Art & Object Fall Fair 2024
Animated publication
IN PARALLEL WITH THE VENICE BIENNALE 2024 HELLENIC HEADS GEORGE PETRIDES Courtyard of San Giorgio dei Greci, near Piazza San Marco April 15 to November 24, 2024, daily 900 to 1700
Fall Fair Issue CONTENTS | FALL 2024 | ISSUE 1.1 | ARTANDOBJECT.COM
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Heitor dos Prazeres Sem título (Untitled) , 1960. GALATEA FINE ART INDEPENDENT 20TH CENTURY
COURTESY OF GALATEA AND SIMÕES DE ASSIS
8 The Creative Economy Ecosystem By Cynthia Close FEATURE Art & Object talks to six art-world participants— artists, collectors, and dealers— about their contributions to the creative community.
18 Discover Fall’s Fairs By Paul Laster FAIR VIEW Our guide to the best modern and contemporary art fairs coming up this fall, from New York’s Armory Show, Salon Art + Design, and other events through November.
27 Set in Stone By Barbara MacAdam
IN THE STUDIO A visit with artist Sam Moyer on the occasion of her solo exhibition at the Parrish Art Museum in Water Mill, NY. Moyer’s “paintings” in marble and other materials explore the mysteries of the human encounter with nature.
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CONTENTS
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Art & Object Online
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Impressions & Dialogue
Fall 2024 • ArtandObject.com • Issue 1.1
7 Welcome 24 A&O Briefs
EDITORIAL & ADMINISTRATION 100 Europa Drive, Suite 290, Chapel Hill, NC 27517-2310 (800) 662-4834 toll free u . s . • (919) 945-0700 MANAGING DIRECTOR Jeremy Howell Jeremy@ArtandObject.com ART DIRECTOR Rosie Rosenbrock Rosie@ArtandObject.com EDITOR John Dorfman
Titian sale, Felix Gonzalez-Torres retrospective, new acquisitions at the Worcester Art Museum, and more.
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John.Dorfman@ArtandObject.com ASSISTANT EDITOR Abby Andrulitis Abby.Andrulitis@ArtandObject.com IT MANAGER Jason Purdy JPurdy@ArtandObject.com CIRCULATION Nancy Archambeau circasst@ArtandObject.com MARKETPLACE ADVISOR Richard Davies ADVISOR Rozalia Jovanovic
CONTRIBUTORS
Alan Bamberger Jennifer Dasal
Cynthia Close
WIKIPEDIA / PHOTO: DANCAS77
Paul Laster
33 Collecting Multiples By Jennifer Dasal
Barbara MacAdam
PUBLICATION INFORMATION Art & Object is published quarterly by Journalistic, Inc., 100 Europa Drive, Suite 290, Chapel Hill, NC 27517-2310. Periodicals Postage Pending at Durham, NC and at additional mailing offices.
BEYOND THE BASICS A introduction to collecting prints and other types of art produced in multiples.
38 How to Shop the Art Fairs By Alan Bamberger
ISSN: 2998-6729 (Print) ISSN: 2998-6737 (Online)
FEATURE An expert-guided tour up and down the aisles, with advice on finding what you want and sealing the deal.
Change of Address Postmaster: send address changes to Art & Object, 100 Europa Drive, Suite 290, Chapel Hill, NC 27517-2310.
41 A&O Briefs
Subscriptions US: 1 year $25; 2 years $45 Canada & Mexico: 1 year $35; 2 years $55. International: 1 year $55; 2 years $110. Available digitally on Magzster.com. ArtandObject.com/Subscribe
Coeur d’Alene Art Auction, The Dance of Life exhibit, international expansion for Rodin Museum, and more.
42 Fantastic Journey By John Dorfman RECORD-BREAKER Leonora Carrington’s Les Distractions de Dagobert (1945) went for $28.3 million at Sotheby’s New York.
Letters to the Editor Submit letters to the editor and other editorial inquiries to: John.Dorfman@ArtandObject.com
Advertising www.ArtandObject.com/advertising Jeremy@ArtandObject.com
Art and Object Art & Object is copyright © 2024 Journalistic, Inc. All rights reserved. No part of this magazine may be reprinted, photocopied, or distributed in any manner without the express written consent of Journalistic, Inc. Printed in the United States.
COURTESY OF SOTHEBY’S
The opinions of the authors appearing in Art & Object do not necessarily reflect those of Journalistic, Inc.
56 Rowland Weinstein
HOW I GOT STARTED Collector and dealer Rowland Weinstein pursues the works of under recognized artists.
PRESIDENT & PUBLISHER Webb C. Howell Journalistic, Inc.
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MAZLISH GALLERY ART WITH HEART
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MAZLISHGALLERY.COM Mazlish Gallery showcases artists who strive to share a deeper sense of beauty, harmony, and positivity with the world.
Artwork: John-Herbert Wright, “Catharsis”, 60 × 60”, Mixed media on canvas, 2023
Art & Object Online
COURTESY MATTHEW WONG FOUNDATION AND VAN GOGH MUSEUM AMSTERDAM
AT LARGE THE PARALLEL LIFE AND ART OF MATTHEW WONG AND VINCENT VAN GOGH The lines of inspiration between artists throughout time are endless. The Van Gogh Museum in Amster dam offers a powerful exam ple of this with Matthew Wong/Vincent Van Gogh: Painting as a Last Resort.
