Joanne Mattera Art Blog

Peekin' In

This year's roundup is not so much a best and worst of--though I do have a few superlatives to bestow--but a chance to connect the dots, note unusual installations, make a few observations, and (finally) wrap the whole thing up for another year.

Got a Match?

You know the saying, There's a lid for every pot? It's used mostly by dating services and matchmakers, but what's to keep us from doing a little art yenta-ing of our own?

Above and below:

Balzer Art Projects, Basel, at Pulse: Nici Jost site-specific work on the Pulse grounds and in the gallery booth

Above: Tony Shafrazi Gallery, New York, ABMB: artist unidentified

Below: Standard, Oslo, ABMB: artist unidentified

Above: Nancy Hoffman Gallery, New York: Art Miami: Viola Frey

Photo by Andrea Kirsch, The Artblog

Below: Shane Campbell Gallery, Chicago, NADA: artist unknown

Above: Budweiser Couture, on a fairgoer at Pulse

Below: Budweiser Decor, Cady Noland installation at the Rubell Collection. Image from the Rubell Family Collection website

Adele and Eva (more commonly known as "Eva and Adele") at ABMB

Photo from Beached Miami by Jordan Melnick

Newt and Calista (more commonly known as the "Tiffany Twosome"). OK, I'm cheating here. They weren't in Miami and Newt doesn't normally wear this much makeup

Photo via Facebook

. . .

Wigging Out

Sometimes it's the fairgoer who just happens to walk by an installation of hairpieces, thus becoming part of that installation if only for a moment. And sometimes it's a Nick Cave Soundsuit that appears to channel Cousin Itt. But sometimes, well, you just thank the Universe for compelling you to surf through People of Walmart when you're supposed to be working on a Miami Roundup post.

Above: Standard, Oslo, ABMB: Nina Beier

Below: Mary Boone Gallery, New York, ABMB: Nick Cave

Below: A person of interest at People of Walmart. Though this is not what's normally meant by hair extensions, PoW's caption writer called this look "weavetastic," which merits a shoutout of its own

. . .

One Size Fits All

Speaking of extensions, the award in the Stretchable or Expandable category goes to an artist who fills out a sweater better than a porn star with implants.Well, if the implants were made of lumber and protruded from all over her torso.

Lehman Maupin Gallery, New York, ABMB: Erwin Wurm

. . .

Manorexia

Here we see the unnatural thinness of the women's models combined with the off-to-the-foxhunt jauntiness of the menwear line. You think this picture has something to do with Ralph Lauren, too, don't you?

Sorry We're Closed, Brussels, NADA; artist unknown

. . .

I Can Get These for Less on Canal Street

Well the logo bags, for sure. I don't know about the paintings. But if these aren't available, there are some sunsets on velvet that you can pick up for a song.

At Rudolf Budja Gallery, Miami Beach, Art Miami: Zevs
. . .

Toward the End, It was Just Mini Coopers and Smart Cars

At least that's how it seems.

At Karsten Greve Ag, St. Moritz, ABMB: John Chamberlain

. . .

If Your Erection Lasts Longer Than 35 Years . . . . . get to a museum immediately.

Loretta Howard Gallery, New York, ABMB: Lynda Benglis iconic dildo photo

. . .
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Toys For Tots

With a shitload of money.

Tony Shafrazi, New York, ABMB; Mike Kelley sculptures

. . .

Dopey

Honestly, do I really need to say anything about this?

At Hauser & Wirth, London, ABMB: Paul McCarthy, Bashful

. . .

Which of These Images Doesn't Belong?

Hint: Your answer depends on whether you're grouping them them in the category of Things That Clean or Art.

Above left: P.P.O.W. Gallery, New York, Seven: Jennifer Rohrer, Resolve, gouache on paper; above right: the cleaning cart at the Deauville Hotel, site of NADA

Above: Pierogi, Brooklyn, Seven: John Stoney, Corner Piece #2

Below: Canada, New York, NADA: Joanne Malinkowska, In Search of Primordial Matter, washing machine on perpetual spin cycle

. . .

You've Got Male
Without John Currin and Lisa Yuskavage to serve up their creepy images of big-bosomed naked women, the objects of our attention this year were just about all male.

