A Weekend Guide to The Armory Show 2017
Pier 92
There are a few reasons not to skip Pier 92 this year. Levi van Veluw’s solo presentation The Monolith at Galerie Ron Mandos (Amsterdam) and Patricia Cronin’s Tack Room and Frances Goodman’s acrylic nail sculptures at SMAC (Cape Town, Stellenbosch) are not to be missed.
Galerie Ron Mandos (Amsterdam)
http://www.ronmandos.nl/
“Dutch artist van Veluw builds a new universe where he discovers the relationship between chaos and order, disorder and alienation. His layered multi-disciplinary works of sublime design, modernist architecture and disruptive environments possess a strange, unreal beauty with no perception of time, space and reality. Many of his works feature a combination of grids and geometrical shapes, which explore the idea of a deep immeasurable space. His distinctive charcoal drawings are often the starting-point.”
Levi van Veluw, The Monolith (installation view), courtesy of Gallerie Ron Mandos
Levi van Veluw, The Monolith (installation view), courtesy of Gallerie Ron Mandos
Patricia Cronin, Tack Room
FB Live w/ Patricia Cronin
The interior reminded me of a gift shop in a Chelsea leather bar. Cronin gave me a Facebook Live tour and introduced me to Paul Ha and Deborah Kass. The objects on the installation include some of Cronin’s own, from a childhood horse paintings to competition ribbons.
SMAC (Cape Town, Stellenbosch, Johannesburg).
http://www.smacgallery.com/gallery/
Frances Goodman, Peach Pit, 2016, Acrylic Nail, foam,resin, silicone, glue, 58 x 90 x 75 cm, courtesy of SMAC
Frances Goodman, Sugar Trap, 2016, Acrylic Nails Foam, Resin, Silicone & Glue, 40 x180 x 90 cm, courtesy of SMAC
Jonathan Boos (New York)
http://www.jonathanboos.com/
In the Insights section, Jonathan Boos exhibits an extensive collection of Jacob Lawrence paintings.
Jacob Lawrence (American, 1917-2000), Harlem Street Scene, 1942, Gouache on paper, 22 ¼ x 22 ¾ inches, signed and dated lower right, courtesy of Jonathan Boos
Jacob Lawrence (American, 1917–2000), Nativity, 1954, egg tempera on board, 9 x 12 inches, signed and dated lower right, courtesy of Jonathan Boos
Pier 94
Ronald Feldman Fine Arts (New York)
http://feldmangallery.com/pages/home_frame.html
Rico Gatson, Angela, 2007, colored pencil, marker, photocollage on paper, courtesy of Ronald Feldman Fine Arts.
Rico Gatson, Double Stokley, 2016, color pencil and photograph collage on paper, 20 x 30 in, photo: Megan Paetzhold, courtesy of Ronald Feldman Fine Arts, New York
Edwynn Houk Gallery (New York)
http://www.houkgallery.com/
The rich tones and textures of the dry pigment powder composition suggests a vivid dream. Muniz destroys his ephemeral works after he creates a photographic record.
Vik Muniz, The Dream, After Picasso, 2007, Chromogenic print, 53 × 40 in, courtesy of Edwynn Houk Gallery
Ingleby Gallery (Edinburgh)
http://www.inglebygallery.com/
Harland Miller, International Lonely Guy, 2012, Oil on canvas, 223.8 x 155 cm, 88 1/8 x 61 1/8 in, courtesy of Ingleby Gallery
Koenig and Clinton (New York)
http://koenigandclinton.com/
“Lattu’s images are shaped by the curve of each open book page that has been photographed in available light from reading distance (rather than scanned). In each image, the shaped relief has been systematically emptied out. Purposely abdicating any choice about color, the artist automatically fills the phantom shape with the matching tone of the surrounding page.
In a final gesture, Lattu lifts the artwork title that was originally printed in the lower corner and moves it to the center of the void. As the textual reference is reprioritized to the level of figure, patterning and resonance from the paintings themselves create the periphery. This short set of moves allows Lattu to economically reverse figure and ground on the page and by association the black and white reproduction of the painting.”
Brandon Lattu, Bechhofen I, 8’10” x 7’6”, 1972, After Stella, 2016, inkjet print, aluminum frame, 48 x 42 x 3 in (121.9 x 106.7 x 7.6 cm)
Yossi Milo (New York)
http://www.yossimilo.com/
“Brandt recreates, photographs of distant galaxies with the unconventional materials of cocaine on black photographer’s velvet. Each circular piece is named for the astronomical body depicted according to its number in the New General Catalogue of Nebulae and Clusters of Stars (NGC).”
Matthew Brandt, From the series Night Skies, LDN 935, 2016, Cocaine Dust on Photographer’s Velvet, © Matthew Brandt, Courtesy Yossi Milo Gallery, New York
Mizuma Gallery (Singapore)
http://www.mizuma.sg/
I encountered Aida Makoto’s Jumble of 100 Flowers, an expansive, multi-paneled mural that reminded me of an ancient Roman wall painting, with nude Japanese schoolgirls rushing toward the viewer.
Makoto Aida, Jumble of 100 Flowers, 2012 – 2017, Acrylic on canvas, 200 x 1750 cm / 79 x 689 in, copyright Makoto Aida, photography by Kei Miyajima, courtesy of Mizuma Art Gallery
Makoto Aida, Jumble of 100 Flowers (detail), 2012 – 2017, Acrylic on canvas, 200 x 1750 cm / 79 x 689 in, copyright Makoto Aida, photography by Kei Miyajima, courtesy of Mizuma Art Gallery
Tilton Gallery (New York)
http://www.jacktiltongallery.com/
Zachary Armstrong, Crown For Keith, 2017, encaustic oil on canvas in artist’s frame, 72×66 in, courtesy of Tilton Gallery
Noel Anderson, The Professional, jacquard tapestry in artist’s frame 31 1/8 x 24 5/8 x 2 1/4 in