PHOTO BY SARAH MUEHLBAUER, COURTESY THE ARTIST AND HAUSER & WIRTH
GALLERY JENNIFER ROCHLIN’S AUTOBIOGRAPHY GLEAMS OFF PAINTINGS ON CLAY Twenty years ago, Los Angeles-based high school painting teacher Jennifer Rochlin accepted a $10,000 grant to teach ceramics, despite one minor setback: she had never touched clay. Yet, this summer, Rochlin adorned Hauser & Wirth’s 22nd Street New York location with memory-laden terra-cotta ves sels, each a heap of unabashedly spirited art and a testament to her own bohemian actualization.
FIND THESE STORIES AND MORE ONLINE ARTANDOBJECT.COM/PRINT/ 2024/FALL
GALLERY MICKALENE THOMAS IS ALL ABOUT LOVE IN HER NEW EXHIBITION In the preface to her groundbreaking book, All About Love , bell hooks writes, “Redeemed and restored, love returns us to the promise of everlasting life. When we love we can let our hearts speak.” Artist Mickalene Thomas’s heart does a whole lot of speaking in her new survey, All About Love. Held at Los Angeles’s The Broad through September 29th. GALLERY 10 EXHIBITIONS CELEBRATING A CENTENNIAL OF SURREALISM IN 2024-2025 French writer and cultural theorist André Breton (1896-1966) is credited with author ing the first Surrealist Manifesto in October 1924. Many international museums and galler ies have now seized the opportunity to cele brate the 100th anniversary of this movement by mounting exhibitions through 2024 and beyond.
REMEMBERING SANFORD SMITH: ART LOVER, COLLECTOR, AND BUSINESSMAN UNCOVERING THE MULTILAYERED HISTORY BEHIND BUNCHEONG D’LAN CONTEMPORARY: EXPERIENCING ABORIGINAL ART IN NEW YORK HUGH STEERS’ PAINTINGS CAPTURED BLEAKNESS AND HOPE ALEXANDER THE GREAT’S FAMILY TOMBS: AN ARCHAEOLOGICAL DEBATE 10 MUST-SEE NATIONAL PAVILIONS IN THE 2024 VENICE BIENNALE
COURTESY OF HALL COLLECTION
MUSEUM EXPLORING 30 YEARS OF NICOLE EISENMAN’S RICH FIGURATIVE WORK Ever a topical painter with unexpected ways of distorting and abstracting the human body, artist Nicole Eisenman has been commenting on politics, relationships, sexuality, and tech nology since her earliest explorations. Nicole Eisenman: What Happened , opened at the Museum of Contemporary Art Chicago and is on view through September 22, 2024.
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30 YEARS OF NEW YORK’S ART FAIR
SEPTEMBER 6–8 JAVITS CENTER
Impressions & Dialogue
“NYC’s Met costume institute exhi bition titled Sleeping Beauties: Reawakening Fashion . An escap ist, surrealistic display of fashion throughout the ages. So much fun!” “ Maria & Modernism at the Heard Museum, Phoenix. First rate!”
“ e Tweed Museum of Art has a show of important works from their permanent collection— two especially fine paintings by Charles Biederman. A ceramic pot by Takaezu that is worth medita tion! e museum is on the cam pus of the University of Minnesota Duluth.” “Buffalo AKG Art Museum— Marisol: A Retrospective —includes her work donated to the museum!”
“It’s unfortunate but the genie is out of the bottle.”
“It enrages me…this should have been nipped in the bud at the very very beginning.”
“It’s artificial art, it should not copy others’ artwork.”
Editor’s
Art & Object magazine welcomes your comments, kudos, complaints, counsel, and photos. Send letters to info@ArtandObject.com. Or write us at Letters, Art & Object , Europa Drive, Suite , Chapel Hill, NC . Sending us a letter constitutes permission to publish it. Letters may be edited for reasons of space and clarity.
“Art enables us to find ourselves and lose ourselves at the same time.” —Thomas Merton
“Kandinsky, a favorite abstract artist. Introduced him to many students over a 30 year teaching career. They always related to his color and shapes with a line focus of surprise.” —Brenda T. FROM Facebook Commenters React to Wassily Kandinsky’s Improvisation No. 30 from 1913:
Welcome Welcome to the inaugural issue of Art & Object magazine. You like ly know us from our art-world coverage online and may be won dering: why print? We yield to no one in our love of the natural environment, but we believe that not only is print sustainable, it has a special relevance to the world of art. A magazine is a physi cal entity, an object even. Like an artwork, it anticipates that you spend some time in front of it. This first issue is focused on art fairs, aligned in particular with the major international events happening in New York. In this era of virtuality, there is still no substitute for in-person contact. Art fairs thrive on the premise that bringing the dealers to the public rather than the other way around not only makes buying more convenient, it also brings about a sort of critical mass of creativity. Walking the fair floors, going from booth to booth, comparing one work with another across the aisle, collectors have “aha” moments and become collaborators. Turn the pages of Art & Object , and you will find in-depth previews of the events throughout the fall sea son by our correspondent Paul Laster, and a collector’s guide to shopping the fairs by longtime art-world author Alan Bamberger. A print magazine has some similarities to the genre of fine-art printmaking; both are branches of publishing and distributing images to a wide audience in multiple copies. One of the articles in this issue, by curator and art podcaster Jennifer Dasal, explores the ramifications of collecting artworks that are made in multi ples, especially those on paper. Like the printmakers, we firmly believe in bringing art to as wide a public as we can. We hope you enjoy this issue of Art & Object !
