It’s the most wonderful time of the year! The spring art fairs are like Christmas for the art world—a belated and much-needed Christmas in March to pull us out of our winter blues. “Armory Week,” as it has come to be called, is a cultural smorgasbord of art fairs, parties, openings, panel talks, lectures, and performances that happen around the city. As you can imagine, there’s so much to pack in a few days that I do not have the time to write reviews in real-time (I can’t even get to all of the fairs and events I want to go to!), but I have, in a series of posts, covered some highlights and personal favorites that I saw at the venues I was able to cover. Check out my other posts for highlights from the ADAA Art Show, the Armory Show, and Spring/Break.
Scope Art Fair
I can be a nerd for art theory. The most common of these philosophical head-scratchers is the question of whether there is good art or bad art. Who are the arbiters of taste? That is, who decides what art is good, and what is bad? Isn’t beauty in the eyes of the beholder, one might ask?
Here are my short answers: yes, there’s good art and bad art. The people who decide what’s good and bad are the experts. What makes them experts? They spend a lot of time studying that thing. This goes for a variety of fields: I can’t tell the difference between a real 1961 250 GT California Ferrari and the fiberglass prop they used in the movie Ferris Bueller’s Day Off, but I bet Jerry Seinfeld can. Ergo, those with limited exposure to art may not appreciate the difference between a splashy abstract giclée painting sold at Ikea, vs. a genuine mid-century abstract painting from an avant-gardist of the New York School.
But in the end, that is OK. Because art should be accessible—both intellectually and financially. A broad range from the decorative copyists up to the museum-quality masterpieces means there is always something for everyone. And art experts should do well to remember that, because we have a reputation for being—what’s the word?—ah yes, pretentious and elitist assholes. As an art advisor, I love educating clients, and getting them excited about good art (so yes, I think taste can be learned through exposure). But ultimately, if they’re unconvinced, I’d rather see a Thomas Kinkade on their wall than nothing at all.
That’s all to say that, in this expert’s opinion, much of the offerings at Scope Art Fair this year were schlock. A fair amount of work struck me as ornamental, without much to say. In our era of social media, there has been a rise in Instagram art—works that reproduce well on your 2 x 4-inch screen, but don’t have much substance behind them. But hey, if that’s what works for you, that’s OK. To borrow from the lexicon of addiction, Scope is like a “gateway” art fair; it’s a novice’s dosage of art to which you will eventually develop an immunity. And that’s when you’ll be ready to pack your bowl with a Spring/Break or an Armory show. And if we continue with the extended metaphor, as an art advisor, I want to get everyone high! So I’d rather the Scope audience get excited about this art than be bewildered by the more experimental fare at Spring/Break and write off the arts altogether.
That said, there were some diamonds in the rough (or buds in the oregano? Nope, I’m done with drug metaphors). Below is a tasting. Bon appétit!
Serwan Baran‘s solo presentation at XOL Gallery’s booth was the cream of the crop at Scope. Baran will be representing Iraq at the 2019 Venice Biennale.
Fifth generation quilter Phyllis Stephens updates the African-American tradition of quilt-making with fresh but nostalgic urban subject matter.
Dutch artist Hans van Bentem revives glass and porcelain traditions from around the world, merging pop and antique imagery into imaginative new creations. The pieces are interchangeable, allowing for an ever-interactive and evolving sculpture.
Mike Stilkey‘s clever repurposing of unwanted books creates artworks that interact dynamically with our lived space. According to his gallerist, Stilkey has become a favorite commissioned artist for libraries.
Trevor Guthrie‘s beautiful charcoal drawings hint at eerie and unsettling narratives.
For me, the thing that saves Laurence de Valmy‘s Impressionist Instagram works from being gimmicky is the real art historical dialogue happening in the comments.
Very impressive photorealistic snapshots of New York life by Yigal Ozeri. Hard to believe it’s painted.
Fair-goers had a great time trying on Sarah Sitkin‘s highly realistic body suits. It was remarkable how transformative it was to those who tried on a suit, but the pieces also remind us that our sense of self is not defined by our skin.
According to Laura Jane Petelko‘s website, her series “Soft Stories” was inspired by retreats in the Canadian wilderness for the “furries” subculture. With artist and designer Sara Wood providing the costumes, Petelko’s images convey a longing for connection and intimacy in a bleak and indifferent landscape.
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