Amid the big, blue chip baubles, there are flickers of truly powerful and personal work at the latest edition of the vast Armory Show art fair.
Paula Crown interprets the memory of rainfall in a cascade of suspended metal at Marlborough Gallery.
LOS ANGELES — The rivalry between New York and Los Angeles runs deep: seasons vs. sunshine, pizza vs. tacos, Biggie vs. Tupac. For the art world, add to that list opening nights.
I’d like to start with a disclaimer: Top 5, 10, whatever lists make me nervous. They feel so definitive, so set in stone, and that makes me uncomfortable. What happens when my opinions evolve (as they inevitably will), or when I change my mind tomorrow, or if I accidentally forget something?
Dirt is getting its moment in the sun. A cluster of recent shows in Chelsea and downtown make the most of soil, making it a good time to think about earth art again.
The point of last night’s Marlborough Gallery show, POWHIDA, is probably that there are too many douchebags in the world, especially the art world. The character named Powhida, entered a Chelsea street-level Chelsea gallery and acted the part of a blue-chip contemporary artist.
Throughout the course of NYC’s art fair week, I overheard questions over what art work was being sold, and who it was being sold to. Of course, art fairs exist to sell work, and the work on display is there to be sold. But where do these works come from? This is where the secondary market comes in. Though most galleries simply sell work from the studios of the artists they represent, the secondary market deals in works that have already been sold, at least once. Fairs like the Armory’s Modern section focus heavily on secondary market works, as do auction houses like Christie’s and Sotheby’s.