Wassily Kandinsky, Improvisation No. 30 (Cannons) , 1913 COURTESY OF ART INSTITUTE CHICAGO
“The true father of abstract expression ism, Kandinsky! Doing it 30 or 40 years before before it caught on and became the great Abstract Expressionism art movement of America.” —Daniel S. “He shook our world. Order and tradition were not unquestionable.” —Marta U. “I majored in Art History in the late 70s, and I developed my lasting fondness of Kandinsky then. He is even more refreshing now!” —Ruth D. “He had synesthesia-of which there are many kinds-perhaps his was sound/ color or sound/shape … Artists are gifts to humans who risk seeing life in only one way when, in fact, life is multidimensional. Artists challenge our thinking. That is their role.” —Martine H. “One of his best-known early abstrac tions, displaying some identifiable elements from WWI era: cannon, buildings, explosions.” —Susanna L.
John Dorfman, editor John.Dorfman@ArtandObject.com
COVER FEATURE This year, James Barron Art will exhibit works on paper by Janet Sobel and Sol LeWitt at Inde pendent 20th Century. Our cover image show cases an untiled gouache by Sobel created between 1941 and 1946. Previously overlooked by art historians, Sobel is now being recognized as a pioneer who melded folk art, surrealism, and abstraction. Image Courtesy of the Estate of Janet Sobel and James Barron Art.
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FEATURE STORY
The Creative Economy Ecosystem
Art & Object talks to six art-world participants about their contributions to creativity.
BY CYNTHIA CLOSE
British entrepreneur and author John Howkins is credited with coining the term “creative economy” in his book The Creative Economy: How People Make Money from Ideas (2001). Since then, the term has become a rallying cry for the entire cultural ecosystem, stimulating
hard data on how artists, collectors, museums, galleries, and all other cul tural institutions, nonprofits and for-profits alike, contribute to overall economic health. Today’s economists consider creativ ity to be the defining characteristic of 21st-century economies, in contrast to previous eras, when nations were built on manufacturing and industry. In those countries, cities, and towns that have embraced creators and built the infrastructure to support them, their positive impact on the overall quali ty of life for all citizens is statistical ly measurable. According to the latest U.N. estimates, the arts account for 3.1 percent of global GDP, generate annu al revenues of over $2 trillion, and pro vide nearly 50 million jobs worldwide. Understanding the complex nature of an art-based ecosystem requires a close examination of the roles played by individual artists, public and pri vate institutions including museums and galleries, dealers, buyers, collec tors, and the auction houses that serve as public-facing vehicles for establish ing market value for artwork. The tradi tional view of the isolated artist, work ing alone in his or her studio only to be accidentally discovered after death, is a thing of the past. The rise of digi
tal technologies has transformed how artists make art, how museums and galleries display art, how dealers and auction houses sell art, and how col lectors and buyers acquire art. Now, creators have a broad field to consider when deciphering what is meaningful to themselves, to consumers, and how to create impactful art out of available resources. New markets are more acces sible than ever before. Individual artists are empowered by the ability to reach new audiences directly, thereby circumventing insti tutional gatekeepers. However, experi enced professionals—curators, galler ists, appraisers, critics, art historians and scholars—continue providing vital services to establish what is of value in the marketplace. We profiled two art ists, two collectors and two gallerists, presenting a snapshot how key play ers position themselves in today’s cre ative economy. THE ARTIST’S VIEW Photographer Rachel Portesi and paint er Eric Aho are a married couple who have raised children together in the rural town of Saxtons River, Vermont. They have accomplished that simulta
neously with the parallel evolution of their careers as independent, success ful artists.
COURTESY OF RACHEL PORTESI
Rachel Portesi Looking Forward, Looking Back (2023) is one of 17 pieces recently commissioned from photographer and installation art ist Portesi by the Wadsworth Atheneum in Hartford, Connecticut, and acquired for the museum’s permanent collection. The title was the perfect device with which to start our conversation. In 1995, Portesi had an epiphany. Looking at one of her Polaroids, she realized she had made something beyond a simple photograph. She had created art , and now that her children are old enough to take care of them
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Rachel Portesi, Queen, 2018.
