Post #423 • December 5, 2004, 8:30 AM • 25 Comments
Back at Art Basel Miami Beach, Bonnard at Aquarella.
At Galerie Lelong, one of the most beautiful Sean Scullys I've ever seen.
George Shaw at Gorney Bravin & Lee.
I found this Christopher Brown at John Berggruen comforting, somehow.
At the NADA Fair I found little to like. I'll bypass going into the sullen gallerist syndrome (although it applied here with remarkable frequency) to issue a ban on the following subgenres, due to habitat-destroying proliferation:
- fussy, whimsical, faux-naif collages and collage-style drawings
- Elizabeth Peyton knockoffs
- knockoffs of Elizabeth Peyton knockoffs
- spawn of Essenhigh
Also, everyone please cancel your subscriptions to art magazines as soon as you can. You've been looking at them overmuch, likely in your studios, and it shows.
They don't relate causally, I know, but at a time when annihlation threatens to strike from all quarters, I find it dismaying that artists seem so generally incapable of rendering anything with gravity. At NADA, amidst a sea of trifles, even relatively slight things stood out, like this painting by Cheyney Thompson at Sutton Lane.
Danica Phelps at Allston Skirt.
Eduard del Rosario at Richard Heller.
Tim Bavington at Mark Moore.
(Nobody sullen got their images up. Thanks, people.)
Afterwards, I went from Snitzer to Ingalls to Locust and found nothing I wanted to record. (The series of portraits of nuns by Michelle Ellzay at Ingalls came close, but lay under glass.) At Snitzer, politics served Robert Chambers poorly, and I don't accept the premise or attitude of Bert Rodriguez's work. Art at Locust failed and failed hard.
And clearly I had become saturated; art began to fall out of my solution. I may see more today, but I can feel that part of my psyche has had quite enough, thank you. I did better this year, finding more to like and not getting cranky until Saturday (a whole 24 hours later than last year), but the time has come to retreat into the studio. Activity in the local art world falls off markedly after Basel, and I look forward to undistracted art-making.