The acrylic painting created in 2022 can be found at the Hauser & Wirth stand.
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(Photo: Fredrik Nilsen; Hauser & Wirth)
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New York The next two weeks will require market participants in New York to be particularly robust. In addition to a packed auction calendar, seven fairs, especially for young and young art from all over the world, attract attention in a rarely seen density.
The art and antiques fair Tefaf (The European Fine Art Foundation) in the Park Avenue Armory is a welcome haven. The small offshoot of the top Maastricht trade fair, which only started in autumn 2016, is the first choice for retailers thanks to the quality of the range on offer and the knowledgeable audience. And artists also find it important to be represented at this fair.
As usual, until Tuesday you can choose from modern and contemporary art, jewels, antiques, some tribal art and lots of design in the armory on the Upper East Side. 91 top international retailers are represented in the Gothic Revival style building.
But a lot has also changed for Tefaf New York since the beginning of the pandemic. She reduced her presence from two events – “Tefaf Spring” for modern and contemporary and “Tefaf Fall” for historical works since antiquity – to a spring edition. Chairman Hidde van Seggelen did not want to comment on the reasons.
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Some vendors from the autumn edition have been integrated into the current offering, including antique dealers Ariadne (London) and Chenel (Paris). “We provide grounding and context,” explains James Demirjian (Ariadne) with a smile. The majority of the exhibitors – 74 to be precise – are content with relatively small stands of identical size in the large parade hall, “easy to set up and refreshingly democratic”, says a dealer happily.
The rest have more space on the first floor in the wood paneled officers’ quarters. But the limited space also encouraged creative solutions. First participant Patrick Seguin (Paris), for example, shows iconic furniture designed by Jean Prouvé and Charlotte Perriand from the Air France building Maison Rouge (1952) in Brazzaville (Republic of the Congo). Chairs that can be dismantled are attached to the wall in their modules.
The sculpture from 1996/97 is one of Mueck’s earliest and most important works. It is offered by Thaddaeus Ropac.
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(Photo: Thaddaeus Ropac)
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As always, paintings take up most of the space. The range is large. It ranges from modern (Landau Fine Art, Montreal) to the recently completed, such as Kehinde Wiley at Sean Kelly. Only a few galleries show individual presentations. Particularly impressive is Teresita Fernández’s site-specific installation around her current work at Lehman Maupin.
The 13 new additions include Gallery Hyundai (Seoul), which was founded in 1970 and shows representatives of the Korean avant-garde of the 1960s and 70s, which is still unknown in the West. In the coming year, she is expected to receive widespread recognition in an exhibition organized by the National Museum of Modern and Contemporary Art, Seoul, and the Guggenheim Museum in New York.
The Galerie Maggiore gam (Bologna) brought Giorgio Morandi’s (1890-1964) delicate still life and landscape paintings into dialogue with the much later monochrome paintings of Ettore Spalletti (1940-2019). He worked in the color palettes of the late Middle Ages and the Renaissance.
Sculptures by Ron Mueck at Thaddaeus Ropac are no easy fare. “Dead Dad” (1996-97) one of his earliest and most important works was first shown in the legendary exhibition “Sensation. Young British Artists” in 1997 ($2.5 million).
Some New York galleries that are rarely seen at fairs present their concerns here: With eight works, Blum & Poe is introducing the newly acquired estate agency of the outsider artist Thornton Dial (1928-2016), who worked with found materials.
David Zwirner also shows famous autodidacts, Martin Ramirez and Bill Traylor. Here they are part of the broad, sometimes eccentric collection of New York entrepreneur Mickey Cartin, which has been in existence since 1980. He was interested in Albrecht Dürer’s copperplate engraving “Saint Eustace” (around 1501) as well as Josef Alber’s “Study for Homage to the Square: Tundra, 1969” or a self-portrait by the Danish painter Peder Krøyer from 1888.
More: Viennacontemporary: Vienna’s art fair is repositioning itself after Dmitry Aksenov’s retirement
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