NADA Miami Starts Strong, With Multiple Sold-Out Booths on Opening Night

By in Art World News

NADA Miami Starts Strong, With Multiple Sold-Out Booths on Opening Night

Eager buyers and viewers thronged the aisles at the opening day of NADA at Ice Palace studios in downtown Miami last night (December 5), with sales, particularly of smaller scale paintings at lower price points, seemingly on fire.

Nearly every dealer we spoke to in the main galleries section and in the Projects section was upbeat, having closed at least some sales already, some solidified in the days leading up to the opening day.

Work by Jiyoung Park at Gallery Afternoon (Seoul, Korea) booth at NADA. Photo by Eileen Kinsella.

Work by Jiyoung Park at Gallery Afternoon (Seoul, Korea) booth at NADA. Photo by Eileen Kinsella.

At Seoul-based Gallery Afternoon’s booth in the Projects section, curator Vicky Lee was chatting about the intimate landscape paintings on butter-cup yellow walls by illustrator-turned-painter Jiyoung Park—and how all of the roughly half a dozen works, plus two more (see below), had been reserved or purchased.

“We sold everything in 30 minutes,” Lee said.

A gentleman who strode up with a small group and immediately asked for a checklist, where the top price was a very reasonable $1,300, wanted to know how much longer the reserve on one painting was in effect and whether any others were available. Good luck to him! Two additional works that were brought but not yet displayed, had also been spoken for.

imageThe Wall(2023). Photo by Andrea Calo. Image courtesy the artist and Martha’s Contemporary, Austin, Texas.” width=”1024″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/12/NADA-Martha-Contemporary-RFA0007-copy-1024×1024.jpg 1024w, https://news.artnet.com/app/news-upload/2023/12/NADA-Martha-Contemporary-RFA0007-copy-300×300.jpg 300w, https://news.artnet.com/app/news-upload/2023/12/NADA-Martha-Contemporary-RFA0007-copy-150×150.jpg 150w, https://news.artnet.com/app/news-upload/2023/12/NADA-Martha-Contemporary-RFA0007-copy-50×50.jpg 50w, https://news.artnet.com/app/news-upload/2023/12/NADA-Martha-Contemporary-RFA0007-copy-256×256.jpg 256w, https://news.artnet.com/app/news-upload/2023/12/NADA-Martha-Contemporary-RFA0007-copy-96×96.jpg 96w, https://news.artnet.com/app/news-upload/2023/12/NADA-Martha-Contemporary-RFA0007-copy.jpg 1500w” sizes=”(max-width: 1024px) 100vw, 1024px”>

R.F. Alvarez, The Wall(2023). Photo by Andrea Calo. Image courtesy the artist and Martha’s Contemporary, Austin, Texas.

The story was the same two booths over at Austin, Texas-based Martha’s Contemporary, another first time exhibitor participating in the Projects section. The gallery showed four artists, including an engrossing embroidered floral work by Erick Medel, a painting by Rachel Bos, a floor-sited wood sculpture by Wes Thompson, and several small figurative paintings by R.F. Alvarez, all priced at $2,500 each.

By mid afternoon the entire booth had sold out, to the thrill of owners Ricky Morales and Meredith Williams. They praised NADA’s focus on emerging artists, noting that’s what prompted to them to join the association. Previously, they participated in an exhibit at NADA House on Governor’s Island in New York City.

Polly Schindler, Dog Sleeping On Stairs (2023). Image courtesy the artist and Deanna Evans Gallery.

Polly Schindler, Dog Sleeping On Stairs (2023). Image courtesy the artist and Deanna Evans Projects.

In the main section gallerist Deanna Evans was also a first time NADA exhibitor in Miami (having done a New York edition previously) and was fielding intense interest for the works of painter Polly Shindler, especially quiet peaceful interior scenes depicting puppies, cozy-looking bedrooms and inviting bookshelves, as well as exteriors of houses, and a bonfire beach scene for the outdoor settings. Prices ran from $2,000 to $5,000.

imagePerpetual Amnesia (2023). Image courtesy the artist and Dimin Gallery.” width=”819″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/12/NADA-Dalzen-819×1024.jpg 819w, https://news.artnet.com/app/news-upload/2023/12/NADA-Dalzen-240×300.jpg 240w, https://news.artnet.com/app/news-upload/2023/12/NADA-Dalzen-1229×1536.jpg 1229w, https://news.artnet.com/app/news-upload/2023/12/NADA-Dalzen-40×50.jpg 40w, https://news.artnet.com/app/news-upload/2023/12/NADA-Dalzen.jpg 1500w” sizes=”(max-width: 819px) 100vw, 819px”>

Erik Dalzen, Perpetual Amnesia (2023). Image courtesy the artist and Dimin Gallery.

