Home Art History Independent Art Fair Brings Unseen Masterpieces to New York

Independent Art Fair Brings Unseen Masterpieces to New York

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The second edition will once again be held at the Battery Maritime Building at 10 South Street in Manhattan. independent 20th century Art Fair — a spin-off of Independent that focuses on contemporary art — is chock-full of top-notch art this week.There is also a portrait of Warhol. (Vito Schnabel Gallery) and Picasso’s painting (Perrotin), of course. But there are also tool-dyed leather “paintings” by Winfred Rembert. (James Barron Art)a solo exhibition by painter Peter Nadin overlooking the harbour. (Off Paradise) Also on display are historical artists rarely seen in New York or the United States. As you might expect from such a highly curated and small-scale (just 50 artists in 33 booths) luxury fair, the exhibits are focused on painting, the easiest medium to sell. It is written. But there are also sublime Southern Washoe-style baskets by Louisa Kaiser. (Donald Ellis Gallery) A group of spectacular early 20th century totems in Vanuatu (Venus of Manhattan), Among other sculptures. I would like to introduce the booths that particularly caught my attention, but it wasn’t easy to choose one. Admission costs $45 at the door, but it’s packed with information. Online viewing room free.

It’s no surprise that Ed Baynard (1940-2016) was a painter and graphic designer whose career soared after his death. In this decade-long presentation of his work, he uses acrylics and watercolors to make vases, bowls, and graceful spring flowers appear paper-cut-sharp. However, they are not completely flat. In his 1978 untitled work, detailed rose petals float on dark green stems, their drooping observed with such precision that it seems as if they are about to tremble. While reminiscent of wallpaper and prints, the effect is most similar to a tranquil garden seen through glass.

This is a dense three-person presentation of 60s and 70s work by feminist and activist artists. Camille Billops, Vivienne Brown, Mae StevensThere’s something very satisfying about the almost whimsical intensity of the “Little Men” oil on brown paper series, but for me the highlight of Booth is Billops. Her four-part etching series, “I’m Black, I’m Black, I’m Dangerous Black,” delicately depicts a nude glow filled with backwards cursive in a chaotic landscape. Meanwhile, another nude figure is painted on the glass-fronted ceramic chair, Madame Puiset, a transfixingly bizarre combination of sharp edges and wobbly lines.

Edith Schloss’s posthumous 2021 memoir, The Loft Generation, describes how the German-born artist and writer, who lived in New York from 1942 to 1962, wrote about the mid-century Abstract Expressionists. It was a light but particularly fun piece of work from the time I spent there. Her paintings, in which she appears here in three whimsical still lifes and a yellow palimpsest-like landscape, are one and the same (hanging alongside a wide selection of paintings by Lauren McIver). Schloss’s leaning vases, floating polka dots, and inexplicable little elephants drawn in pencil all glow with such strong self-possession and charm that they can’t help but magically brighten your day. yeah.

Wanda Pimentel (1943-2019) lived in Rio de Janeiro and was involved in Brazil’s New Figuration movement. She has recently appeared in two group exhibitions, and these eight paintings include works from her “Envolvimento” series (1968-1984) and “Path to the Superhuman Tie” series (1965-66). It includes examples and is her first solo work in the United States. It won’t be her last. Her meticulously constructed geometric interior scenes are as colorful as her advertising posters, splitting the difference between industrial and domestic. Add female feet and toes to the edges, and you have art for art’s sake wrapped around a lively cutting edge of social commentary.

Preceding a major exhibition at the Barnes Foundation, this presentation of eight small canvases offers an opportunity to become acquainted, or reacquainted, with the Parisian painter’s otherworldly women and girls. Marie Laurencin (1883-1956). Against a hazy background of gray and smoky pink, her willowy subjects with powder-white skin and black oval eyes recall ghosts, fairies, porcelain, or Japanese masks. But they also somehow seem completely human and individual, and Laurencin’s palette and unusual style contain as much information about the model’s emotions and social environment as her paintings. Masu.

I almost passed a monochrome group that Italian spatialist Mario DeLuisi called “Grattage.” The Milan-based gallery says it will make its New York debut. They can be easily misunderstood and can look like upholstery, but luckily some instinct pulled me back and I found them to be almost shockingly gorgeous. Covered in an intricate network of tiny white scratches, they offer patterns reminiscent of starscapes, cave paintings, the sparkling wool of primitive sheep, and calligraphy or Matisse’s circle of dancers.

Italian artist in the early 1960s Sergio Lombardo He created a series of political silhouettes by tracing photographic projections of figures such as Kennedy and Khrushchev onto paper and canvas using industrial black enamel. (He called the series “Gesti Tipici,” or “typical gestures.”) Familiar faces pointing, grimacing, and gesturing in this presentation by the Roman gallery We are larger than life and smaller than humans at the same time. Eye-catching white on the collar and cuffs is often the most expressive detail. But with the exception of the oily, syrupy “Rockefeller,” all the faces catch the light in rough, zigzag brushstrokes.

These vague, multilayered silver prints date from the German photographer’s early career. Sigmar Polke (1941-2010). In the black-and-white “Untitled (Dr. Feelgood),” a man in a striped jacket holds “Dr. Feelgood.” A poster of “Feel Good” was modestly held up in front of his face. The image is that he is rotated 90 degrees and he is repeated once, or so it appears. In fact, in his second iteration, the man lowers the poster and grins as if to say, “Attention, buddy!” Wake up! I’m dreaming! ” Also on display in the gallery is Polke’s battery-powered “Kaltfer Machine/Potato Machine — a device that allows one potato to orbit another,” one of 30 he made.

independent 20th century

Friday 8th September – Sunday 10th September. Cipriani South Street, 10 South Street, Manhattan. independenthq.com.

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