Guest Contributor Rebecca Morgan / The Miami fairs constitute true spectacle. I enjoyed watching it happen from a safe
distance, and found it even more exhilarating to be present and in the thick of it all. The general atmosphere across the fairs and social scenes throughout
the week was congenial and bright, celebratory and effervescent. The
most fruitful aspect of the fairs for me was meeting the many
artists, gallerists, and curators I had not encountered before in New York
or elsewhere, and knew only via the Internet. And I was able to see firsthand work which
I had only seen images of online or merely heard about.
The satellite fairs of NADA, Untitled, Miami Project and Pulse were exceptionally valuable for showcasing emerging and mid-career artists. Many of the artists I encountered were peers from New York and abroad, and I felt as if being able to show at these fairs was an attainable goal insofar as they tended to reflect the kind and caliber of work on display at many a gallery in Bushwick, the Lower East Side, and Chelsea as well as at pop-up and grassroots venues elsewhere. These fairs emphasized painting and sculpture, and did so in a more down-to-earth way than the slick, up-market Art Basel Miami Beach. In this vein, it was at once exciting and grounding to see Hyperallergic host Hypersalon in an airbnb apartment,
which consisted of a week of salon-style exhibitions, daily artist talks, and “hosted
conversations on the conditions of networked culture in contemporary art.”
“capturing” the fairs in their fantastical art-tropical surroundings. More broadly, the fair illustrated
how Instagram was becoming an absolutely essential tool in the art world. Although the many reflective and mirrored sculptures and
paintings gave fair-goers some opportunity to ensure that they weren’t missing anything they might want to see in the peripheries of their chosen paths, one could cover considerably more visual ground by investigating hashtags for the respective fairs, geotagged locations, and @
mentions to link up with artists, locations, and individuals. These tools continually kept everyone informed about what to see, who to see, and what they missed on their first pass.
concept and how it informed or skirted the general aesthetic of each fair. For me, the fairs amounted to a State of the Union message about the art world at large, a sociological as well as a substantive education, and a lot of fun.
Pulse: A smaller but visually concise fair with strong and beautifully curated booths.
The Hole presented an installation by Kasper Sonne, Jim Joe, Holton Rower and Rose Eken.
Julia Bland @ On Stellar Rays
Yevgeniya Baras, Untitled (abstract highway and trees) 2014, oil on canvas, 16 x 20 inches @ Steven Harvey
Cristina de Miguel, Love Story, 2014, Mixed media on canvas, 72 x 60 inches @ Freight and Volume
This is one of my all time favorite titles for a great painting: Cristina de Miguel, Two Bitches or Mother and Daughter, 2014, acrylic and oil on canvas, 52 x 34 inches @ Freight and Volume.
Two Coats of Paint’s Miami Correspondents: Rebecca Morgan and Heather McPherson (2014
Miami, Part I: Rebecca Morgan’s picks from Untitled and Art Basel (2014)
Miami, Part II: Heather Leigh McPherson Reports on NADA(2014)
Miami, Part III: Heather Leigh McPherson attends a Bomb discussion, Untitled (2014)
From previous years:
Mary Addison Hackett’s Report From Miami, Day 1: Basel (2013)
Mary Addison Hackett’s final Miami round-up (2013)
Painter Tatiana Berg’s picks from Art Basel Miami Beach, 2012, Part I (2012)
Tatiana Berg reports from the satellite fairs, Part II (2012)
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. For permission to use content beyond the scope of this license, permission is required.
Two Coats of Paint is licensed under a Creative Commons Attribution – Noncommercial-No Derivative Works 3.0 United States License. To use content beyond the scope of this license, permission is required.