COURTESY OF RACHEL PORTESI
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selves, Portesi has the time and space to con sider her place in the world as an artist. “It’s a fact that my whole recent body of work was the outgrowth of a sort of midlife crisis when I hit my 50s. I’d worked hard at man ual labor—waitress, housecleaner—then I became a parent.” Portesi sees her photography as relat ing to larger cultural issues, mostly femi nist ones. She received a B.A. in Sociology and Photography from Marlboro College in Vermont. Female identity, aging, mother hood, and now mortality are central to her thinking. Elements of time and patience are also necessities, considering that Por tesi has chosen to work in analog technolo gies including wet-plate collodion tintypes, a largely obsolete medium producing one of-a-kind prints. Regarding her vision, she explains, “The intimacy of the female gaze is at the heart of my work.” Women’s hair, a subject that has sent cultural messages for millennia, has been the catalyst. Hair sends signals about body chemistry, age, politics, and style savvy. Since her inclusion in a 2017 group show, The Secret Life of Plants, at the Tribeca-based gal lery Freight+Volume, Portesi’s reputation and career as an emerging artist has grown expo nentially. Her work was selected for FRESH
2024 , an annual exhibition sponsored by New York’s Klompching Gallery, one of the most respected presenters of photography in the United States. The Wadsworth Atheneum exhibited its commission of her work in Styl ing Identities: Hair’s Tangled History , through August 2024. This was followed by the Atlan ta Photography Group’s Portfolio 2024 exhibi tion, a selection of eight artists at the High Museum of Art in Atlanta, and finally, an exhibition that ended on September 1 at the Vermont Center For Photography, Women on the Edge: Alternative Processes in New England , featuring female artists who use historic pro cesses to push the boundaries of conven tional photography, making the summer of 2024 the busiest so far for this up-and-com ing artist. Eric Aho Eric Aho was trained as a printmaker, earn ing a BFA and graduate certificate at Mas sachusetts College of Art (MassArt) in the 1980s. In 1989, he participated in the first student cultural exchange between the U.S. and Cuba in 30 years. In a recent conversa tion he admitted, “Nothing prepared me for art school … and … although I took a job in 1989 teaching painting at the Putney School,
“THE INTIMACY OF THE FEMALE
GAZE IS AT THE HEART
OF MY WORK.” WOMEN’S HAIR, A SUBJECT THAT HAS SENT CULTURAL MESSAGES FOR MILLENNIA, HAS BEEN THE CATALYST.
“I use my post maternal voice when I tell my kids to ‘go for it!’” RACHEL PORTESI
COURTESY OF RACHEL PORTESI
Rachel Portesi, Bush Head (triptych), 2020-2022.
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Eric Aho, Vernal Pool (Oxford County), 2022.
“You paint the way you live in the world.” ERIC AHO
COURTESY OF ERIC AHO (3)
Eric Aho, Fireflies and Mists Under a Gibbous Moon no. 1, 2022.
Eric Aho, First Forest Threshold, 2022.
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THE COLLECTOR’S VIEW When does a buyer become a collector? This is a question best answered by gal lerists and art dealers who often medi ate such transitions, or by collectors themselves, who are notoriously pri vate about their acquisitions. Mark Waskow Brooklyn-born Mark Waskow, a col lector and founder of the fledgling non profit Northern New England Muse um of Contemporary Art (NNEMoCA),
I was afraid to paint.” Obviously, that fear has been overcome. Since 1988, Aho’s paintings have been featured nationally and interna tionally in over 50 solo exhibitions, as well as in group shows too numerous to mention. His list of accolades and awards is equally long and includes a Fulbright Fellowship, a MacDowell Fellowship, a Pollock-Krasner Founda tion Grant, a Vermont Arts Council and National Endowment for the Arts Fin landia Foundation Grant, among oth ers. His paintings are in the collections of many major institutions, including The Metropolitan Museum of Art, the Museum of Fine Arts Boston, the Den ver Art Museum, the Fine Arts Muse ums of San Francisco, the National College of Art in Oslo, Norway, and the Oulu City Art Museum in Finland. As a Finnish-American, Aho has first hand knowledge of the culture of this northern nation. Now, Aho has reached the enviable position of being able to paint all day in his Saxtons River, Vermont studio with out having to supplement his income with teaching or gig work. He gives a generous amount of credit to his gal lery, DC Moore in New York’s Chelsea. “DC Moore understands my position. They don’t dictate what I paint. [Galler ist] Bridget Moore told me, ‘Don’t worry about your audience, let me worry about your audience. You just do what you do.’ Hearing this was such a relief.” The landscape provides a path for painting as Aho works his way through formal issues. He talks about “the mus cularity of the paint” and works exclu sively in oil. In the beginning he paint ed in plein air. Later, he says, “I taught myself about the exchange between indoors and outdoors.” His work is a delicate balance between the specific and the universal, providing the view er with an overwhelming sense of place. He is currently preparing a new body of work titled “Wild Meadow” for his bien nial exhibition at DC Moore. “Hones ty is the key component,” he says. “It isn’t about truth to nature or even, as in Cézanne, truth to sensation. In the end, the object on the wall is the truth.”
