Paula Cooper (G10)
With six brick sculptures by Carl Andre and a massive grouping of gouche on paper works by Sol LeWitt, 100 Cubes (1991), which sold to a public European collection for a price in the region of $1m to $1.5m on opening morning, this booth looked fantastic.
Bergamin & Gomide (D4)
This gallery did an extraordinary job of presenting substantial works by the greatest Brazilian artists of the postwar period, all beautifully selected and installed. There was a lovely grouping of small abstract paintings by Mira Schendel (prices ranging from $125,000 to $475,000) installed opposite a major work by Antônio Dias, Baby Enigmatic (1965) ($2m)—a highly significant artist whose work has yet to really register with American collectors.
Francis M. Naumann (D11)
This booth, a playful and serious presentation of Dada and Surrealism‚ was a pleasure to see.
Our Favorite Works of Art
Roger Brown, on show at Kavi Gupta (A16) is an under-sung and underground Chicago Imagist artist who emerged in the 1970s, made wonderful paintings—then disappeared from the market. Gupta has brought some exceptional paintings ($45,000 – $100,000). By the end of the second day, two were on hold for museums and a third, Museum Without Paintings (1979), had sold.
One of the great later sculptures by Louise Bourgeois is on show at Karsten Greve (A6), a self-portrait as an armless St Sebastian made from pink fabric. What’s so wonderful about the work is that though she is martyred, she is happy. Also at Greve is a fantastic galvanized John Chamberlain sculpture. This work, Papagayo, comes from one of his most significant groups of work, made in 1967, when he created five sculptures out of galvanized steel, which were notoriously reported to be sculpture by Donald Judd which Chamberlain had crushed and fired into his own work. Others said the sculptures were made from air-conditioning ducts. In any event, they are some of his strongest forms, whilst also being amongst his few works of no color.
Nate Lowman’s new hurricane works (Irma, Harvey and Maria, 2017) at Maccarone (I6) look fantastic. All three sold by the end of the opening day ($275,000 each).
Paul Sietsema is one of the most enigmatic artists of our time and White painting (2017), an enamel on linen painting that is both representational and abstract, is an exceptional example, on show at Matthew Marks (B4).
A painting by Lucy Dodd at David Lewis (N20) gallery (Jupiter’s Jollity, 2017) stands out as a wonderful example of work by one of the more interesting artists to have emerged during recent years. The work sold as a promised gift to a museum ($125,000).
We love the jewelry made out of crushed beverage cans by Louise Nevelson at Francis M. Naumann (D11).
The circle of rice kernels made out of shiny silver by Rirkrit Tiravanija at Kurimanzutto (F17) is exquisite. The work untitled 2017 (1 kilo of rice) ($95,000) is both as workmanlike as his art usually is and as precious as his work can be—a realization of his ideas within the language of formal sculpture.
As fires rage across Southern California, a triptych by Joe Goode at Michael Kohn (F4) called Forest Fire Painting 71 (1983-86) ($180,000), looks damn good—as much an expression of abstraction as representation.
Ricci Albenda, whose drawings and paintings are on show at Andrew Kreps (C26) is one of the most rigorous artists working today (drawings $18,000-$25,000; paintings $45,000-$65,000). The paintings on show are some of the moving and most painterly paintings we’ve recently seen, including …little lamb, little lamb (blood), 2017, which sold as a promised gift to a museum.
David Salle’s new painting at Skarstedt (C9) feels alive. Salle seems to have amalgamated all of the different ways in which he has created representations over the years into this, his fullest and most mature work. This large painting, Old Bars with Pontiac (2017) ($350,000) has real energy and presence.
There is a wonderful Picabia painting of two clowns, Les Clowns (1935) at Di Donna Galleries (A3), which sold for more than $1m.
The more Gabriel Orozco plays with the imagery that originated in the samurai tree series, the more beautiful, complex and prosaic his works become. Carousel (2017) is a great example on show at Chantal Crousel (D22), where it sold for $375 000.
The new Institute of Contemporary Art, Miami is an impressive and substantial new venue, as is its opening exhibition and the many historically significant works of art in it. But our favorite offsite moment was taking a rest on the sofa in the upstairs corner of the Rubell Family Collection and getting lost in the delectable old fashioned newfangled virtual romance videowork, Osservate, leggete con me (2012), by the inimitably delightfully rigorous Frances Stark.