New York dealer Rob Dimin was also in the fair’s main section, telling Artnet NADA had been very crowded all day, with healthy attendance from institutional collectors. “We’ve had great placements,” he said.

The gallery sold a monumental sculptural work by Erik Dalzen, Perpetual Amnesia, at approximately $20,000, as well as sculptural works on fabric-wrapped wood by Ye Qin Zhu for about $8,000 each.

New York’s Polina Berlin gallery, which made its debut at NADA, also reported a sold out booth. Their wares included six new paintings by Tamo Jugeli for $12,500 each and six new paintings by Carrie Rudd for prices ranging from $4,200 – $12,500.

At Charles Moffat, sales included two paintings by Julia Jo priced at $18,000 each; a painting by Alec Egan priced at $30,000; and two paintings by Keiran Brennan Hinton, one priced at $18,000 and the other at $7,000.

Rachel Uffner’s large and captivating booth, reported selling three paintings by Miami-based artist Bernadette Despujols, priced at $56,000, $50,000, and $20,000 respectively.

Other sales reported by the gallery included two paintings by Talia Levit for $25,000 each; two paintings by Anne Buckwalter for $9,000 and $7,000; a painting by Susan Chen for $32,000; three sculptures by Sascha Ingber for $6,500, $6,000, and $4,500; a painting by Elbert Joseph Perez for $9,000; a painting by Erica Mao for $7,000; and a painting by Anna Jung Seo for $3,800.

Camila Falquez, Samantha Siagama, Trans-Indigenous Leader, 2023 (2023). Image courtesy NADA and Pérez Art Museum Miami.

Camila Falquez, Samantha Siagama, Trans-Indigenous Leader, 2023 (2023). Image courtesy NADA and Pérez Art Museum Miami.

Meanwhile NADA and the Pérez Art Museum Miami (PAMM) announced their selection for the sixth annual acquisition gift for the museum, on which the two institutions collaborate annually. The NADA gift provides funding for PAMM curators to acquire an artwork for the museum’s permanent collection, which features international modern and contemporary art from the U.S. Latino experience, the African diaspora, Latin America, and the Caribbean.

This year, PAMM associate curator Jennifer Inacio and assistant curator Maritza Lacayo selected Camila Falquez’s Samantha Siagama, Trans-Indigenous Leader from Hannah Traore Gallery.

“This photograph is part of an ongoing series in which Falquez works closely with Colombian Trans communities to portray strong and powerful identities,” Inacio said.

The work depicts Samantha, a community leader and activist from the coffee-growing region of Colombia who works as a coffee picker on a farm. She leads and coordinates a group of fellow Trans women, who are exiled from the Emberá Indigenous tribe for defending their gender identity, according to the gallery.

“The artist aims to challenge notions of survival and resistance while highlighting the beauty and dignity of the model, preserving the essence of her everyday life,” according to the selection statement.

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Hugh Hayden Untangles American Mythology with Overgrown Sculptures and Skewed Installations

By in Art World News

Hugh Hayden Untangles American Mythology with Overgrown Sculptures and Skewed Installations

Installation view of “The end,” NGV Triennial, Melbourne. Photo by Sean Fennessy. All images shared with permission

In a trio of ongoing exhibitions, Hugh Hayden (previously) tackles American myth-making, unraveling the incomplete and ignored narratives that ground our politics and culture.

For the National Gallery of Victoria Triennial, Hayden installed “The end,” a grade-school classroom complete with wooden desks and a mirrored blackboard. Educational settings are a recurring in the artist’s practice, and he pairs the motif with three dodo skeletons. The flightless birds were native to Mauritius and one of the first species to go extinct because of European hunting and deforestation on the island.

Tying this colonial eradication to academics, Hayden roots out the ways colonialism and its tenets continue to undermine the educational system and highlights the loss inherent within the African diaspora.

