Guest contributor: Mary Addison Hackett
Let me tell you about my boat.
Sunday 12:35 pm.
I’m sitting on a shuttle patiently waiting to go to Miami Projects. It’s air-conditioned. A catchy pop version of Deck the Halls is being piped in. There’s wi-fi. Conceivably, I could spend the day here. Given traffic, I might.
I made seven fairs in four days: Art Basel, Nada, Untitled, Aqua, Art Miami, and Context. I wrapped up the week with Miami Projects and a double capp in a courtyard listening to beats and starring vapidly at glitter paintings. Standouts? I collected about 500 images. They’re living happily on my iPhone where I’ll spend the next few days reliving the past before sending them to The Cloud for storage or flipping them on the secondary market.
Overall, every fair had its share of shiny fractured objects and for-the-love-of-god-can-we-please-leave-the-90’s-in-peace, works of self-referential irony. There was no shortage of art about excess and glam, but even at a breakneck pace, I saw more than enough works of substance to balance it out.
[Image at top: Ariel Dill, Hunter’s Den Painting, 2013, oil on canvas, 48 x 36 inches.]
Most of the smaller fairs had a better shot at being even with regard to the caliber of the work shown, while the larger ones felt weighted down with commercial appeal. (Exception, Aqua was almost without redemption). By the end of the week I was hypothetically curating the fair equivalent of a Fantasy Football team, but the sensory overload was too much and I opted for an hour at the beach instead.
As for paintings, I tried to be bi-partisan…
Stumbling upon a Chantal Joffe at Art Miami after navigating the crowds was a pleasant reward.
I came across the term, ‘Southern Casualism’ with Tad Lauritzen Wright, also at Art Miami.
Mary Addison Hackett: Report From Miami, Day 1: Basel (2013)
Report from Nashville (2012)
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