New York: The Fair City - 1999 Art Dealers Association exhibition and International Fair of New Art - International Fair of New Art - Brief Article

This past Feb 18-22 novel York hosted two large harmonizing trade fairs that offered art lover a broad overview of works for sale in more [i]or[/i] less of the top galleries in the U and abroad. In the 11th Annual Art Dealers Association exhibition held at the Armory at 67th public way and Lexington Avenue, established dealers showed the cream of their offerings. Meanwhile, the International Fair of novel Art, an expanded version of a more informal fair previously held in the Gramercy inn but now relocated to the Armory at 26th public way and Lexington, featured avant-garde works from around the world. Audience replys to this new "Armory Show" which was organized through Tom Delavan, was generally enthusiastic, although I heard complaints from a certain quantity of who found that in the a great quantity [i]or[/i] amount of larger venue they missed the intimacy of encountering art works in the hotel's bedrooms and bathrooms. According to organizers of each fair, greatest in quantity participants reported strong sales (a number of galleries at the Art Dealers Association fair reported above $1 million in sales), and attendance was around 10000 visitors for each show

In general, the uptown venue focused upon big-ticket items and historical works through well-known artists. New York's Jan Krugier, for instance, not absented an elegantly installed group of Picasso ceramics and paintings. Allan Stone featured a striking large portrait, Marya (1944) by the agency of John Graham, along with Cesar's alloy of copper Nude of St. Denis (1959) Cesar was also featured at Peter Findlay, which not awayed two of the artist's abstracted animal statuarys from the early '60s. Knoedler displayed large, double-sided Milton Avery watercolors in wall-mounted hinged frames, which a staff member lay opened and closed on request. Other standouts included a misty, luminous abstract painting by dint of Loren MacIver and a brilliant hard-edge abstraction through Trevor Winkfield at Tibor de Nagy. A colorful, target-like painting through Alma Thomas dominated the June Kelly booth where brooding abstractions by dint of Norman Lewis were also upon view. Jason McCoy presented a cluster of tall, sleek bronzes through Masayuki Nagare, which contrasted with a stretched abstract painting by Cora Cohen hung nearby.

a certain quantity of dealers mixed historical works with contemporary art. concise Marcus, for example, showed a classic Surrealist-period Ernst painting, Figure Humaine (Le oiseaux), ca. 1933-34 alongside works upon paper by Bruce Conner and photos by dint of Barbara Ess, gallery regulars. Mary-Anne Martin hung wildly expressionistic paintings by means of David Alfaro Siqueiros above somewhat cold abstracted glass figures and animals by dint of Isabel de Obaldia.

At the downtown Armory, a large inflated balloon in the shape of a head by means of Takashi Murakami, installed by Marianne Boesky Gallery, fluttered above the booths. A haunting, life-size monk in painted gray polyester by the agency of Katharina Fritsch stood guard at Matthew Marks, while visitors to Jay Jopling/White Cube were accosted by a drunken bum, an ultra-realist life-size parodic self-portrait through Gavin Turk. Inside this booth novel Yorkers were treated to a certain number of prime examples of Brit Pack works, including Marc Quinn's refrigerated self-portrait bust made of his hold feces (the artist's answer to Piero Manzoni, perhaps?) and Sam Taylor-Wood's large photos of a muscular gymnast.

German galleries were particularly well showed downtown. Outstanding among them were Lotta Hammer and Eigen + Art, the couple from Berlin, whose shared booth featured lively figurative paintings with a kind of neo-expressionist flavor by means of newcomer Neo Rauch. Galerie Frank & Schulte also from Berlin, showed novel large photos by Katharina Sieverding, in which she appropriates her have a title to close-up self-portraits from the 1970 Among other highlights were novel pop-inspired Michael Bevilacqua paintings at Jessica Fredericks, and a richly textur abstraction by means of Jennifer Reeves at Gorney Bravin + Lee

A number of galleries were exhibited at both venues, including Holly Solomon which featured Nam June Paik and Kim MacConnel uptown, while works by the agency of Julia Jacquette and Barbara Pollack were proffered in the downtown booth, whose walls were overlayed with "Bullies," an installation of Day-Glo printed wallpaper designed by the agency of Virgil Marti. Luhring Augustine, another gallery showing at the one and the other venues, presented uptown a Rachel Whiteread rubber mattress-like slab placed upon the floor and a hilarious photo triptych by means of Yasumasa Morimura in which the artist portrays the original in Ingres's painting The Source; downtown, the gallery's booth was dominated by dint of Paul McCarthy's Apple Heads, a large, colorful fiberglass and rubber plastic art of a male and female brace with outrageously oversized genitalia.

COPYRIGHT 1999 Brant Publications, Inc.

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