 

a wooden cabin with brick chimney is slants 20 degrees to the left in a park

“Huff and a Puff” (2023), deCordova Sculpture Park and Museum. Photo by Mel Taing

“Huff and a Puff” similarly probes historical narratives. Permanently installed at deCordova Sculpture Park and Museum in Lincoln, Massachusettes, the small wooden cabin is a replica of Henry David Thoreau’s home at Walden Pond. Slanted a surreal 20 degrees, the building skews what’s typically thought of as a birthplace of American self-reliance, environmental consciousness, and capitalist critique.

“‘Huff and A Puff’ is about perspective, not only in terms of its physical experience but also conceptually, given that for some people, the world is not so easy to live in,” the artist says. Given its angled construction, the cabin would be uncomfortable, if not impossible, to occupy without bending or contorting one’s body to fit.

 

the left door of a row of black bathroom stalls opens to reveal a wooden toilet sculpture with branches emerging from its sides

Installation view of ‘Hugh Hayden: Hughman’ at Lisson Gallery, Los Angeles. Image © Hugh Hayden, courtesy of Lisson Gallery

And finally, in his first solo show in Los Angeles, Hayden considers “the prosthetics of power,” or the artificial structures that can be weaponized for control and authority. Titled Hughman, the exhibition is entirely hidden behind a row of black bathroom stalls that must be opened to see the works, an act associated with privacy and rife with discrimination given the current proliferation of bathroom bills.

Inside is the artist’s play on an origin story. A twist on the anatomical models found in doctors’ offices, “Eve” is a wooden sculpture of a pregnant body with a baby curled inside. Other works include various types of seating—a director’s chair, school desk, and toilet—made impossible to use by branches jutting out from their sides or their flimsy, bristle construction.

Hughman is on view through January 13 at Lisson Gallery, while “The end” is up through April 7 in Melbourne. For deeper insight into Hayden’s work, pick up American Vernacular published earlier this year and also on Colossal’s Best Books of 2023 list, and find more on Instagram.

 

an installation of wooden school desks with a mirrored blackboard and teacher's desk. three sculptures of dinosaurs rest atop some of the desks with wooden branches emerging from their sides

Installation view of “The end,” NGV Triennial, Melbourne. Photo by Sean Fennessy

an installation of wooden school desks with a mirrored blackboard and teacher's desk. two sculptures of dinosaurs rest atop some of the desks with wooden branches emerging from their sides

Installation view of “The end,” NGV Triennial, Melbourne. Photo by Sean Fennessy

a wooden cabin with brick chimney is slants 20 degrees to the right in a park

“Huff and a Puff” (2023), deCordova Sculpture Park and Museum. Photo by Mel Taing

a schooldesk made of white bristles

“Brainwash” (2023),
PVC and nylon bristles, 33 x 26 x 29 inches. Image © Hugh Hayden, courtesy of Lisson Gallery

A wooden sculpture of an anatomical model of a pregnant stomach with a wooden baby curled inside

“Eve” (2023), cherry bark and acrylic on resin, black walnut,
25 x 15 x 10 inches. Image © Hugh Hayden, courtesy of Lisson Gallery

black bathroom stalls open to reveal several sculptures

Installation view of ‘Hugh Hayden: Hughman’ at Lisson Gallery, Los Angeles. Image © Hugh Hayden, courtesy of Lisson Gallery

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Hugh Hayden Untangles American Mythology with Overgrown Sculptures and Skewed Installations appeared first on Colossal.

The photographer capturing unexpected moments of peace in cities

By in Photography

The photographer capturing unexpected moments of peace in cities


CNN
 — 

British photographer Oli Kellett has taken his camera from New York to Rio de Janeiro, obsessively capturing one everyday aspect of big cities: Crosswalks. In his images, these banal parts of urban infrastructure transform into dramatically lit, cinematic scenes featuring people waiting to cross, suspended in a moment of rare peace amid the typical hustle and bustle that goes along with living in a city of millions.

“I’m interested in the idea of stillness and contemplation,” said Kellett in the London gallery HackelBury Fine Art, where a solo show of his work, “Waiting for a Sign”, has just opened. The large-scale pictures are drawn from his long-running series “Cross Road Blues” — the title a nod to the Robert Johnson song — which captures people at intersections frozen in contemplation, deciding where to go. For Kellett, this becomes a symbol of the bigger life decisions of choosing a direction.

In one photograph, a street cleaner stands alone in a narrow sliver of sunlight, gazing upwards at something out of shot as he begins to cross an unusually empty major road in Boston. In another, a small group of people, all different ages and looking different directions, are caught in the dappled bright light reflected off a building in Chicago, as they choose what to do next.