At Stephen Friedman Gallery, London, ABMB: Jennifer Rubell sculpture of Prince William, left, and a gallery representative. Note the naturalistic pose and coloring of the figure at right, which features a seemingly spontaneous turn of the head and facial expression

Van de Weghe Fine Art, ABMB: Duane Hanson, High School Student, 1990/92, bronze polychromed in oil, approximately life size

Froelick Gallery, Portland, Aqua Art: Stephen O'Donnell, Le Fumeur, acrylic on panel

At Rubell Family Collection, Miami: Charles Ray, painted cast fiberglass mannequins

. . .

You Had Male

Normally you'd just see a specimen like this in a medical lab, but because the artist photodocumented his transition from male to female, well . . .

. . . let's just allow the wall label to speak for itself:

. . .

You've Got Spam

A good ton of it, each cozied in its own knitted jacket with just a soupçon of silver lamé. Eat your heart out, Martha Stewart.

Galerie Chantal Crousel, Paris, ABMB: Haegue Yang sculpture

Detail below

. . .

Best. Makeover. Ever.

Here art history came to photographic life and got made over into a far more fetching couple than Piero's Tuscan duo.

At Robert Mann Gallery, New York: Maria Alche y Ramon Teves, Ushuaia (diptych), 2006

Now if they would only do something about Sr. Arnolfini and his hat:

. . .

Mel, Shut Up Already

He's been going on like this for the past several years.
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At William Shearburn Gallery, St. Louis, Art Miami: Mel Bochner

. . .

Barbie Dream Art Fair

Barbie has had dozens careers, including Canadian Mountie, Paleontologist, Presidential Candidate, and Artist. But this may be the first time that she's had her own booth at an international art fair.

At Regina Gallery, London and Moscow, ABMB: Jonathan Meese. The title of this installation is Schaukel Die Versachlichte Fuhrung Kunst Ins Erzland (Kunst Jenseits)--minus the umlauts, which I don't have on my keyboard. According to my German-speaking friends on Facebook, it translates into something like Rocking the Art of Objectivity into a Law-Free Country.

(No word on how to say "spam cozy" in German, though.)

If I had to guess, these would be Pole Dancer Barbie, above, and Boner Barbie, below. I must say that these are some of the best uses to which the anatomically unstable doll has ever been put

. . .

Most Seductive Images of a Carcinogenic Substance
I'm one of those annoying former smokers who thinks no one should light up within 100 feet of another human being (especially me), but I find these images sexy beyond all logic.

Pae White castle-size tapestries

Above: Kaufmann Repetto, Milan, ABMB

Below: Neugerreimschneider, Berlin, ABMB

. . .

I Don't Care if They're Not Art, I Love Them

I think Lucio Fontana would have agreed with me about the top one. And the bottom one is surely the graffiti grandchild of Joan Mitchell and Frank Stella.

Fence tarps in Wynwood

. . .

Does This Installation Make My Butt Look Too Big?

If there's one thing worse than spending time in an installation looking at yourself in the mirror, it's taking pictures of yourself and then asking people to tell you, "Oh, no, you look fabulous."

Sies + Hoke Galerie, Dusseldorf, ABMB: The Art Kabinett installation by Claudie Wieser. (You can figure out who the blogger in the mirror is)

. . ..

The End

Over and out. Sayonara. Adios. Ciao. Until next year. Maybe.

At the Rubell Family Collection, Miami: Joel Kyack, installation

Last year for the Art or Trash post I got an indignant comment (anonymous, of course) that said in part, "You and your following of Art Moms probably enjoy this sort of conservative "debate" ...but really only a complete idiot would suggest Cady Noland's work might be confused with artless trash. Congratulations on involving the Internet in your personal insecurity and lack of intellectual curiosity."

Well, Anon, I hope you have enjoyed this year's installment of my "personal insecurity" just as much. Noland's beer-can installation is in it again this year, because it's still up at Rubell and it just went so well with pop-top cardigan. That bud's for you. And for the record, I have no children.

That I know of.

Big thanks to everyone who sent me to Miami. I am most appreciative of your help. To all my other friends reading this: If you enjoyed my coverage of the Miami art fairs, or the blog at any other time of year, please consider making a one-time annual donation of $20 (though any amount is welcome) to help support my effort. See the Donate button on the sidebar. Thank you.

2012-01-03T00:01:00.007-05:00

Soie

An Online Solo at Structural Madness

.. Soie 17, 2010, gouache on Arches 140, 22 x 30 inches

Soie, a recent series of gouache-on-paper paintings, in on view the month of January at Structural Madness, a virtual New York City gallery with a geometric point of view. It's my first cyber solo.

