2/28/2023 0 Comments Art view nyThe large-scale print You Can’t Spell Talons Without Salon (2019) features a woman’s arm in a glow-in-the-dark environment that shifts our attention from her body to her nails, jewelry, and the white bird perched on top of her elbow. The eye-catching color photography by Jamaican Canadian artist Daniesha Nugent-Palache immediately attracts the viewer’s eye while walking the fairgrounds. The gallery foregrounds works by artists of the global majority (across African, Caribbean, Indigenous, and Asian diasporic communities) working in Canada. Patel-Brown, which opened during the COVID-19 outbreak in 2020, was one of the many galleries excited to meet with collectors after developing a thorough digital practice for online sales over the past two years. This Toronto-based gallery was in high spirits as it made its NADA New York debut with an impressive booth featuring a variety of artists working across sculpture, photography, and mixed media. With limited size, Anonymous Gallery’s booth delivers an impressive and truly unique experience. That included networking with local New York–based motorcycle communities and partnering with Performance Space, which loaned the lighting and sound equipment, founder and director Joseph Ian Henrikson informed Artsy. This is reflected by the arduous effort needed to restage Rhythm. “The goal of the work is to give the appearance of the action that came before,” the artist told Artsy.Īnonymous Gallery delivers a museum-quality installation within the space of the fair in a presentation that is driven by communal engagement and audience interaction. All of the work reflects Reed’s practice of performance without the body. The six works from that exhibition are featured here, and include several abstract photographs, a video work, and the violently evocative 100 Knives (2021) installation, where knives are stabbed into a wall. The booth is a restaging of Reed’s 2021 solo show “Rhythm” at the Kunsthaus Glarus in Switzerland. Reed captivates audiences with a dazzling installation of Rhythm (2021), which features sleek Ducati motorcycles surrounded by stage lights and speakers. One of Kendra Jayne Patrick’s curated spotlight booths-presented by NADA and TD Bank-is Anonymous Gallery’s solo presentation of Elliot Reed. These paintings and others-a full-frame shot of a plaid skirt, a pixelated interior-encourage this playful pas de deux between viewer and work and reward extended viewing. But as you move yourself to focus the image, it suddenly snaps together. A similar trick is on display in a close-up of a turkey BLT, which becomes so much pointillist noise when glimpsed too closely, a vague vertical construction when seen from afar. The handful of small paintings here (all of which sold in the $8,000 to $12,000 range) were created specifically for the fair, with an eye to placing their simple subjects in dialogue with one another while highlighting the artist’s deft technical abilities.Ī drone shot from a Zillow listing seems to ooze apart as you get close to it, dissolving into green washes of color struck through with gray. Lee takes this humble fabric and spins magic with it, creating photorealistic works based on images she finds online. Jute, the affordable natural fiber that can be woven in coarse burlap, is far from a common surface when it comes to oil painting. Bhow will open a solo show at Rubber Factory’s Lower East Side gallery on May 14th. And whereas those intricate works seem to absorb light, nearby, her finely worked metal sheets, embedded with elaborate patterns, seem to emanate it. Two canvases are shimmering constellations of blue and black-paintings made from minerals like mica, lapis, and obsidian. Meanwhile, Bhow creates works that reflect on her experiences in the Rajasthan desert. “Beauty and craft, these things are domains of the master narrative-those should also be available to artists of color they should be able to dictate what is beautiful.”Īrdeña is based in the Philippines and creates pieces from tarpaulin and house paint that are so densely layered they crack, speaking to the decay of the Earth, while also drawing on traditional Basahan rug making. “Everyone wants to support more diverse voices, but as artists of color, they want there to be a more rounded perspective of what we create,” Tan offered. Mike Tan, owner of Rubber Factory, echoed that sentiment in discussing the works of the two artists he’s showing: Kristoffer Ardeña and Ragini Bhow.
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