was represented at SEVEN by a striking room of video art as well as what may have been the star of the show, a gallery full of interactive projections by the biology-inspired new media artist Brian Knep. Shown by Ronald Feldman Fine Arts, the projections were populated by sketchy little cartoon creatures, somewhere between cells and little bugs. Arrayed into squares and vertical rectangles that recalled modernist painting, the bugs could be sent hurtling with the help of buttons installed beneath them. At turns technically impressive and viscerally fun, the pieces are great examples of accessible and intelligent new media art.
There wasn’t much in the way of a theme at SEVEN, but then it seems silly to try to divine one. If anything, the temperature of the space and the work on view was cold, with muted color palates and uneasy figuration much in evidence. The success of the video and new media work at the fair points to a void in the Miami landscape that perhaps the video-oriented Moving Image (founded by Ed Winkleman, proprietor of the participating Winkleman gallery) would be able to fill.
The SEVEN Art Fair ran from December 4 through 9, 2012 and way located at 2200 NW 2nd Avenue, Wynwood, Miami.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.