While the grid has been the underpinning of my own structural madness for some time, Soie was the very first in a series of works in which I turned the square on its axis. The geometry of the shape is at odds with the freehand nature of its execution, equipoise and fluidity afloat on a cream-colored field.

The solo comes at a wonderful time for me. I am a co-curator, with Mary Birmingham, of a 28-artist exhibition, Textility, at the Visual Art Center of New Jersey in Summit. Textility looks at contemporary art that has a conceptual or material connection to cloth. As a curator, I have not included my work, which otherwise might have been appropriate.

Soie, is up through January 31; you can visit it any time during the month. Textility is up through April 1, and I'll be writing about it occasionally over the next couple of months.

Structural Madness is curated by painter Gloria Klein.

Marketing Mondays: Got Plans?

2012-01-02T02:00:00.002-05:00

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Fair Play, my report series on the Miami art fairs, will resume on Wednesday with a Roundup. Scroll down for the previous posts.
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No, I'm not going to ask you about your resolutions for the new year.

Resolutions get broken and then you feel like crap.

But plans are another story. Plans are a look forward. Sometimes realistic, sometimes a bit pie in the sky, they allow us to take steps to achieve what we would most like to achieve and be where would like to be. What I like about plans is that they're not freighted with the same baggage as resolutions. Plans can change without being broken.

So today's post is a short one with what I hope will be some well-thought-out responses from you.

What are your art plans for 2012?

I can tell you that I plan to cut back on the curating to spend more time in the studio. (I love curating--in my next life I plan to come back as a curator, and in fact I have a curated show that opens on the 13th, more of which next week--but in this life it takes a lot of time away from my painting practice.) I can also tell you that I plan to spend some time archiving images, not a pleasant task but one that I've been preparing for.

I also plan to get back to Europe this year. It's been a while since I was there. I plan to spend about a week in Italy, the Adriatic side this time, and then fly over to Berlin for the annual Gallery Weekend, April 29-31. Dining with some new German art friends in Miami, I learned how excited they were about the event. My American friends (a dealer and a collector) and I planned then and there to rendezvous with them the last weekend of April in Berlin. Sounds like the start of a joke: an artist, an art dealer and a collector walk into a gallery in Berlin . . .If I come up with a punchline, I'll let you know.
.

Of course I'll continue to work in the studio. That's neither a plan nor a resolution but simply a fact of life.

OK, over to you.

Tell us what's on the drawing board, whether for artmaking, career pursuits or art-related travel. Spare no detail.

Boarding up the Tolerable Work

2012-01-01T08:00:00.003-05:00

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Fair Play, my report series on the Miami art fairs, will resume on Wednesday with a Roundup. Scroll down for the previous posts.

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I can't tell if this recent blog comment is spam or simply a message of thanks from someone who translated it from another language using an online translation site. Or maybe it's one of those two Wild and Crazy Guys?
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"This is my earliest opportunity i afflict here. I base so many absorbing baggage in your blog especially its discussion. From the tons of comments on your articles, I guess I am not the one in unison having all the exercise here! board up the tolerable work."

In any case, I intend to keep offering you absorbing baggage in 2012. And may your year be filled with tolerable work.

Joanne

Fair Play: Some Paintings

2011-12-30T01:00:00.005-05:00

The posts so far:

Stuff

NADA

Best. Gallery. Name. Ever.
Pulse

Art? Or Not Art?

Lean Times

Black is the New Black. Again

Art Miami

A Bloggers' Guide to Art Miami

Seven

Peekin' In

Ruth Hiller, §, encaustic on panel, 12 x 12 inches

I’m starting the penultimate post in this Fair Play series with the painting that closed the previous post: §, by Ruth Hiller, at the Conrad Wilde Gallery at Aqua Art. I'm doing so because I want a transition between the materiality of the previous post and the materiality that informs a number of works here.

Hiller's is a quirky piece, by turns cartoony, creepy, scientific, and beautiful. David Cohen,editor of Artcritical, noted the gallery and Hiller’s work, along with mine, this way: “Stand-out exhibits at Aqua included . . . the funky abstractionist stable of Conrad Wilde Gallery of Tucson, Arizona, amongst them the sensual encaustic monochromes of Joanne Mattera and the biomorphic reliefs of Ruth Hiller."
.