Kellett’s exhibition is accompanied by his first monograph, “Cross Road Blues”, presenting a curation of the series from start to finish. It begins in Los Angeles in 2016, where the idea evolved unexpectedly. “I wanted to make some work about the 2016 election,” Kellett explained. He decided to take pictures on Hope Street in Downtown LA, to capture a snapshot of the political climate, with the street choice a reflection on the iconic Shepard Fairey “Hope” poster of Barack Obama.

Most of Kellett's images were shot in cities across America, often at sunrise or sunset.

The idea of creating a politically-infused portrait of a street didn’t manifest in the way Kellett imagined, but he did capture one image that stuck: a woman waiting to cross the road, illuminated by golden sunlight. “I felt like it was this idea of a political crossroads,” Kellett said. But as he took the idea further, capturing more people at crosswalks around the country, he realized: “It’s not about politics, it’s about individuals.”

Most of the “Cross Road Blues” images are taken in US cities, from Phoenix and Atlanta to Chicago and Seattle. Grid street layouts lent themselves to capturing crosswalk photos, and the architecture of downtowns formed the perfect backdrop — urban, grey, often not immediately identifiable — to focus on the individuals in the picture. “There were some places I went that felt far too romantic,” Kellett said, citing New Orleans as an example; those images didn’t make the cut. “It was almost too beautiful.”

Despite the cinematic quality of his images, Kellett insists not a single photograph was staged.

Despite needing a certain generic urban-ness for the settings, the pictures are in no way devoid of beauty. Light plays a crucial role, with dramatic shafts of sunshine — particularly at sunrise, sunset or reflected spectacularly off buildings — illuminating the characters of his images in perfectly composed ways.

In fact, it all looks highly orchestrated, like a film set. But Kellett insists that not a single one is staged. The photographs result from him walking around chosen cities, looking for the right street corner — often a few blocks away from the busiest streets — and waiting until the light is just right, the place is peaceful, and there is someone waiting to cross in a way that feels compelling. “All these pictures rely on chance,” he said.

The series drew to a close in Rio de Janeiro, where Kellett happened to capture a man frozen in an almost John the Baptist-like pose with his finger held aloft towards the sky. “I knew this was the end of the project,” Kellett said.

The series idea sprung from Kellett's desire to capture images which conveyed a sense of the political crossroads in America in 2016.

Indeed, a look back across the pictures reveals the subjects to appear like sacred figures might in historic religious paintings: contemplative, bathed in golden light, often gazing upwards. As such, although the photographs are steeped in a contemporary urban landscape, they betray a timeless sense of humanity.

Kellett isn’t sure what’s next now the series has ended, but he seems to be leaving it up to chance: “It’s about walking out the door and not knowing who you’re going to find,” he said. “Or where you’re going to go.”

The Braun + Paul Smith Watches Are Worthy of Dieter Ram’s Approval

By in Design

The Braun + Paul Smith Watches Are Worthy of Dieter Ram’s Approval

German aesthetics meets Swiss craftsmanship in this exciting collaboration between Braun and Paul Smith with the limited edition release of the Braun + Paul Smith BN0279 Watches. For the first time ever, a Braun watch has been made in Switzerland, pairing an ETA 2892A2 Swiss movement with a featured striped second hand in Paul Smith’s signature colors. The quintessential Braun aesthetic – minimal, uncluttered, clean – is apparent in the absence of numbers (except for the date) and extra sub dials. A small Paul Smith logo commemorates the partnership. “Braun’s products are so beautiful that I’ve always been very sensitive of not wanting to hardly change anything. Just adding a bit of our twist,” Smith shares.

What you can’t see from the photos is that the watch feels substantial in hand and on the wrist. “I like things that feel grown-up and feel correct in your hands. I’ve never been keen on light knives and forks for the same reason,” British designer Paul Smith explained. The matte gunmetal stainless-steel case and black PU strap maintains the monochromatic look, a testament to Braun’s “less but better” philosophy since its first ever watch, the AW10, launched in 1989. Smith also shares a personal connection with the brand, having had Braun’s head of design Dieter Rams pay a visit. Dieter, an iconic minimalist designer who arguably paved the modernist era, visited Smith’s not-so-minimalist office and “didn’t die,” Smith jests. “That was, I think, quite an achievement.”

black minimalist watch with stripe second hand

black minimalist watch with stripe second hand

black minimalist watch with stripe second hand

black minimalist watch back

black minimalist watch straps

black minimalist watch with stripe second hand in box

In addition to the all-black version with a 40mm Gun Metal Grey Stainless Steel case (above), there’s another version with a 40mm Stainless Steel case (below).

closeup front of black watch with silver casing

angled view of black watch with silver casing

closeup face view of black watch with silver casing

side angled view of black watch with silver casing

back view of black watch with silver casing

angled view of black watch band coming together

black box holding black watch with silver casing

To shop the all-black version of the Braun + Paul Smith BN0279 watch or the Braun + Paul Smith Gents BN0279 stainless steel case watch, visit braun-clocks.com. Each is limited to only 100 pieces.

