Friday, March 9, 2012

The New York Armory Show

Pictures and notes from the New York Armory show, which will run through Sunday March 11.  A few general observations: Interesting to see more galleries from the Middle East and Turkey participating. Also, there is a featured section of galleries from Scandinavia. Overall, there was a high proportion of modestly sized work available. With a few exceptions, the bluest of the blue chip New York galleries did not participate. Most galleries based outside New York showed work by artists based outside New York, refreshingly. Some highlights, in no particular order:

Springer & Winkler Gallerie (booth 116) showed a sampling of Arnold Odermatt's eerily sentient car crash pictures, with a precisely composed portrait thrown in for balance.




Yossi Milo (booth 832) showed a large distressed landscape by Matthew Brandt, in which the dyes of the photograph are partially dissolved by soaking the print in the water of the subject lake. 




Also on view were some abstractions made from expired photographic paper by Alison Rossiter . . . 





. . . and two examples from Chris McCaw's Sunburned series. I was glad to see that a lot of experimental photography was featured, not only at Yossi Milo, but throughout the show.




Another example: Gary Fabian Miller's lush abstractions were visible at a couple of locations. This one at Ingleby Gallery, Edinburgh (booth 607).




Most booths showed a sampling of represented artists. I like what CRG (booth 811) did in focusing on the work of a single artist: Tomory Dodge.





Galerie Eigen + Art displayed the work of Jorg Herold (top) and Tim Eitel (below), among other artists (booth 719).





I was glad to see the work of one of my old favorites, Allan McCollum, at JGM. Gallerie (booth 715)




as well as at Armand Bartos Fine Art (booth 444).




Various forms of post-gestural abstraction were on display at Wetterling Gallery (booth 420). Karin Davie (above) and Jason Martin (below).





Angles Gallery had two examples of one of my favorite younger artists, Tom LaDuke (booth 830).




Dale Frank at Anna Schwartz Gallery, (booth 826).



Mark Flood (above) and Kianja Strobert (below) at Zach Feuer (booth 833).



A nice counterpoint to the Hirst dot extravaganza: Mads Gamdrup at Christian Larsen (booth 914).




For someone living in New York City, there is always the question whether it makes sense to go or not. The Armory Show isn’t the best setting for viewing art. Often the lighting is makeshift and uneven, and the booths can get crowded. There is so much art crammed into the 2 piers that one can very quickly reach the point of visual fatigue. The pluses of going are seeing work brought in by the out of town galleries, as well as getting an overview of the kind of work galleries currently feel is marketable. If you go, be sure to leave enough time to see both the Contemporary and the Modern sections. Even if you are a quick looker, 2 1/2 to 3 hours is the likely minimum. And if possible, get tickets online to avoid what in the past have been very long lines at the ticket counter over the weekend.


The people watching was at least as fun as looking at the art. There's a story here, I just don't know what it is.





In the Modern section, be sure to seek out Galleria d'Arte Maggiore (booth 212) for some deChirico, Morandi and a Paul Delvaux.










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