In 2012, New York-based artist and curator Christopher K. Ho wrote the essay “The Clinton Crew: Privileged White Art,” describing the aesthetic sensibility and political shortcomings of Brooklyn-based artists who grew up in the United States during the 1990s.
Isn’t (the day after) Valentine’s Day an ideal time for remembering the most seductive of all US presidents, Bill Clinton? Who else could have twisted the meaning of a cigar in the Oval Office and kept Hillary — who doesn’t take shit from anyone (else)?
How many of the estimated 46,000 artists, dealers, collectors, and lookyloos that checked in at Art Basel Miami Beach actually made the 35-minute car trip from the stunning South Beach to industrial Wynwood for the Seven Art Fair is still unclear.
Seven was to Basel what Independent New York was to the Armory Show. An art fair (ok fine, temporary exhibition forum), yes, but set up as a museum-like display rather than sales booths, more concerned with theme and content than commodity object. Curatorial considerations made intelligent relationships between artists from different galleries, instead of an “art world greatest hits.” Because of the elimination of sales booths, the pressure was off. Here, dealers seemed to be interested in discussing ideas.
Regional Painting (2010), at Winkleman Gallery, is not a remarkable presentation; the casual viewer could be excused for thinking it is just another painting show. Twelve paintings on linen, each twelve by sixteen inches, beautifully framed in walnut, greatly varied in technique and style, are hung equidistant around the gallery. Some are intentionally amateur, others unexpectedly virtuosic, all preserve some part of the clear-primed linen. There is an antique quality to some, taking their cue from early 20th C. abstraction, others are more contemporary and even a little slick. They are Christopher K. Ho’s legitimate attempt at earnest painting, but also represent a much larger system of conceptual artworks.