a buyer’s interest deepens, it is often accompanied by a desire to know more about the artist behind the work. Many collectors depend on gallerists and deal ers to educate them and to guide their buying habits based on their goals. Is this an investment, a prestige object, or a reflection of their discerning eye and individual taste? Mark Waskow chose another path. “I prefer to deal direct ly with artists. I’m a verbal kind of guy and I like to talk to people before they’re dead. I also go to art fairs and galleries all over the country—Miami, New York.” Waskow has an appreciation for geo
Mark Waskow
COURTESY OF MARK WASKOW
“My intent is not to buy art as investment. I want to provide income to artists… This is my calling.” MARK WASKOW
has amassed over 15,000 works of art and an estimated 35,000 books, cata logues and ephemera during his life as an avid connoisseur. Waskow did not study art but credits his mother, who was a commercial artist, for cultivating his aesthetic eye. “I grew up in Brooklyn, and she and I could visit all these free museums. She also painted murals on the walls of our apartment.” Waskow explains, “I was a conserva tive businessman. My collecting start ed in 1982 when I bought a huge house; then I needed to buy art to put up on the walls.” A common trigger for many collectors is the impulse to decorate. As
metric abstraction, although stylis tically the collection reflects his idio syncratic, non-hierarchical approach. Janie Cohen, former director of the Fleming Museum of Art at the Univer sity of Vermont, became aware of Was kow’s mindset that “the process of col lecting art is a creative act ” and invited him to participate in a 1993 show titled Selections From My Collection. Waskow explains how his vision about collect ing has matured. “Although I purchase things that appeal to me visually, now I ask myself how this new piece will con tinue the dialogue with other works already in the collection, and will it
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FEATURE
advance or enhance the focus of our institution’s mission?” Part of that mission is driven by a streak of altruism and an honest desire to contribute to the support of artists Waskow admires. To that end he has launched the Northern New England Legacy Project (NNEALP), designed to assist culturally significant artists of modest means to document their work and preserve their place in the histor ical record. Michael Sherman The unequivocal statement that “Art has put film on the back burner” opened my conversation with veteran L.A. film maker, committed art collector, and Baltimore native Michael Sherman. He, along with his wife, Carrie Tivador, are important collectors of contempo rary art and dedicated supporters of the Baltimore Museum of Art. Love of story-telling is a necessi
ty for being a good film producer, and Sherman has applied this impulse both to his film career and art col lecting. He has brought his self-as surance as a filmmaker to his eye for art. “I learned what I liked early on,” he says. “I bought a Banksy in 2005.” This was before he produced a documen tary on art world provocateur Maur izio Cattelan or worked with Rashid Johnson on an adaptation of Richard Wright’s novel Native Son . When Sher man purchased a new home in L.A. in 2011, he decided to fill it with art. He bought pieces by Wes Lang, an artist who favors images of American ren egades, and Noah Davis, a Black art ist and founder of the Underground Museum in L.A. who died of cancer at the age of 32. At first, Sherman was put off by the art market, which he found dif ficult to break into: “If people don’t know you, they won’t sell you any thing.” In 2014, he continued to buy
art and began acquiring from smaller galleries; he also reached out to art ists directly on the then-nascent Ins tagram. “I love finding someone. My favorite collecting style is to discov er somebody myself,” he says. Sher man’s energy and unbridled support for the artists he collects is infectious. “I love art and I love the artists who make it. If I can do something cool for a young artist like getting them into a museum show, it can launch their careers.” That “something cool” has recent ly manifested in the purchase, along with interested partners, of a build ing in the Green Point section of Balti more. Sherman’s vision is “to establish a home for my collection in Baltimore as well as to provide a cultural hub with studios, a gallery, coffee shops, etc., for the people and artists who live here.” This collector’s positive impact on one American city will be felt far into the future.
“Art has put film on the back burner.” MICHAEL SHERMAN
Michael Sherman
COURTESY OF MICHAEL SHERMAN
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THE GALLERIST’S VIEW Galleries and the entrepreneurs who run them provide the necessary public-facing link between artists and the collectors who support them. Here’s how two gallerists have succeeded in a busy marketplace. Goya Contemporary Before assuming the role of gallery director in 2000, Amy Eva Raehse was on her way to starting a tenure-track professorship at a college in the South when a hurricane struck her destination. She and her husband imme diately switched gears. “We quite literally blind pointed on a map with a plan to move to the closest urban area. This brought us to Baltimore. What we found in Baltimore was what I described to family as ‘a mini-New York from the ’70s.’ Yes, that included the complications of a mature city that survived many hardships and changes, but it also brought along a grit, resilience, authenticity, history, and energy that we found attractive. It was a city that was ‘about to be’ so many things, transitioning from a city that ‘had already been’ so many things.” Among those “many things” Raehse found were the amazing artists who lived and worked there outside the pressure of the New York art world. “We met Joyce Scott, and Leslie King Hammond, and John Waters, and Timothy App, and Jo Smail, and Valerie Maynard, and a brain trust that also felt right. Later on arrived the Tom Col lins, Amy Sherald, Paul Rucker, etc., circuit of transplants. There was a wealth of intel lectual discourse and invention happening. Baltimore, as Joyce Scott has exclaimed for years, is “filthy with artists.” Goya Contemporary was founded as a print atelier by Martha Macks, who named it Goya-Girl Press as an homage to the late 18th-century Spanish artist Francisco de Goya, who was progressive for his era, sym pathetic to women and a great printmaker ahead of his time. His name sent a message. Although Goya-Girl Press still collaborates with artists, Raehse says, “We are selective. Much of our time at Goya Contemporary is spent organizing larger museum exhi bitions, artist estate management, build ing sizable collections, stewardship culti vation, and such.” In discussing the effect of technology
Sonya Clark, Edifice and Mortar , 2018, Goya Contemporary.