So from Hiller’s paintings, with their smooth surface seemingly about to erupt, we go to my chromatic abstractions.

Hiller, left, and Mattera at Conrad Wilde Gallery, Tucson, Aqua Art

My Silk Road 147, 2011, encaustic on panel, 16 x 16 inches

We’re going to stay with small paintings for a bit. There’s a lot of big at the fairs, but the small paintings I saw really held their own. I expect to see smaller work at the smaller venues, but it's always a surprise to see them at ABMB. For instance, this one by Piero Dorazio. De Keyser, of course, I expect to see small wherever they're shown.

Above and below:

Piero Dorazio abstractions, made between 1967 and 1976, at Moeller Gallery, New York and Berlin, ABMB

Steven Baris at Pentimenti Gallery, Philadelphia, Aqua Art

Above and below

Raoul De Keyser, Zeno X Gallery, Antwerp, ABMB . . .

. . . and one more below

Caetano de Almeida, Galeria Luisa Strina, Sao Paolo, ABMB

Sarah Braman, Mitchell-Innes and Nash, New York, ABMB

John McCallister, James Fuentes Gallery, New York, NADA

Liu Wei, Long March Space, Beijing, ABMB

Detail of oil on canvas below

Matthew Antezzo, Klosterfelde Gallery, Berlin, ABMB

Detail of thread grid below

Alexandre da Cunha, unidentified gallery, ABMB

Detail below, of painted deck-chair canvas

Harvey Quaytman, McKee Gallery, New York, ABMB

Detail of oil on canvas below

Rosemarie Trockel, gallery unidentified, ABMB

Detail above of painted stripe on knitted surface

Full view below

Lucio Fontana, a Concetto Spaziale, gallery unidentified, ABMB

Garth Weiser, Casey Kaplan Gallery, New York, ABMB

Detail above, full view below

I liked Weiser's paintings so much I included another one

Detail below

Bjarne Nelgaard, Galerie Krinzinger, Vienna, ABMB

Maryann Unger, watermedia on paper, Maxwell Davidson Gallery, New York, ABMB

Rebecca Morris, Harris Lieberman, Gallery, New York, ABMB

Tomory Dodge, CRG Gallery, New York, ABMB

Charlene Von Heyl, Capitain/Petzel Galleries, Cologne and New York, ABMB

Installation view at Richard Telles Fine Art, Los Angeles, ABMB

Two mixed-media works

Above: Lecia Dole-Recio
Below: Lisa Lapinski

Dona Nelson, unidentified gallery, ABMB

Rainer Gross, Stefan Roepke Gallery, Cologne, Pulse

Detail Below

Alfred Jensen, John Berggruen Gallery, San Francisco, ABMB

Detail below

I love coming upon Latin American abstractionists whose work is new to me.

Alfredo Hlito, oil on canvas, 1954, at Guillermo de Osma Galeria, Madrid, ABMB

Installation below

Alan Shields, Greenberg Van Doren, New York, ABMB

Closer view of individual work below

Josephine Meckseper, Andrea Rosen Gallery, New York, ABMB

Closer view above of the installation below

One more Rosemarie Trockel, gallery unidentified, ABMB

Detail below

BQ Gallery, Berlin, ABMB; artist unidentified

Mark Hagen paintings, acrylic on burlap, China Art Objects, Los Angeles, ABMB

Sigmar Polke at unidentified gallery; Poul Gernes, Galeri Bo Bjerggaard, Copenhagen, ABMB

Next up:

. Not Miami: New Year's Greeting on January 1

. Not Miami: Soie, an Online solo show of my recent gouaches

. Miami Roundup on Wednesday, Jan. 4

. Results of Art? Or Not Art? on Friday, Jan. 6

Big thanks to everyone who sent me to Miami. I am most appreciative of your help. To all my other friends reading this: If you are enjoying my coverage of the Miami art fairs, or the blog at any other time of year, please consider making a one-time annual donation of $20 (though any amount is welcome) to help support my effort. See the Donate button on the sidebar. Thank you.

