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MIAMI BEACH — Parsing contemporary art’s inscrutable pecking order of markets and sensibilities is already a miserable endeavor, but the stakes inch ever higher in Miami, where the tantalizing gruel of celebrity gets spread preciously thin. Kevin Spacey’s standing around at Tracey Emin’s Vanity Fair–sponsored opening! A$AP Rocky is
in the house hovering in the DJ booth for thirty seconds! Quick: who’s “the coolest”? “All things Dis Magazine,” a Dis contributor and “coordinator” at the Perez Art Museum tells the T Magazine blog.
Amid all this clamoring, there was something substantial about the PULSE art fair this year. An older fair with a middle-ground but established reputation, the (relatively) heavy presence of photography has in recent years emerged as an identifying quirk, with a lot more of it on hand than can be had at the other larger fairs. That glut continued this year, though the real standouts weren’t photographic, but rather the European and West Coast stalwarts that have been returning, year after year, and earning this show its place at Miami’s fair week.
Though 25 exhibitors hailed from New York — a little under a third of the 85 total — their influence felt diluted. Unlike at NADA, where New York is very much the affair’s spiritual nucleus, PULSE feels thoroughly continental. A strong presence from Spain and Germany dominates, with the United States shining through via a considerable West Coast contingent. While Untitled has strenuously sought to earn the praise of those who might compare it to NADA, PULSE seems to avoid such aspirations, quietly offering an uneven but frequently excellent lineup of American and international galleries.
Of particular note here were San Francisco’s Hosfelt gallery, Cologne’s Galerie Stefan Röpke, and Barcelona’s +R gallery. At Hosfelt, two large and very different grid-based works on canvas by William T. Wiley (one of the living greats of American art with a surprisingly low profile in New York) and Driss Ouadahi (an Algerian painter with an architectural-political sensibility) immediately captivated, though the gallery’s entire booth made a lasting impression — as strong and well-curated as any I’d seen in Miami. The canvas-bound monumental grid recurred in a massive Max Neumann triptych on view at Stefan Röpke, which represents the German artist. Conrads gallery of Düsseldorf featured several works by Ulrike Heydenreich, her compelling hyperrealist mountain scenes on geometrically folded paper a lesser echo of downtown artists Ryan and Trevor Oakes‘ meticulously studied approach to perspective.
Paper was out in force among several Spanish galleries: Galeria NF of Madrid featured an intriguing topographical study by Mateo Mate, a sculptural book-object. Barcelona’s +R gallery presented an understated lineup dominated by works on paper, from Sabine Finkenauer’s colorful geometric cutouts to Mar Azra’s Syntax Statement series, the latter recalling Meg Hitchcock’s recent show at Studio10 Bogart. Further along the familiarity continuum, Chelsea’s Mixed Greens provoked with the formalist pokings of Conor Backman, while Black & White gallery gave their booth over to a solo showing of Christofer Koch’s mixed media work. A Brobdingnagian paper plane from Michael Scoggins’ idiosyncratic notepad was suspended over the Freight+Volume booth, the prop feeling somehow more ridiculous than at home in Chelsea, where the domineering environs lend themselves more easily to such play. It’s a reminder that sometimes, just sometimes, things actually can feel better in Miami.
The PULSE art fair took place December 5 through 8 at the Ice Palace (1400 North Miami Avenue, 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…
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
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
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
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
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.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
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.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…