NADA NY 2016 Highlights
The New Art Dealers Alliance (NADA) New York fair 2016 is a fun and adventurous satellite fair that should not be missed. The venue was filled with familiar faces and new discoveries. The South Street location does not have the drama of a ferry ride to an island. In front of the fair, visitors can collect free poster art, play pickup hoops and snack on ice cream sandwiches. The rear outdoor space was the place to listen to the DJ, watch performance art and enjoy delicious tacos and margaritas by the water.The interior is easy to navigate. I have always been a fan of smaller fairs. I don’t believe that they should test my endurance. This was the ideal space to experience an often offbeat selection of art.
Joakim Von Ditmar and Ayana V. Jackson
I had a difficult time picking favorites at this fair. The venue was filled with interesting works of art that made it difficult to leave. There was always something new to discover around the corner. Here are some highlights:
Alberz Benda
Installation view with Kathy Battista
That purse is everything!
This was the tiny space that could. The black and white graphic design of the booth visually popped, drawing the visitor into an immersive space inside of a bizarre comic book. Feminine sexuality and fetishism fill the pages mounted on the walls. Lucia Love’s body of work, Objectophilia, focuses one’s obsession onto a cactus.
Lucia Love
Episode 1
2016
Watercolor and ink on Fabriano paper
4 drawings
6 3/4 x 4 1/2 inches (far left)
8 x 6 inches (other 3 drawings)
Lucia Love
Episode 4
2016
Watercolor and ink on Fabriano paper
3 drawings
8 x 6 inches (paper, each work)
Alden Projects
Alden Projects exhibited 1970’s mail art. On the outer wall, Suzanne Lacy’s Anatomy Lesson #1: Chickens Coming Home to Roost (1975-76) caught my eye and drew me into the booth.
Suzanne Lacy
Anatomy Lesson #1: Chickens Coming Home to Roost (detail)
1975-76
Four elements comprising the complete series
Lithograph on both sides of four postcards
Each 4 ½ x 6 7/8”
image courtesy of Alden Projects
Suzanne Lacy
Anatomy Lesson #1: Chickens Coming Home to Roost (detail)
1975-76
Four elements comprising the complete series
Lithograph on both sides of four postcards
Each 4 ½ x 6 7/8”
image courtesy of Alden Projects
It was a rare treat to view the original printing of Martha Rosler’s A Budding Gourmet (1974) and Tijuana Maid: Food Novel 4 (1975-76).
Martha Rosler
A Budding Gourmet
1974
Complete series of 13 lithographic cards, each addressed and sent through the mail over an elapsed period of time with date-stamped postmarks
Each approximately 3 ¼ x 5 ½”
Self-published.
Printed by Moonlight Blue, La Jolla, CA.
Very first printing from the very first “run of approximately 200 -250”
image courtesy of Alden Projects
MARTHA ROSLER.
Tijuana Maid: Food Novel 4
1975-76
Complete series of 12 lithographic cards each addressed and sent through the mail over an elapsed period of time and with date-stamped postmarks
Published by the artist
Printed by the artist & Moonlight Blue, La Jolla, CA
Very first printing from the “distrib. 350”
image courtesy of Alden Projects
Eleanor Antin’s 100 Boots dominated the back wall:
Eleanor Antin
100 Boots
1971-73
51parts. Each 4 1./2 x 7” Lithograph printed onto card stock with mixed media.
image courtesy of Alden Projects
“Eleanor Antin’s 100 BOOTS is a work which took 2 years to originally create, but continues to unfold 40 years later. Beginning in 1971, Antin introduced 100 black rubber boots (50 pairs) as the protagonists of her newest narrative. Within the nascent years of the 1970s, the flock of boots were thoughtfully arranged and photographically documented in a series of settings, primarily in the Southwest, from urban to rural. Each staged scene, photographed by fellow artist Philip Steinmetz, chronicled a moment in the “life” of the 100 BOOTS as they went on vacation, to church, and the market, were laid off and moved on. Subsequently each photograph, rather than being printed as a traditional gelatin silver print to be hung and sold from a gallery’s white walls, was reproduced as a postcard and sent out individually by Antin to an estimated 1000 artists, critics, curators, writers and others.[1]”
Eleanor Antin
100 Boots In the Park
1971-73
4 1/2 x 7” each
Lithograph and mixed media on card stock
image courtesy of Alden Projects
Eleanor Antin
100 Boots Move On
1971-73
4 1/2 x 7” each
Lithograph and mixed media on card stock
image courtesy of Antin Projects
INVISIBLE-EXPORTS
I should thank my former professor, Jack Butler, for instilling a lasting appreciation of the Polaroid. INVISIBLE-EXPORTS did not disappoint with a grid display of framed images from Andy Warhol’s Factory days. Brigid Berlin’s self-portraits as well as images of Warhol Superstars, other artists and celebrities possess the relaxed intimacy of the vernacular. “The experimental nature of Berlin’s double-exposed Polaroids transcend the static, emotionless ‘icon’ Polaroids of Warhol’s, clearly showing the power of her personal vision and photographic style.”