Fair Play: Stuff

2011-12-28T20:00:00.006-05:00

The posts so far:
NADA
Best. Gallery. Name. Ever.
Pulse
Art? Or Not Art?
Lean Times
Black is the New Black. Again
Art Miami

A Bloggers' Guide to Art Miami

Seven

Peekin' In

William J. OBrien at Marianne Boesky Gallery, New York, ABMB

Installation of glazed ceramic and wrapped fabric forms

One of the great pleasures for me at these fairs is seeing the enormous range of stuff out of which art is made. Contemporary art is comprised of a variety of materials, we know that, but in three or four days at the fairs—more than, say, in a month in Chelsea—you see it all: string, twine, thread, clay, silicone, wax, rubber, wood scraps, wood shims, metal, resins, glass, wire, pins, needles, buttons, stuffing, mattresses, carpet, glazed ceramic, fabric, plywood, rolled paper, glue tiles, boxes, chains, lace--shall I go on?--as well as paint used in the most dimensional ways possible.

And artists do all kinds of largely process-oriented things to these materials. You’ve already seen some of this in the various venue posts, but here’s an opportunity to immerse yourself in process and materiality. Where I had details I included them. Whether you view these details as gilding the lily or the straw that breaks the camel’s back depends on how you feel about materiality as an approach to artmaking and as an esthetic of its own.

El Anatsui at Jack Shainman, New York, ABMB

Pierced and twisted metal from liquor bottle necks

Above and below: Shimmering and fluid, it is so huge it needed two pictures for you to see the whole thing

Fabian Marcaccio at Thomas Schulte Gallery, Berlin, ABMB

Detail below, where you can see pigmented silicone on an

open-weave "canvas" of rope and bungee cords

(All material descriptions come from the wall labels as well as what I observed)

Margie Livingston at Luis De Jesus, Los Angeles, Pulse

If this work resembles particleboard, it's intentional. The artist's goal this year was to was to "make objects out of paint." The detail below shows layers of acrylic paint cut into strips, and short segments of those strips layered into a simulacrum of particle board.

See more on Livingston in my Pulse report

Karin Waskiewicz at Schroeder Romero and Shredder, New York, Pulse

Detail above, full view below: This is a small piece, maybe 16 inches high. The artist has skived into layers of acrylic paint. (My suggestion: Go wax, young woman.) She's also in my Pulse report

Jim Lambie at Anton Kern, New York, ABMB

Detail above, installation view below: Layers of exquisitely painted metal whose corners are folded like paper

At Thatcher Projects, New York, Pulse

Bill Thompson wall sculptures, Robert Sagerman painting made with pointillist daubs of color on linen

Rudolf Stingel at ABMB, gallery unidentified (his work was in four different booths)

This small painting is made from pigmented cast polyurethane rubber compound.

Detail of the pile-like surface below

Anna Betbeze at It Ain't Fair: Materialism, an exhibition in a tent in the Miami Design District that ran concurently with the fairs

Detail above, and full view below, of Betbeze's repurposed materials, the result a painting that suggests paleolithic pelts by way of the 21st Century on the Lower East Side

Two panoramic viewas of It Ain't Fair: Materialism, produced by the Los Angeles-based gallery, Ohwow

Above: looking into the exhibition. Work by Betbeze, left; Sam Falls (tire prints on long sheet of vinyl), center; and Angel Otero (oil paint skins collaged onto resin-coated canvas) on wall right

Below: view of the space at the back of the gallery

Kishio Suga at Tomio Koyama Gallery, Tokyo, ABMB

Installation view above

Surface detail below

Mathias Goertiz at Mary Anne Martin Fine Art, New York, ABMB

This work, of gilded metal on wood, is about 27 x 27 inches. It's as elegant as the Suga work above it is roughewn. I love them both. Detail below

Elliott Hundley at Regen Projects, Los Angeles, ABMB

Talk about being on pins and needles--and extruded polystyrene, plastic, silk, oil paint, metal leaf and found backdrop. Full view below

Tom Burr at ABMB, gallery unidentified (his work was in four different booths)

Blankets are manpulated and tacked to a support.

Detail below

Lucio Fontana at Adler & Conkright, New York, ABMB

This was a suprise. A concetto spaziale in glazed terra cotta

Takuro Kuwata at Tomio Koyama Gallery, Tokyo, ABMB

Glazed ceramic, full view below

William J. O'Brien at Marianne Boesky, New York, ABMB

O'Brien's work opened this post, but I wanted you to get a sense of the installation. Here, looking into the booth at the objects on plywood pedestals

Below: looking around the booth from within

Cathy Wilkes at The Modern Institute/Toby Webster Ltd., London, at ABMB

These two small works, about 8 x 10 inches, are made not only of clay, but of oil paint, lacquer, collage and thread on canvas. They comprise an installation . . .