Exhibit Bearing Witness: A History of Prints by Joyce J. Scott , Goya Contemporary.
COURTEY OF GOYA CONTEMPORARY (3)
Exhibit Bearing Witness: A History of Prints by Joyce J. Scott , Goya Contemporary.
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“We are a family with our artists: we rise and thrive together.” AMY EVA RAEHSE
Goya Contemporary
COURTEY OF GOYA CONTEMPORARY
and Goya Contemporary’s response to the tsunami of social media, Raehse says, “Technology is a great starting point, but we still prioritize one-on one communication after that initial technology assist. The joy of working with so many living artists is that we know them.” Much direct communi cation with both artists and buyers happens outside the gallery in the con text of art fairs. “Art fairs are an enor mous commitment financially, and in every other way too, but they are rewarding in as many ways.” This year Goya Contemporary has been selected to occupy two prominent sections at New York’s prestigious Armory Show in September. One booth will present 30 Angry Women paintings, all made in 1973 by the historically important feminist Louise Fishman (1939-2023), facilitated with support from The Lou ise Fishman Foundation and her estate. The second will feature newly created
work by MacArthur Fellow Dr. Joyce J. Scott, whose career Goya Contemporary has managed globally for over 20 years.
Avenue address. These were also the years when abstraction and Minimalism were entrenched, but Henoch saw the appeal of photorealism and shared an interest in the genre with his friend, gallerist Louis K. Meisel, who is credited with coining the term most closely associat ed with artists like Richard Estes. The now renamed Christopher Gallery had a successful 10-year run on Madison Avenue. In 1982, Shechtman moved to SoHo, buying a large space—John Lennon and Yoko Ono had used it as a performance theater—and founded Gallery Henoch at 80 Wooster Street. As SoHo approached meme status in 2000, Gallery Henoch migrated north to 555 W. 25th Street in Chelsea, where it remains today. In an earlier interview for the New Jersey Star Ledger, Shechtman com mented on the unbroken appeal of fig urative art through the decades, “Oh,
Gallery Henoch New York gallerist George Henoch Shechtman knows a thing about loca tion. He has been the first or one of the first dealers to recognize when the eyes of the art world were about to shift their attention from one section of the city to another. But he didn’t start out surrounded by art. “I was born in New Jersey; my dad was a car salesman … It was when I was an economics major at Rutgers University when I was bitten by the art bug.” Shechtman opened his first gallery in 1966 on Christopher Street when Greenwich Village was the headquarters for all that was hip in the arts. He remained there until 1972, when his reputation as a dealer earned him a place at a prestigious Madison
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Armed with an MFA from Boston University, Cynthia Close has had several productive careers in the arts. She now writes for Art & Object and several other publications. it’s come a complete circle since I start ed back in 1966. Now it’s talent and subject together, which always under pinned fine art, of course, but the mix ture is different … It’s moving away from Photorealism towards a sketchi er, more personal or poetic touch.” That deeply felt personal approach is seen in abstractions of the sea, like Blue Rip ple (2024) by Eric Zener, and the sun dial-like lily pads of John Evans or the surrealist tinged Take Out (2024) by Mavis Smith. One can’t underestimate the appeal of Sharon Sprung’s intense portraits following her commission by Michelle Obama in 2016. Shechtman opined, “Sprung started out with me on Madison Avenue. I’ve watched her grow.” Active beyond the confines of New York, Gallery Henoch will have a strong pres ence at Art Miami in December. Not a bad time to head south. A
George Henoch Shechtman
COURTESY OF GALLERY HENOCH
“When I moved my gallery to Chelsea, on 25th Street, there was only one other gallery!” GEORGE HENOCH SHECHTMAN 2024
Gallery Henoch
COURTESY OF GALLERY HENOCH
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November 7–11 at Park Avenue Armory i New York City Produced by Sanford L. Smith + Associates
Experience the timeless and creative
Tickets available now at thesalonny.com
Image courtesy of Galerie Mathivet
Fair View
BY PAUL LASTER
The Armory Show
COURTESY OF THE ARMORY SHOW
DISCOVER FALL’S FAIRS Art & Object’s guide to six not-to-be-missed American art and design events.
Art and design fairs are great places to discover work by new artists and designers—as well as art and design prac titioners who have added to the canon or been overlooked, making them ripe for rediscovery. Traveling to cities with fairs offers the chance to become acquainted with local galleries and museums, which leads to a better under standing of contemporary culture and its champions. And
attending programs that the fairs organize or co-sponsor, such as openings, talks, and workshops, helps us under stand how the cultural past influences the present while providing the opportunity to meet like-minded people. Rounding up the best art and design fairs across America this fall through November, these are our must see expositions.