Brigid Berlin
Untitled (Jackie Curtis)
ca. 1971-1973
Polaroid
3.3 x 4.2 inches
image courtesy of INVISIBLE-EXPORTS
Brigid Berlin
Untitled (Andy Warhol wearing Lou Reed’s headphones)
ca. 1973
Polaroid
3.3 x 4.2 inches
image courtesy of INVISIBLE-EXPORTS
Helen Chadwick’s Meat Abstract No. 8: Gold Ball / Steak (1989), from the series, Meat Lamps (1989–91) that consisted of large format Polaroid images of meat slabs, bulbs, drapery and other visceral materials that were displayed on light boxes, often with an aura of light spilling around them. Chadwick set out to deconstruct binary opposition by reducing the work to present flesh as flesh.
Helen Chadwick
Meat Abstract No. 8: Gold Ball / Steak, 1989
Polaroid, silk mat
81 x 71 cm
Copyright the Estate of Helen Chadwick, Courtesy Richard Saltoun Gallery
Galerie Sébastien Bertrand
Sébastien Bertrand holding #chloethetinydog
This booth had everything – Sex, Food, Politics, History and Emoji!
Chloe Wise’s fetishistic painted and sculptural cornucopia tapped into the viewer’s appetites, dripping with excess.
Chloe Wise with Life’s Rough, But not Rough Enough (2016)
Chloe Wise
A Fantastic Ignorance
2016
Oil paint, urethane, dried onion, black pepper, piercing, wood plinth
117 x 46 x 45 cm
Chloe Wise
A Magnificent Forgetting
2016
Oil paint, urethane, parsley, piercing, wood plinth
112 x 45 x 43 cm
Soviet propaganda meets Madison Ave.in Alexander Kosolapov’s paintings, placing both worlds in perspective with humor. The mashups of communist and capitalist imagery in Malevich Marlboro (1985) and Molotov Cocktail (1989/2000) lay bare the similarities in the marketing of both sides of the Cold War. Russian Revolutionary Porcelain (1992), mounted at the center of the back wall, anchors the two paintings. The minimalist form of the urinal with its square target reclaims Duchamp’s iconic imagery with a Suprematist aesthetic.
Alexander Kosolapov
Malevich Marlboro (triptych)
1985
Acrylic on canvas
180 x 110 cm
Alexander Kosolapov
Molotov Cocktail
1989/2000
Acrylic on Canvas
91 x 109 cm
Alexander Kosolapov
Russian Revolutionary Porcelain
1992
Enamel on glazed porcelain
35.5 x 33 x 46 cm
Richard Kern’s photographs took me back to the 80’s and 90’s with bold imagery and a rare self portrait.
Richard Kern
Jen With a Gun and a Dick
C-print
28 x 36 cm
Richard Kern
Lung/Kern Set of SN
1987
C-print
28 x 36 cm
The cylinder seal sized emoji of the Yarisal & Kublitz’s, I Promise I Won’t Come in Your Mouth (2016) demonstrate how human language development may have come full circle, eschewing alphabets and words for pictograms, cuneiform and hieroglyphics.
Barisal & Kublitz
I Promise I Won’t Come in Your Mouth
2016
Woodstone ceramic, wood, glass vitrine
38 x 14 x 12 cm
Do not miss these booths:
Roberto Paradise
Caroline Wells Chandler
The Angela Dufresne Workout Plan
(center)
2016
hand crocheted assorted fibers
96 x 75″
Caroline Wells Chandler
Olivia
(center)
2016
69 x 82″
Feuer/Mesler
(back wall L-R)
Matthew Chambers
The goalies anxiety at the penalty kick.
Alice in the cities.
Kings of the road.
2015
96 x 48 inches each
FORMATOCOMADO
Daniel Baccato
blogface
2016
epoxy, fiberglass and polyurethane