. . . in which the work below, by Richard Hughes, sits on a pedestal in the middle of a small space. It may look like canvas draped over an object, but it's cast polyester and polyurethane resins, phosphorescent pigments, and acrylic and enamel paint

Esther Klas at Peter Blum, New York, ABMB

I love the forms, aranged in an installation that allowed for perambulation. The sculptures are made of various materials, including aquaresin, wood, and a pigmented surface of undeclared composition

Beatrice Wood at Francis M. Naumann Fine Art, New York, ABMB

So you never heard of Beatrice Wood?

She was the doyenne of the ceramic world, known for her handbuilt forms and lustre glazes, though her oeuvre included a range of mediums. She lived a boho life and died in 1998 at the age of 105

Below: a glazed vessel

Tara Donovan at Pace (I think), ABMB

Donovan's sculpture, about 24 inches high, suggests an undersea coral or a mined quartzlike mineral, as lustrous as one of Wood's glazes. But it's made of thousands of clear pink buttons. Detail below

Erwin Wurm at the Bass Museum of Art

I'm not so keen on his puffy sculptures and other more conceptual projects, but I love what he does with a sweater. Here, it's a knitted wall with two disembodied sweater arms, one of which is shown below

Lynda Benglis at ABMB (shown here at either Cheim & Read, her current dealer, or Paula Cooper, who was her early dealer)

The painting, in encaustic on masonite, is about 30 inches high. It is dated 1967/82

India Lawrence at Tilton Gallery, New York, ABMB

Three pennants of hand-dyed cotton, starch and embossing powder with snap fasteners

Detail below

Angela de la Cruz, Lisson Gallery, London, ABMB

Oil on canvas, is about 72 inches high

De la Cruz is the master of the deconstructed painting, though not everyone agrees with me. Here's a detail of an actual overheard conversation, one button-down guy to another:

"Hey, it's missing its frame. What the?"

"The frame goes around the painting. It's not missing its frame. It's missing its stretchers."

"Why'd they take them off? Now it doesn't hang right."

A Gentil Carioca, Rio de Janiero, ABMB

The entire booth was stuff. Foreground, Maria Nepomuceno crochet sculpture

Donna Sharrett at Pavel Zoubok, New York, Pulse

Two collaged and sewn works. Detail below

Cecilila Biagini at Pentimenti Gallery, Philadelphia, Aqua Art

Painted wood shims assembled into a sculptural painting

Detail below

Marianne Vitale at Zach Feuer, New York, ABMB

Reclaimed wood, about 65 inches high

Michael DeLucia at Eleven Rivington, New York, NADA

Routered plywood

Sergio Sister at Galerie Nara Poesler, Sao Paolo, ABMB

Section of installation with Caixas, painted boxes

Detail of one below

Hadieh Shafie at Pentimenti Gallery, Philadelphia, at Aqua Art

This construction, about 30 inches in diameter (as I recall) is composed of painted scrolls inked in in Farsi

Detail below

Robert Moya at Conrad Wilde Gallery, Tucson, Aqua Art

Moya's work, (almost) full view below right, is composed of glue tiles made by the artist

Installation view of Conrad Wilde Gallery with, from left: Jessica Drenk PVC relif sculptures, Eun-Kyung Suh fabric boxes, Moya construction, Ruth Hiller painting; foreground, Cameron Luft sculpture

Ruth Hiller, S, 2011, encaustic on panel

This biomorphic relief by Ruth Hiller will reappear in the next (and penultimate) post, Some Paintings. With her dimensional painting as the pivot, we'll pick up where we leave off, here in the Conrad Wilde Gallery, and consider more conventionally two-dimensional work.

Coming Friday afternoon: Some Paintings

Next Week: The Miami Roundup, plus the answers to Art? Or Not Art?

In the meantime, in The New York Times Roberta Smith offers an appraisal of John Chamberlain and Helen Frankenthaler, two artists who died within a week of each other recently and who were engaged in innovative use of materials for their time.

Fair Play: NADA

2011-12-26T18:00:00.006-05:00

The posts so far:
Best. Gallery. Name. Ever.
Pulse
Art? Or Not Art?
Lean Times
Black is the New Black. Again
Art Miami

A Bloggers' Guide to Art Miami

Seven