Chrome is perfect for the fairs.
Even by itself, the Armory Show is overwhelming. With the Armory Show’s booths extending to the vanishing point in both directions of Pier 94, it can leave an unsettling impression of endlessness, where everything starts to look the same. And amidst the vastness of this week’s equally-momentous art events (a three-part Whitney Biennial, and the Armory’s satellites), this weekend could use a break of something more human in scale.
Earlier in the day we reported that many visitors were unable to identify standout work at the Armory, despite the buoyant atmosphere. In this post we identify why: Very few works actually stood out. Looking back at the hundreds of photographs we took during our visit, we have very little to say about the work we saw. Thus, our slideshow provides an overall impression of a relatively bland fair, with few high points or low points along the way.
Everyone attending the Armory Show at yesterday’s VIP preview has an opinion on the Armory and fairs in general. “The Armory is back!” declared Monique Meloche of Monique Meloche Gallery. After three years of handwringing over whether the New York-born fair would survive the competition brought to the table by Frieze New York, that question finally seems to be put to rest. The fair is doing just fine.
Last year there was much talk about what kind of desks and chairs dealers used at the Armory. This year, we note the use of floral arrangements at the ADAA mainly for its ubiquity. I took shots of the flower arrangements in just one aisle at the ADAA and came up with more than enough images for a slide show. I should have shot more.