THE ARMORY SHOW Celebrating its 30th anni versary edition, The Armory Show returns to the Javits Center with more than 235 exhibitors from 35 countries. Acquired by Frieze in July
sector is dedicated to pre sentations of work by an emerging, established, or historic artist working in the 20th or 21st century; the Focus division, curated by Robyn Farrell, re-engages
is divided into six sections, alongside two special pre sentations. The fair’s central section, Galleries, features themat ic, dual-artist, and solo-art ist presentations—the Solo
2023 and now part of its network, New York’s most prominent art fair has a revi talized floor plan designed to offer a comprehensive view of the contemporary art world. This year’s event
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the experimental spirit and avant-garde history of the fair’s founding; and the Pres ents area spotlights emerg ing galleries no more than 10 years old, showcasing recent work in solo-and-du al artist presentations. Curated by Eugenie Tsai, the Platform section—titled Collective Memory—exam
standing organizations such as Aperture, Tamarind Insti tute, and Tate. The special presen tations include the sixth Gramercy International Prize, which will award a compli mentary booth to the New York gallery Blade Study’s solo show of multimedia art ist Paige K. B., and Armory Spotlight, a meditation on 50 years of avant-garde art organized by Creative Time. Three other nota ble programs are the annu al Armory Live, a multi-day public symposium featuring influential members of the international art community; the third edition of Armory Off-Site, the fair’s outdoor art program presenting large-scale artworks to New York City’s parks and pub lic spaces; and the Armory Show’s Curatorial Leader ship Summit, the seventh invitation-only daylong pro gram that aims to foster innovation in the curatorial landscape.
THE ARMORY SHOW Javits Center Crystal Palace Entrance 429 11th Avenue New York, NY 10001 September 5, 2024 (VIP PREVIEW) September 6–8, 2024 (PUBLIC VIEWING) TheArmoryShow.com
ines the fair’s overarching theme of art-historical rever berations in the present through large-scale installa tions and site-specific works at the center of the fair. The Not-For-Profit section offers prints and editions from out
Tomo Campbell, Even Of There Was , 2023, Cob Gallery. THE ARMORY SHOW
Dominique Fung, Eye Contact , 2021, Platform. THE ARMORY SHOW
COURTESY OF THE ARMORY SHOW (4)
Kristof Santy, Koude schotel , 2024, Sorry We’re Closed. THE ARMORY SHOW
Nacho Martín Silva, Extraño paraíso 1, 2023, El Apartamento. THE ARMORY SHOW
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Fair View
development in the 1950s and ’60s after the Dutch artist left the European avant-garde group CoBrA, which he had co-found ed; James Barron Art’s show of works on paper by self taught artist Janet Sobel, recognized for her influen tial contributions to Abstract Expressionism by merging elements of folk art from her native Ukraine with Surre alism and all-over abstrac tion; Galatea and Simões de Assis’s joint-exhibition of work by Brazilian multidis ciplinary artist Heitor dos Prazeres, a samba musician who painted carnival fes tivities and scenes from the everyday lives of Afro-Brazil ians; and Venus Over Man hattan’s showcase of the early work by Brad Kahl hamer, influenced by his study of Native American ledger drawings and his adventurous life in down town New York in the 1980s.
INDEPENDENT 20TH CENTURY
Founded by Elizabeth Dee in 2010 as an invitation-on ly boutique art fair with an open floor plan that invites dialogue between the exhib itors and the audience, Inde pendent premiered its 20th Century art fair in 2022 to champion internation al artists and avant-garde INDEPENDENT 20TH CENTURY Cipriani South Street 10 South Street
New York, NY 10004 September 5, 2024 (VIP PREVIEW) September 6–8, 2024 (PUBLIC VIEWING) IndependentHQ.com
ESTATE OF RAOUL DUFY / ARTISTS RIGHTS SOCIETY (ARS) NEW YORK / ADAGP, PARIS COURTESY GOMIDE&CO
Maria Lira Marques, Untitled , 1999. INDEPENDENT 20TH CENTURY
movements that took place between 1900 and 2000. Returning to Cipriani South Street in the histor ic Battery Maritime Build ing, built in 1908, the third edition of Independent 20th Century features 32 inter national exhibitors present ing the work of approximate ly 65 artists. Highlighting solo presentations surveying the development of an art ist’s practice, women artists throughout the 20th cen tury, Black and Indigenous artists from the Americas and beyond, work from the 1990s, and several artists from this year’s Venice Bien nale, the fair aims to link the past to the present moment in contemporary art. Notable presentations include Almine Rech’s look at Karel Appel’s artistic
Raoul Dufy, Nogent-sur-Marne , 1934. INDEPENDENT 20TH CENTURY
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Galerie Marcilhac SALON ART + DESIGN
bo Design Group SALON ART + DESIGN
Liz O’Brien SALON ART + DESIGN
Garrido Gallery SALON ART + DESIGN
COURTESY OF SALON ART + DESIGN (4)
SALON ART + DESIGN Returning to the histor
Smith + Associates, Salon Art + Design showcas es an extraordinary range of design, from vintage and modern to contempo rary, alongside blue-chip 20th-century art. The fair features a diverse selection of pieces, including furni ture, studio glass, ceramics, Japanese art, and jewel ry—setting itself apart with its curated fusion of historic and avant-garde contempo rary collectible design and fine art. The 2024 exhibitors include longstanding par
ticipants are Galerie Anne Jacquemin Sablon, Elisa betta Cipriani Wearable Art, Ippodo Gallery, and Thomas Colville Fine Art. This year’s fair also highlights distinc tive design installations from both independent creators and prestigious design brands, including Atelier FM, Victoria Yakusha Gallery, and Thomas Coo per Studio. The fair’s Events and Conversations program fea tures talks on collecting design and current trends, as well as book signings.
