{"id":2785,"date":"2019-03-07T14:02:46","date_gmt":"2019-03-07T14:02:46","guid":{"rendered":"http:\/\/mariafernandacardoso.com\/?p=2785"},"modified":"2019-05-03T19:43:22","modified_gmt":"2019-05-03T19:43:22","slug":"goldstein-andrew-from-a-240-000-plastic-bag-bliss-out-to-a-3500-surrealist-delight-here-are-6-of-the-best-artworks-at-the-2019-armory-show-artnet-news-march-7-2019","status":"publish","type":"post","link":"https:\/\/mariafernandacardoso.com\/es\/goldstein-andrew-from-a-240-000-plastic-bag-bliss-out-to-a-3500-surrealist-delight-here-are-6-of-the-best-artworks-at-the-2019-armory-show-artnet-news-march-7-2019\/","title":{"rendered":"“From a $240.000 Plastic-Bag Bliss-Out to a $3500 Surrealist Delight, Here Are 6 of the Best Artworks at the 2019 Armory Show”. Artnet News."},"content":{"rendered":"

By Andrew Goldstein.<\/strong><\/p>\n\n\n\n

\"\"
Jim Campbell’s Eroding Wave<\/em> (2016) at Bryce Wolkowitz’s booth at the 2019 Armory Show.<\/figcaption><\/figure>\n\n\n\n

Oh, Armory Show. So far away, such lines, the bitter cold wind ripping in from the river, the constant drama\u2026 but it\u2019s always more fun than you expect, sales are a-poppin\u2019, and, hey, you get to catch up with old business-mixed-with-after-party-pleasure acquaintances you haven\u2019t seen since the last art fair, what, a week and a half prior? This year, the added incentive for going to the piers was to support the fair\u2019s director, Nicole Berry, who somehow managed to deal with two crises in two years\u2014one that lifted her to her job<\/a>, and one that greeted her when she got there<\/a>\u2014with elan, grace, and steely determination. Around the fair, even at poor, displaced Pier 90<\/a>, the consensus was that Berry did a great job with the hand she was dealt. Anyway, here are some highlights from the fair.<\/p>\n\n\n\n

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Pascale Marthine Tayou<\/strong>
Plastic Bags<\/em>, 2019<\/strong>
Richard Taittinger Gallery<\/a>, New York, and Galleria Continua, international<\/strong>
Price: $240,000<\/strong><\/p>\n<\/div><\/div>\n\n\n\n

By now, we all know that plastic bags are terrible for the environment. They take up to 1,000 years to decompose, seep chemicals into the soil, and kill a horrifying amount of sea life. Right now, state legislatures in both Washington and Rhode Island are in the advanced stages of banning single-use plastic bags. But they are also universal, used in communities around the world to buy, sell, carry, keep, and share goods. And in the right light, they can even be strangely mesmerizing, like in that scene from American Beauty<\/em><\/a>: \u201cThere\u2019s so much beauty in the world.\u201d<\/p>\n\n\n\n

These muddled and contradictory qualities are the reason the Ghent-based Cameroonian artist Pascale Marthine Tayou chose to create his show-stopping sculpture for the fair\u2019s Platform section, curated by Sally Tallant. A 21-foot-tall suspended agglomeration of some 25,000 multicolored plastic bags that the artist acquired for the piece, it is sure to be one of the most-photographed artworks in the fair. Tayou, a veteran of both the Venice Biennale and documenta, certainly has a knack for the sensational\u2014something always in high demand. The Albright-Knox Art Gallery in Buffalo, for instance, recently bought an enormous version of one of his \u201cChalk Fresco\u201d works (at the time of the sale it was listed at $290,000); some other chalk works are also available at Richard Taittinger\u2019s booth at the fair.<\/p>\n\n\n\n

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Naudline Pierre<\/strong>
Lead Me Gently Home<\/em>, 2019<\/strong>
Shulamit Nazarian, Los Angeles<\/strong>
Price: Around $30,000<\/strong><\/h5>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

