(Yes, Im so tired I collapsed into first person)
Once I told a friend that NADA Miami was a fair where a significant percentage of the art looked like a school project. They thought this was an insult. It was, in fact, a compliment.
The comment referred not to a middle school project but an MFA project. There are no copies of copies of copies of bad pop art at NADA or if there are I didn't see it (nary a whiff of reverence for "Mr Brainwash"). There is art that is high concept, that has humor, that is technically brilliant, that is poignant and there are even some pieces that have all of these things. This description also doesn't come close to covering all the variation at Nada, this year and every year. This year may be one of the best editions in Miami.
The photos here are somewhat random. There was a great deal to see, even though the fair isn't massive. 80m2 Livia Benavides (Peru) showed the piece immediately below. I tried to find the name of the artist and the piece but was unsuccessful (I forgot it). If only there was some sort of implement where you could write things down to remember such information.
I can tell you that Raster (Warsaw) showed Skinformer, the second image below, and that it was created by Aneta Grzeszykowska.
It is constructed of leather and wood.
It is unsurprising to find out that her work is held in the collections of the Guggenheim Museum, Pompidou Center, Hammer Museum and Fotomuseum Winterthur (she is a photographer). In 2005 Grzeszykowska showed a collection of family photos with her own image removed from all the pictures. She lives in Warsaw.
Skinformer by Aneta Grzeszykowska
Fortunately there was no need to include them for the name alone. They had some lovely pieces including these two mischievous sculptures. Obviously there is something totemic here and I want to belong to the culture that erects such totems. The artist is Eric Croes and he is another artist bridging the gap between fine art and crafts. In fact the bridge is getting so big there is barely any reason to make any distinction.
Artists like Croes are the reason.
Folks who love art owe artists like him a debt and this is written without an ounce of irony and no tongue in cheek.
These are paintings you cannot take your eyes off.
By Tiago Carneiro da Cunha
Aleksandra Waliszewska (top) & Marta Nadolle (below)
Nadolle's pieces (and not just the one above) made me wonder if I was supposed to be amused or concerned when I looked at the character. The info in the booth said all these are events from the artist's life.
We've all had nights like that.
The booth didn't have information on precisely what medium or technique was used in either piece so a trip to the linked gallery page may be in order if you want to find out more.
The former is one of a series of tapestries made with various techniques and materials at a number of fairs. Some, like this one, tell a story. I confess to not knowing what that story is but I want to. Getting someone viewing your work to think about it and wonder what is behind it? Means something.
Guess what? This is also part of that crossing the boundary from craft to art, the very same border I've suggested barely exists.
Lewis's works, as a series, are among the best GROUP of paintings I've seen. They represent various public liaisons and I am not sure I've ever seen this represented in a similar fashion. There is nothing dark or seedy about the paintings. They are bright. They are joyful. They are a celebration. They made me want to go get a blow job in the park.
The paintings are also large. This one is 78 3/4 x 66 7/8 inches and the others are all of similar size. He uses a mix of acrylic and oil.