As the Senior Contributing Editor, Vy Yang is obsessed with discovering ways to live well + with intention through design. She’s probably sharing what she finds over on Instagram stories. You can also find her at vytranyang.com.

A ‘Centennial’ celebration of Saul Leiter

By in Photography

A ‘Centennial’ celebration of Saul Leiter

10th Street and Third Avenue © Saul Leiter Foundation

Dec. 3 marked the 100th anniversary of the birth of celebrated photographer Saul Leiter, who’s now the subject of a new exhibition showcasing his work’s range.
The Howard Greenberg Gallery is hosting “Centennial,” which features more than 40 photographs, paintings and painted photographs, many of which have never been on public view in the United States. The exhibition, created in collaboration with the Saul Leiter Foundation, coincides with the recently released book, “Saul Leiter: The Centennial Retrospective.”
Here’s more about Leiter via the EVG inbox…
Saul Leiter photographed and painted nearly every day for over 60 years. He made an enormous and unique contribution to photography during a highly prolific period in New York City in the 1950s as an early pioneer of color. His abstracted forms and radically innovative compositions have a painterly quality that stands out from the work of his New York School contemporaries. 
Often, he found inspiration within a few blocks of his apartment in lower Manhattan, seeking beauty in the ordinary, and capturing intimate moments, both indoors and on the streets. 
The exhibition at Howard Greenberg Gallery will survey his black-and-white as well as his color photographs including portraiture and cityscapes from the 1940s-1960s, his paintings (on which he worked until the end of his life) including abstract watercolors and painted photographs, and his fashion photography from Harper’s Bazaar circa 1960.
Leiter lived and worked at 111 E. 10th St. between Second Avenue and Third Avenue from 1952 to his death in 2013. The studio is now home to the Saul Leiter Foundation, which is cataloging his more than 80,000 works. 
The Howard Greenberg Gallery is at 41 E. 57th St. between Park and Madison. Gallery hours: Tuesday through Friday, 10 a.m. to 6 p.m., and  Saturday from 11 a.m. to 5 p.m. 

People Prescribed “Photography” as Mental Health Treatment in UK

By in Photography

People Prescribed “Photography” as Mental Health Treatment in UK
Photography is Prescribed as Mental Health Treatment in the UK

Photo: olhovyi_photographer/Depositphotos

Creative outlets like drawing and painting are great ways of exploring your emotions and relieving stress. However, it isn’t that easy to embark on a new hobby, especially when you lack the resources. A new initiative in the UK seeks to change that, by prescribing photography as a mental health treatment. Launched by Wex Photo Video, this project is supported by the National Academy of Social Prescribing (NASP). Once a GP or healthcare professional refers a patient to the “Photography on Prescription” program, they will be granted access to photography equipment and masterclasses by Wex, with the intention of giving them the tools to improve their mental health.

People suffering from depression, anxiety, PTSD, self-esteem issues, and loneliness can all benefit from practicing photography and other creative outlets, according to studies. “Photography can be so much more than a hobby; it’s a powerful tool for conveying emotion,” says Paul Wareham, marketing director of Wex Photo Video. “By giving people with mental health difficulties access to masterclasses, equipment, and ongoing support; we want to connect them to a wider community, help develop their self-esteem, and give them a channel for self-expression. Whilst photography will never be the total solution, we hope that this project will help some people who are currently struggling.”

By giving a camera to those struggling with mental health, it will hopefully help patients express their thoughts and feelings without the need for words. So far, community groups in London, Bristol, and Greater Manchester have signed up for the program. A participant from the first masterclass held in London on September 26—which was based around the prompt “Who am I?”—said that she feels “more motivated than ever” to use her camera to express her emotions.

The early positive responses provide hope that this project will continue to grow across the UK and help others with “low level mental health issues” through photography.

h/t: [PetaPixel]

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