SALON ART + DESIGN Park Avenue Armory 643 Park Avenue New York, NY 10065 November 7, 2024 (VIP PREVIEW) November 8–11, 2024 (PUBLIC VIEWING) TheSalonNY.com
ic Park Avenue Armory for its 13th edition, Salon Art + Design—one of the fore most platforms for showcas ing, acquiring, and engaging with the finest in design and art—features nearly 50 dis tinguished exhibitors from across the globe. This year’s fair, which is under new leadership, will introduce new exhibitors and special presentations of collectible design from established and upcoming makers. Produced by Sanford L.
ticipants such as David Gill Gallery, Gallery FUMI, Mai son Gerard, NILUFAR, Todd Merrill Studio, and Twen ty First Gallery, while stand outs among the new par
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ART SAN DIEGO Produced by Redwood Art Group with presenting spon sor UBS Wealth Manage ment, Art San Diego returns this fall to the San Diego Convention Center with 90 galleries, art publishers, and artists from cities across the globe for its 16th edition,
COURTESY OF ART SAN DIEGO (2)
Works by Willi Baptiste Palanza. ART SAN DIEGO
AFFORDABLE ART FAIR NYC Founded by Will Ramsey in London in 1999, the Afford able Art Fair is now held in 14 cities in 9 countries world wide. The New York version premiered in 2002 and has spring and autumn editions at the Metropolitan Pavil ion, which opened 10 years earlier. With a mission to make contemporary art accessible to everyone, this fall’s NYC fair features contemporary artwork by over 400 estab
ART SAN DIEGO San Diego Convention Center November 1–3, 2024 (PUBLIC VIEWING) RedwoodArtGroup.com/ Art-San-Diego
ART SAN DIEGO
AFFORDABLE ART FAIR NYC
making it the region’s lon gest-running contemporary art and design fair. A three-day annual event, Art San Diego features approximately 500 contem porary artists, fine art pho tographers, and designers while attracting more than 5,000 valued collectors, giv ing them insights into the area’s vibrant and diverse cultural art scene alongside a mix of international gal leries.
AFFORDABLE ART FAIR NYC Metropolitan Pavilion 125 West 18th Street New York, NY 10011 September 25–29, 2024 (PUBLIC VIEWING) AffordableArtFair.com
AFFORDABLE ART FAIR NYC
lished artists and rising stars presented by 75 interna tional exhibitors, with price points ranging from $100 to $12,000. It also features talks, programs, artist-led work shops, and art-based activi ties for kids. A Paul Laster is a writer, editor, curator, advisor, artist, and lecturer. He is New York Desk Editor for ArtAsiaPacific and a contributing editor at Raw Vision and Whitehot Magazine of Contemporary Art.
COURTESY OF AFFORDABLE ART FAIR. PHOTO DAVID WILLEMS (2)
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MICHAEL CARSON
Scan the QR Code or visit our website to view available works by the artist
1261 Delaware St, Suite 2 | Denver | 303.355.0950 | abendgallery.com
Daniel Sprick
Scan the QR Code or visit our website to view available works by the artist
1261 Delaware St, Suite 1 | Denver | 303.571.1261 | gallery1261.com
September 5 ! – ! 8, 2024
Cipriani South St 10 South St New York, NY
In the Studio BY BARBARA MACADAM
Installation view of Sam Moyer: Ferns Teeth at the Parrish Art Museum, Water Mill, New York (June 30–September 29, 2024). Sam Moyer, Fern Friend Grief Growth , 2024. PHOTO: © GARY MAMAY. COURTESY OF THE ARTIST AND SEAN KELLY NEW YORK/LOS ANGELES.
SET IN STONE
Sam Moyer’s marble “paintings” confront the mysteries of nature.
Alone, occupying a single wall in the Parrish Art Museum’s light-drenched first gallery space in Water Mill, NY is an improbably massive (10 feet by 20 feet by 1 inch), strangely delicate sculp ture that the artist refers to as a painting. Enigmatically titled Fern Friend Grief Growth (2024),
it is made of marble and acrylic on plas ter-coated canvas mounted to medi um-density fiberboard. The collage-like sculpture resembles a drawing made up of irregularly shaped pieces of white marble that brightly reflect their sur roundings. A photographed reproduc tion of the carving gives little indication of its weight, density, and musculari ty. In the center of the room, two large, raw chunks of prized Alabama marble with red striations serve as a vantage
point for viewing and engaging with the work on the wall. Crafting and installing this strik ing, powerful, and mystifying creation has enabled artist Sam Moyer to turn the museum into an extension of her home studio, keeping a wide array of materials and procedures in play. Her show, which opened on June 30 and runs through September 29, is titled “Sam Moyer: Ferns Teeth” and addresses nature at its most lyrical, anxiety-pro
ducing, and assertive. The exhibition reaches out to encom pass the architecture of the museum, the light, the air, its surroundings, and the presence of its visitors. All are ele ments in this multimedia, multidi mensional, and multidirected artist’s conception, as is the landscape—spe cifically, that of the North Shore of Long Island, where Moyer has spent many summers. “I want everything,” she says of her
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