The 29-year-old artist Naudline Pierre grew up in a spiritual world, surrounded by the biblical parables woven by her father, an ordained minister who immigrated to the United States from Haiti and now runs a church in Miami\u2019s Little Haiti. Pierre taps that same spirituality in her paintings, but shifts it away from Christianity toward something more primal and voodoo-inflected, endowing herself with occult power. She paints spectral self-portraits of what she calls her \u201cshadow self\u201d\u2014always central on the canvas, usually naked, and always suffused with a rich monochrome color\u2014surrounded by divine \u201cpresences\u201d that place their hands on her body, transferring their holy essences to her through touch.<\/p>\n\n\n\n

Mysterious and transporting, Pierre\u2019s paintings are also steeped in art history, from Renaissance devotional art (as can be felt through this triptych) to the more speculative paintings of artists like William Blake and Odilon Redon<\/a>. Whether or not her work has had its intended effect on the spiritual realm, it certainly has drawn the interest of powerful \u201cpresences\u201d in the contemporary art world, where her supporters include Thelma Golden, Naomi Beckwith, Franklin Sirmans (who previously acquired two of her artworks for Miami\u2019s P\u00e9rez Art Museum), and Swizz Beatz, who bought this painting in advance of the fair for his highly influential Dean Collection.<\/p>\n\n\n\n

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Anton van Dalen<\/strong>
The War Comes Home<\/em>, 1982<\/strong>
P.P.O.W.<\/a>, New York<\/strong>
Price: $85,000<\/strong><\/h5>\n<\/div><\/div>\n\n\n\n

P.P.O.W. has a long track record of discovering extraordinary New York artists hiding in plain sight\u2014just look at what the gallery did with Martin Wong\u2014and it seems they\u2019re at it again with Anton van Dalen, whose life story is as gripping as his lapel-grabbing art. Born in The Hague in 1927, he grew up amid the early rumblings of World War II, taking solace from the devastation he witnessed by tending to pigeons before emigrating to Toronto with his family at the age of 12. Later, he moved to New York, getting a job as a graphic designer but also working as Saul Steinberg<\/a>\u2019s assistant and idea-bouncer-off-er for 30 years\u2014\u201ca relationship he kept secret until Steinberg\u2019s death in 1999,\u201d as gallery materials mysteriously put it. Meanwhile, he became a fixture of the East Village, living in a brownstone by Tompkins Square Park that has \u201cPeace\u201d scrawled across its fa\u00e7ade and a painted house on its roof where he continues to tend pigeons, making him one of the few remaining pigeon fanciers in downtown New York.<\/p>\n\n\n\n

All this time, he was also making art, fusing his wartime experience with what he saw unfolding in his rough-and-tumble neighborhood of Alphabet City, where, during the 1980s drug epidemic, Avenue A stood for \u201cadventure,\u201d B for \u201cbrave,\u201d C for \u201ccrazy,\u201d and D for \u201cdead.\u201d This large painting\u2014with its colossal tank, screaming fighter jet, exploding building, and burning man, all against the backdrop of the Manhattan Bridge\u2014displays the kind of urban Sturm und Drang he imagined around him.<\/p>\n\n\n\n

Now 91, van Dalen is about to have his second solo show at P.P.O.W., which will feature two of Saul Steinberg\u2019s studio tables he inherited amid an array of artworks and, on a loop, the teaser for a new documentary being made about him, his pigeons, and his chaotic visions.<\/p>\n\n\n\n

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Mar\u00eda Fernanda Cardoso<\/strong>
Spiders of Paradise: Maratus Speciosus From the Actual Size III<\/em>, 2018<\/strong>
Sicardi | Ayers | Bacino, Houston<\/strong>
Price: $14,000<\/strong><\/h5>\n<\/div><\/div>\n\n\n\n

