Every March, like the migration of strange Monarch butterflies, artists, galleries, collectors, critics and curators from across the globe make New York their destination during Armory Arts Week. From March 7-10, 2013, stationed at the Chelsea Piers 92 & 94 overlooking the Hudson, a hangar’s worth of creativity bustles in the largest NYC art fair. The fair has changed locations since its inaugural 1913 debut – from the East Side to Chicago to the Cincinnati Art Museum to Amherst College – ultimately that its coming back to its roots. The piers at the Armory Show, now designated as Contemporary and Modern, are devoted to showcasing the most important, notorious, and emerging artworks of the 20th and 21st centuries.
My friends Max and Erica enjoy a Pain au chocolat, muffin, Diet Coke and Coffee in the VIP Lounge fitted by Roche Bobois.
The Hudson River on the West Side of the island was once central to to the city’s trade and transportation infrastructure. With the success of the auto industry, American’s reliance on waterways diminished and all-but-halted. Businesses at the piers closed down and many structures were left to decay. The desolate, vacuous spaces could be dangerous territory but also offered temporary homes to various artist projects, the most illustrious, perhaps, being Gordon Matta-Clark’s iconic Day’s End on Pier 52 in 1974.
Samsøn Projects of Boston had a booth arrayed with bongs, Carl Sagan and retail price tag fastener, featuring the works of Todd Pavlisko.
Peter Liversidge’s presented by Ingelby Gallery, London. Etc, 2011, neon. Remember the seen from The King and I? Etcetera, Etcetera, Etcetera!
Destined to be a new Penguin Classic: Love Kicked Me Down (Where I Belong) by Harland Miller.
The “Day’s End” Champagne Bar at the Armory Show Contemporary section. Little did you know that this Pommery Champagne bar is steeped in art history. The special light-bulb sculpture Day’s End, 2013, is site-specific installation by Peter Liversidge that references an eponymous work by Gordon Matta-Clarke on pier 52 from 1974-75; and Marcel Duchamp & Ulf Linde – Posterity Will Have a Word to Say, a special tribute to the 100th anniversary of the 1913 Armory Show, curated by Jan Åman. Drink up.
Cary Leibowitz’s installation from Invisible Exports was a little too on-the-nose with its pessimistic yet honest take on pie charts, cliches and children’s rhymes.
Brian Calvin, Can With A Landscape (Robin), 2009. The otherworldly, martian quality of the artist’s portraits is ominous. Alex Katz’s influence on Calvin seems obviously delightful.