The fair is a welcome reminder that a lot of people make art, and regular people should be able to buy it.
Now, some galleries are taking measures to conceal their windows or board up, but others have long used telling architectural markers of exclusion to discourage diverse audiences.
Don’t focus on the closings. Three cheers for new galleries!
Finding a lot of forgettable work from renowned artists, and an unexpectedly happy encounter with a classic.
Artist Rachel Owens made casts of the Alley Pond Giant, the oldest living thing in New York City, and fused them with a rainbow of glass shards.
The works in Rachel Rossin’s show at Zieher Smith & Horton unfold sequentially, like the illustrations of an idea that is carefully trying to prove itself.
“Josh Smith: Sculpture” is how the sign reads. Yet behind it is a conservatively installed exhibition of drawings, conventionally framed and tastefully spaced on Luhring Augustine’s neutral white walls.
For 10 weeks in a disused church basement somewhere in the Midwest, Julie Schenkelberg built a turbulent installation of broken furniture, found objects, and housing rubble anointed with blue and gold paint.
For his photo series FACADES, which portrays Europe’s old religious structures head-on, from top to bottom, German artist Markus Brunetti strips these sites bare of any distracting elements.
Early in koosil-ja’s new show I Am Capitalism, which ran at The Kitchen last week, she spoke through recorded voice-overs of a desire to acquire dances.
One of New York’s great resources is its daunting abundance of commercial galleries, which provide encounters with an endless parade of new and old art forms from around the world.
To create translucent sculptures in the colossal proportions he desired, De Wain Valentine needed a new type of plastic.