UNTITLED, San Francisco
January 12, 13, 14, 2018
Palace of Fine Arts
3301 Lyon Street
San Francisco, CA 94123
Glossary Magazine attended the Untitled Art Fair on Saturday, January 13. In our latest Review as Pictures, we highlight some of the works and spaces that caught our eye.
The fair took place in the Palace of Fine Arts adjacent conference center, and like last year included a book store, free posters, radio programming, talks and off-site special events, etc. The cinema space and the ATA (Artists' Television Access) Underground Films Screening Room were excellent reprise from the rest of the fair. For those of you that remember last year's waterfront warehouse location in Dogpatch, you will be comforted by this year's climate control, the tidy booth orientation, and accessibility. The space felt more formal ("serious"), but also more tame; we missed the rawness and energy of last year's fair, which took more architectural and installation risks.
This year has many gems and things to note/remember/honor/watch. Enjoy:
If we had to pick a favorite, it was the Xiao-yang Li's solo presentation of sculpture and paintings presented by narrative projects, London. "The motif of transformation (bodies) or metamorphoses is recurrent in the artist's practice; she often turns to mythological tales as a key point of inspiration." - narrative projects. Her references to mythology, the female form and her use of materials and color are timely, yet timeless.
Classical mythology, vessels, and friezes, and still-lifes are in the ether:
Pictured below, Denny Gallery, (NY); R/SF projects, (SF); onestar Press, (Paris).
Allouche Gallery (NY) featured a group exhibition of still-life themed paintings and sculpture featuring a huge yet satisfying mix of several artists from Los Angeles, New York and Europe including Ivan Alifan, Donald Baechler, Bäst*, Melissa Brown, Mia Brownell, Jonathan Chapline, Rosson Crow*, Nicasio Fernandez*, Nick Georgiou, Joe Grillo*, Evan Gruzis, Thrush Holmes, Paul Insect, Katarina Janeckova*, Royal Jarmon, Emma Kohlmann*, Caroline Larsen*, Inna Levinson, Arkady Lvov, Rafa Macarron, Taylor McKimens*, Erik Parker, Kenny Scharf, Emilie Stark, Menneg, B. Thom Stevenson, Sebastian Wahl, Brian Willmon. (*my picks)
They have a lot of Kenny Scharf, which I am not too keen on, but appreciate his place in the history of what he does (more than Koons). In general the booth was a vibrant selection, fresh with many complex works. You can browse their fair catalog here.
Allouche Gallery, NY, Paul Insect, (L-R) Untitled, Acrylic on raw linen canvas 51.2 x 66.9", 2017; Royal Jarmon "Birds Bread", Acrylic on canvas 48 x 42", 2017; Kenny Scharf, Untitled sculpture 2018, Kenny Scharf "Bouquet De Bugz", Oil on found painting 17.5 x 21.5", 2015; Kenny Scharf Active Still Life, Oil, acrylic, spray paint, diamond dust and glitter on linen, 72 x 60" , 2017-2018.
Other painting/sculpture installations of note:
Interface Gallery, (Oakland); R/SF projects (SF); Freight + Volume (NY); Casemore Kirkeby (SF); Southern Exposure (SF); DENK Gallery (LA).
Non-profit spaces fully representing their artists with a variety of small, affordable works by many artists, and SOMarts standing strong with a politico-action packed booth.
Pictured below: Artadia (NY etal); The CCA Wattis Institute for Contemporary Arts (SF); SOMArts (SF).
We were very excited and impressed by two Norwegian galleries! Pictured below: Prosjektrom Normanns (all the work was incredible, but was very enamored by Ingeborg Kvame acrylic works on fringed raw cotton) and Kunsthall Stavanger featured Lina Viste Grønli, and Judith Bernstein, Margrethe Aanestad, Frode Felipe Schjelderup.
Lastly a nod to artist Charlie Leese's sculpture presented by 100%, which were arranged in different spots of the fair. Seemingly utilitarian, their powder-coated metallic sheen gave away their function as stand-alone things and nothing more. "Charlie Leese’s “Stumps” are sculptures which toe the line between public art and public utility. They have no utilitarian function but masquerade as objects which could – like a hydrant, bike rack, or electrical box. Their vivid, saturated color stands out anywhere but their mysterious forms cloak them from recognition." -statement, UNTITLED
In all, the fair is a fine way to relaunch Glossary. Originally launched in 2016, the magazine went on hiatus shortly after inception; we're glad to be back and talking about art in the Bay Area again. To learn more about Glossary, read our Manifesto/a, or browse our Table of Contents. All images courtesy Glossary Magazine, 2018 unless otherwise noted.
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