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Amy Feldman

No Paintings for Old Men: I’m Done With Amy Feldman

by RM Vaughan on February 24, 2017
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I have to hand it to NYC-based painter Amy Feldman: not every artist can cause me to temporarily lose the will to carry on writing and the energy to carry on chronicling our bankrupt, post-meaning culture. What, I wondered as I walked around the palatial Blain/Southern Gallery, is the damned point anymore? Confronted on all sides by Feldman’s aggressively vacuous, massive canvasses, I can’t even argue conclusively that Feldman’s work is good or bad. It operates so outside of any qualitative value scale that I understand—as if attacking the very idea of value—that it defeats all rational readings of art or art making. All I can do is respond. And respond I must.

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UNTITLED Takes a Page From Frieze

by Paddy Johnson on December 6, 2012
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If there was ever any doubt that the Frieze art fair’s move to New York would influence fair organizers, Untitled puts the question to rest. The inaugural version of this 43 exhibitor fair mimicks nearly every point of success Frieze achieved, and with favorable results. Frieze’s light-filled tent, spacious booths, waterfront view, and fine catering; it’s all transposed at a smaller scale and near perfect pitch. Only one sticking point remains—the sales—and the jury’s still out on that.

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