Who knew that spiders were so ravishingly beautiful? Well, evidently the photographer Mar\u00eda Fernanda Cardoso, who first learned the finer points of beauty in Yale\u2019s MFA program and then got to know spiders through her PhD in biology from Sydney University. (She\u2019s an expert in the genitalia of male insects, a subject she explored in her 2012 Museum of Copulatory Organs, a real-life display of\u2014well, just what it sounds like.)<\/p>\n\n\n\n

Born in Colombia and based in Australia, she drew on that feral continent\u2019s extreme biodiversity for her latest \u201cSpider of Paradise\u201d series, using deep-focus microscopy to photograph peacock jumping spiders in a way that faithfully captured their exotic loveliness, from their flamboyant crowns to their glistening emerald eyes to the snow-white hairs of their cephalothorax. (For comparison\u2019s sake, the artist includes a life-sized image of the spider on the top right of the print.) Tate Modern owns a complete collection of one of Cardoso\u2019s previous spider series, together with one of her videos, but two editions of this print remain for the lucky arachnophile.<\/p>\n\n\n\n

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Jim Campbell<\/strong>
Eroding Wave<\/em>, 2016<\/strong>
Bryce Wolkowitz, New York<\/strong>
Price: $ 240,000<\/strong><\/h5>\n\n\n\n

<\/p>\n<\/div><\/div>\n\n\n\n

When it comes to flickering LED artworks, Leo Villareal\u2019s celestial corridor<\/a>might be getting the lion\u2019s share of attention at the fair this year, but don\u2019t overlook this Instagram-friendly beaut by Jim Campbell at Bryce Wolkowitz\u2019s stand. A cascade of lights that crescents over the viewer like a breaking wave, the installation features the ghostly figures of swimmers who seem to dive in and glide around as you stand there<\/a>, a distinctly oneiric experience. Campbell, an MIT engineer who decided to commit himself to art, is known in certain circles in New York\u2014a piece of his is in the current Whitney show \u201cProgrammed: Rules, Codes, and Choreographies in Art, 1965\u20132018,\u201d for instance\u2014but he\u2019s much, much better known in San Francisco, where his permanent 130-foot LED installation on Salesforce Tower is said<\/a> to be the \u201cmost visible public artwork in the West.\u201d<\/p>\n\n\n\n

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Becky Kolsrud<\/strong>
\u201cBathers\u201d series<\/strong>
Tif Sigfrids, Athens, Georgia<\/strong>
Price: $3,500<\/strong><\/figcaption><\/figure>\n\n\n\n

For a while, the Los Angeles painter Becky Kolsrud was known for creating terrifically catchy portraits of people behind chain-link fences that merged abstraction (the grid) with figuration (the people). But then something happened that threw her for a loop: she was inspired by a Balthus<\/a> painting of a lady bathing, so she tried to make one herself, sold it to a collector\u2014and then the collector was robbed, and the painting lost. Saddened, Kolsrud tried to recreate it, and did so again and again. Now, it has become her new ongoing body of work. It\u2019s irresistible, too\u2014the equivalent of a visual earworm, with each canvas continuing her interest in formal dualities (the water is translucent, yet appears as solid blue in her work), abstract portraiture (each figure is purely imaginary), and surrealism (the works resemble less fussy Magrittes). As usual for the artist, the works are selling at a quick clip, and only four were left at the end of the vernissage\u2014partially because one noted collector bought five in one swoop.<\/p>\n\n\n\n

Link: https:\/\/news.artnet.com\/market\/6-best-artworks-2019-armory-show-1483303?utm_content=from_newscta&utm_source=Sailthru&utm_medium=email&utm_campaign=US%2010%20a.m.%20newsletter%20for%203%2F8%2F19&utm_term=New%20US%20Newsletter%20List<\/a><\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

By Andrew Goldstein. Oh, Armory Show. So far away, such lines, the bitter cold wind ripping in from the river, the constant drama\u2026 but it\u2019s always more fun than you expect, sales are a-poppin\u2019, and, hey, you get to catch up with old business-mixed-with-after-party-pleasure acquaintances you haven\u2019t seen since the …<\/p>\n

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