The museum’s collection now includes a mixed-media garment by Jeffrey Gibson and an aluminum signage piece by Edgar Heap of Birds.
From an increasingly diversified roster of galleries to a surprising slew of rock art, the mega-fair is impressively eclectic this year.
This week in art news: an Argentine curator and US resident was denied reentry into the US, anti-fascists and white nationalists clashed at the Minneapolis Institute of Art, and a Klimt painting led the way in a record auction at Sotheby’s.
Puzzled. That’s a good word to describe my state of being for my first Art Basel Miami Beach (ABMB). One of the primary things I learned is that art fairs can be fun — when you’re standing on the right side of the velvet rope and you have all the right RSVPs and a prepared partinerary printed out.
MIAMI — There are many stories about the origins of art: ancient Greek historian Pliny suggested art was born when a Corinthian maiden traced the outline of her lover’s shadow on a wall, while an Asian legend tells of a young man who could not paint the Buddha because of his enlightened glow, and so was forced to paint his reflection in a pool of water. What these two stories share is the emphasis on the rendering of people as a foundational element of art. Fast-forward many millenia, when the story of high-priced contemporary art is vastly different from those origin stories, and walking through the latest incarnation of Art Basel Miami Beach, I was struck by the marginalization of the human form in the blue-chip work on display. What happened?
The first New York iteration of the Frieze art fair, which is slated to take place May 4–7, 2012, will touch down ib Randall’s Island Park at the intersection of Manhattan, The Bronx and Queens. The fair will be housed in a structure designed by Brooklyn-based SO-IL Architects.