From the category archives:

Art Fair

ΔRMΩRΨ 2013 SΩ ΔRMΩRΨ 2013

by Alex McLeod on March 7, 2013
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[Editor's note: We invited artist Alex McLeod to provide commentary on some of the fairs. His slideshow below.]

LAS YEAR WAS MY FIRST ARMORY SO BY NO MEANS AM I SPEAKING FROM AUTHORITY I KNO THAT. NONE OF MY FRIENDS ARE SHOWING (#FOREVERALONE).

[Slideshow after the jump.]

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Important People Carrying Brillo Boxes at The Armory Show

by Corinna Kirsch on March 7, 2013
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Opening day at The Armory Show was full of art, of course, and important people carrying around Brillo Boxes. In case you missed Wednesday’s box-carrying brigade, here’s our slideshow.

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The Armory Show: The More Things Change, The More They Stay The Same

by Paddy Johnson on March 7, 2013
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An air of something clung to the walls of The Armory Show yesterday afternoon. Sales were uneven, but steady, and the crowds pretty much identical to last year. The mechanics of the fair seemed to be working fine.

And yet, change seemed certain.

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Spring/Break: Slideshow and Commentary

by Corinna Kirsch and Whitney Kimball on March 6, 2013
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“I wouldn’t necessarily say more cutting-edge, but I think it’s awesome,” founder Andrew Gori said at the Spring/Break Art Show conference yesterday morning. That’s about right. Now in its second year, the “curator-driven fair,” in a defunct elementary school in Soho, virtually eliminates art dealers in a community-oriented exhibition of emerging artists and curators.

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Your Guide to Armory Week

by Reid Singer on March 4, 2013
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Even though the hum around Armory week seems subdued this year, visiting half-a-dozen-plus art fairs can in a few days’ time can feel like a week on a Eurail pass. Naive outsiders are treated harshly, the food is unfamiliar and overpriced, and you spend a lot of time snooping around taking pictures. It’s useful to have an index that you can depend on to guide you towards the things that are worth seeing and away from the things that aren’t. A guidebook if you will. Here’s ours.

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The Outsider Art Fair in Review

by Corinna Kirsch on February 6, 2013
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2013 was a good year for the Outsider Art Fair. The fair tripled its attendence, with crowds swelling to 9,500 visitors, up from 3,200 last year. Then, throughout the weekend, critics-of-note Jerry Saltz and Roberta Smith glowingly praised the fair—several times I overheard conversations by dealers dropping soundbites from those articles. Finally, most importantly, work was selling, and selling quick.

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Frieze In-and-Out

by Paddy Johnson and Corinna Kirsch on January 28, 2013
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Frieze New York has released their list of fair exhibitors, so we took the liberty of charting exhibitor movement in and out of the fair. Expect a slightly more upscale fair without much change in size. Their debut last year included 180 “of the most exciting contemporary art galleries working today,” whereas this March,we’ll see “a carefully selected presentation of over 180 of the world’s leading contemporary art galleries.” They can’t expand their tent—it’s apparently as large as legally possible—so the bulk of the changes we’ll see won’t be with the shape of the floor plan, but rather who’s on it.

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The Armory: In-N-Out

by The AFC Staff on January 7, 2013
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Here at AFC we like to carry on traditions worth repeating. One such tradition is Art Market Views’s annual summation of galleries joining and leaving the fairs. Editor Lindsay Pollock is now Art in America’s Editor-in-Chief, so we’re picking up this one up in her absence and, as it happens, just in time for the Armory show.

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Art Fairs: The View From The Top

by Whitney Kimball and Will Brand on December 10, 2012
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What a turd. Reporting from Art Basel Miami Beach, New York Times writer Patricia Cohen gets the exclusively super-rich take on class war. Unsuprisingly, they don’t get what the big deal is.

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Art Basel Satiated, Returns to Lair: All Our News From The Fairs

by The AFC Staff on December 10, 2012
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Like most art fairs, Art Basel Miami Beach is conspicuously unaware of its past. The fair closed yesterday, and already its website header has begun hyping Miami Beach 2013. As an art fair, with its accompanying talks, lounges, and VIP access, it’s something between a market and a luxury brand, and neither markets nor luxury brands have much use for memory. In the business of selling “the very best,” you shouldn’t say whether it’s more or less “best” than last year; this is most true of “the very best price.”

So if you missed it, you missed it, and good luck piecing it back together. Thankfully, AFC is here to help, chiseling snide remarks into the bedrock of history. We went to the fairs and then wrote about what we saw at the fairs, which means this: If you say you saw the things we wrote about, some people will believe that you went to the fairs, yourself. Try it out; it’s fun. When art fairs give you false forgetting, give them false memories right back.

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