There was a serious
concentration of unknown artists at Scope this year – as it should be. My own
personal theme developed quickly (around text) as I checked out the booths
aware that I was not going to make it to the Armory Show on the convenient
shuttles. What is the need of seeing 600 artists in one day? Better to soak up
one small satellite fair. The highlight was the inflating/deflating Corinthian column
that appeared to be alive and breathing! It was cast rubber from a real building
in Singapore. An uncanny, post-colonialist comment? This unusual piece was only
bested by the life-like chairman Mao stuffed into a glass fronted, Coke
Machine. What a perfect place for a comment on consumerism enveloping all
socialistic mindset. Disturbing ala Italian, artist Maurizio Cattelan or
Japanese artist, Yasumasa Morimuri. The poor woman next to me thought it was a
real human being! She calmed only after I told her it was fabricated from resin,
and not a preserved corpse. Besides, his head was way too big. Another
performance piece exemplified intense work ethic at Gallery G-77. Young,
Japanese artist, Hiroki Tsuchida (b. 1985) was literally, chained to her own
sculpture, a large cartouche shaped mirror. Talk about suffering for your work!
This rubbing of shoulders between neo-concept and unadulterated market forces
made me queazy.
I was
looking for Philadelphia galleries (as usual) but instead found the artist,
Wendy Wolf, now based in Boston. She was showing at Fitzroy Knox Gallery and Scope
for the first time. I’d remembered her images at Mt Airy Contemporary a few
years back; small brush marks morphed into bio-forms that seemed to be living. Unlike water-soluble ink on conventional
paper that sinks in, Wolf’s ink sits on top of the plastic radiograph paper. The
affect emulates radiological imaging (brain scans) giving the work a medical or
scientific resonance. It’s a great twist on the standard premise of the photograph
replacing drawing!
My
preoccupation with assemblage was exemplified by an unassuming piece in a dark
corner by Jeffery Allen Price; a small work of up-cycled cleaning products. He’d fashioned worn out sponges into
States of the U.S. This was a grungy, yet beautiful ode to kitchen grime. More
text showed up at Parlor Gallery of Asbury Park from artist Ray Geary. These
were sweet and affordable, paperweights that read VICE and WANT; made of
money and pills, respectively, encased in clear Lucite. Pop music was
referenced as the afternoon proceeded. At Galleria Ghetta, British artist,
Chris Gilmore’s cardboard replicas of the Beatles’ instruments brought up
several contemporary obsessions. Even more neo-Christian Markley was the die-cut
vinyl record portraits of punk musicians and rock stars by artist, Keith Haynes
at Wolff Gallery, London. Images of those four guys from the Hard Day’s Night album
cover hit the nail on the head. He also used cut out records to spell All You Need Is Love; perhaps a tad arch
but a lot more interesting than merely re-purposing LP’s into bowls and
ashtrays. In another space, a similar piece made by another artist used an iconic
image of Jimi Hendrix composed of colored pills. The druggy metaphor was a little
heavy handed but the execution was effective. It must have been commissioned by
a global pharmaceutical firm.
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