Rebecca Bronfein Raphael is the Director of Sales at Artsy.
To those who have not visited ADAA: The Art Show, allow me to set the scene. The renowned Park Avenue Armory on Manhattan’s Upper East Side, with its Tiffany chandeliers, warm wood paneling, and immense volume, is transformed into an intimate maze of booths showcasing gems by some of the most celebrated artists of our time. The vibe is serious and often academic. In the spirit of the fair, I present a selection of artworks by living, female artists—arguably among the best of their generation—who will have a strong presence at the fair.
Lorna Simpson is the first African-American female artist to show at the Venice Biennale. Enough said.
Collaborators Lauren Was and Adam Eckstrom create two- and three-dimensional works from discarded materials such as lottery tickets and casino playing cards. The duo, who met while studying at the Rhode Island School of Design, explore the futile dream of a richer, better life, which dominates our materialistic society. Their hypnotizing collage A Good Run of Bad Luck blurs the line between appearance and reality as the surface of the work seems to be on the move, although it is truly standing still.
Painted representations of the woven works that define Michelle Grabner’s oeuvre will be on view at James Cohan Gallery’s booth. The ebb and flow of pink in this work suggests the soft folds of fabric and render the work’s categorically stiff materials—enamel on panel—limp. Named one the 100 most important women in art in 2014, she co-curated the Whitney Biennial that same year, so who says a woman can’t ‘do it all?’
Featured in the 2010 Whitney Biennial, artist Julia Fish explores abstraction as it relates to her personal space–her home, her studio, her garden. In the “Threshold” series, we’re presented with transitional space between two rooms. The mixture of her mathematical precision with the intimacy of her subject matter creates work that is simultaneously specific and universal.
Los Angeles-based Sarah Cain presents work that is bright and feminine. These multimedia works, tightly composed on dollar bills, offer a handheld alternative to Cain’s monumental paintings that embrace color, material, and form.