My Highlights from ADAA: The Art Show 2015
If I had to play international art fair favorites, The Art Show would definitely be high on my dance card. In addition to being of easily digestible size, it also possesses a penchant for strong editing: there is no middle of the road here, only top tier works of art. The fact that travel to it merely involves a few stops on the NYC subway is just the icing on the cake.
This iron sculpture, from Gormley’s ongoing “Small Blockworks” series, will be presented with five counterparts in what should be a striking, figuratively-minimalist installation at the Sean Kelly booth.
This color field painting by the perhaps still-underappreciated late, great Helen Frankenthaler just feels like spring—which can’t come a moment too soon after this winter in New York.
Ray Parker, Untitled (No. 88), 1962, at Washburn Gallery
Parker was best known for his “Simple Paintings,” an example of which is seen here. Recognizable by distinct forms of color set against a light background, the “Simple Paintings” unite the emphasis of process inherent in abstract expressionism with a strong tendency toward coloration—two important discourses in New York art world of the 1960s.
Natalie has created an impressive series of works on paper based upon Grimms’ Fairy Tales that will debut at the Drawing Center next month. Her works explore the darker corners of the brothers’ classic yarns; the new works on paper here, based upon Pauline Réage’s erotic novel Story of O, should probe equally provocative territory.
I am very excited to view several of Davidson Gallery’s geometric works on paper by the late New York artist Mary Ann Unger. Her drawings predate the large-scale amorphous sculptures for which she was best known, and are, perhaps, their two-dimensional predecessors.