Liz Glynn’s exhibit at Mass MoCA serves as a reminder of the value in our present moment, as we engage in the work without the distractions of the outside world.
I don’t believe in ghosts, but if I did, I would wonder whether the many dead owners of the William C. Whitney Ballroom might be tempted to haunt Liz Glynn’s reincarnation of it.
In her show at Paula Cooper Gallery, Liz Glynn keeps Rodin’s signature realism and physicality, but sculpts her bodies to be more wretched.
After spending six years in Chelsea, the Independent Art Fair has found a new home in Tribeca, in the incredibly sleek Spring Studios, usually host to fashion-related events.
MIAMI BEACH — “There’s a lot of product going on here,” I heard a woman say into her cell phone at the mega-art fair Art Basel Miami Beach 2014. Indeed, $3 billion worth of art is being offered for sale this year, according to the event’s organizers.
With the permanent invasion of art fairs into the art world economy like a plague, most galleries, no matter how cutting-edge or avant-garde, seem to believe (whether from actual or perceived necessity) that they must participate in all of the increasingly frequent art fair seasons. This endless stream of fairs forces smaller galleries that show conceptual, abstract, or experimental work into a setting devoid of context, stripping the art of its desired impact or importance. While I’m certainly not the first to point this out, nowhere was it more noticeable recently than at NADA New York.
Frieze New York is an undeniably nice fair. Even if you generally hate art fairs, or sympathize with the union workers, or a devotee of the Armory Show, you have to admit that Frieze does it right: the spacious, light-filled tent, the excellent food options, the weekend-getaway feel as you board the ferry to Randall’s Island.