With a medieval twist, Spring Break Art Show celebrates the eccentric

The Spring Break Art Exhibition is a barometer of New York’s popular art scene and of the creativity bubbling beneath the surface of the commercial art world as a whole. This year’s theme, YES-SAY: HERESIA, stirs up recent concern about the truth, facts and conspiracies. The topic prompted a whole series of participants to explore various themes of medieval inspiration, which was touched upon in the fair’s initial call for applications. The overall vibe seems to capture the fragmented nature of reality these days and the dark, ominous undertones it all suggests.

Michael Sylvan Robinson’s ‘To Ward Off Late Stage Capitalism’ (2021) is one of the textile works that dominated this year’s Spring Break art exhibition.

Some use design and architecture to frame their presentations – a stand organized by David Behringer and showcasing works by Chambliss Globbi, has a real 15th century table in the center, while Cade Tompkins projects, starring artists Bob Dilworth and Nafis M. While, even recreates an arcade of pointed arches that evokes stripped-down Tuscan churches. Others fully embrace embroidery, tapestries and other woven works, including the Jacquard works of Steve Locke at Rivalry, that of Anne Spalter AI-generated plague tapestries, Michael Sylvan Robinson “To ward off late capitalism”Sculptural garment, and Macauley Norman’s spider-shaped works at The spider’s web castle – and these are just a sample dozens of works in this vein. A few even use decorative bread, combining the romanticism of medieval bread-making with a more recent pandemic (Bianca Abdi-Boragi’s excellent bread chair and table is a stumbling block to the Spell life after death presentation by curator Taylor Hansen Hughes, and bread sculptures by Adriana Gallo at Blessed body, curated by Abby Cheney and Hanna Washburn, are a delight).

I kept asking artists and curators why they thought there was a lot of fabric and woven artwork. Macauley Norman had the most convincing explanation when he spoke about spiders, which he uses extensively in his current work presented by Deep space gallery, and how the arachnid repairs its web when damaged (echoing the feelings of pain and stress we’ve all experienced over the past year and a half) and how the repetitive nature of such work can be meditative.

“AND THEN THE WERE THREE” by Kymia Nawabi (2021) was part of a small exhibition organized by Jac Lahav, Tali Hinkis and Jodie Lyn-Kee-Chow entitled The closet: the American dressing room

Over the past decades, woven and knitted works have become part of the growing dominant vocabulary of contemporary art that continues to reexamine the hierarchies of art and authorship. Historically, woven works were not considered authors, unlike paintings, sculptures, and even metalwork, perhaps in part because they were often made by women. Carpets are a good example of these types of objects whose authors have not been recorded, and here the carpet-like works feature prominently in the impressive work of Chiara No. without bellows installation at Field Projects, curated by Kris Racaniello, and in presentations by Emily Oliviera, who exhibits hook rugs in the Spantzo gallery Mimzie and a larger quilt-like artwork in Chris Bors & Fred Fleisher’s Nothing shocking. Is this questioning of paternity one of the things that makes textiles so attractive to artists today?

I can imagine that working with textiles and other soft materials was also appealing to those of us who spent much of the pandemic in cramped spaces, as they are odorless, don’t often involve toxic materials. (unless you dye them) and are easy to store, a constant problem for artists through the ages. While the motivations for doing this type of work are certainly diverse, I can also imagine that being robbed of hugs and physical contact during the pandemic also sparked the desire for such tactile work, as if to overcompensate the continued ban on touching. his entourage. .

There is a wide range of paintings on display, including Kyle hittmeierThe funny and strangely alluring works about Freeports that use post-it and Cayman Islands images, the vibrant designs by Daniel Morowitz and the bold use of color in what appear to be images inspired by mythology, and the beautifully eerie canvases by Bruno Leydet which feel quite intimate and quirky. And since we are in 2021, Mr. Charlene Stevens’s Chapel The exhibit includes a few NFTs for sale, but it’s worth noting that the whole of the digitally inspired show is beautifully cohesive.

Overall, this feels like one of the strongest years for Spring Break, and a celebration of the community that they’ve brought together under one roof and nurtured for about a decade.

“Chasing a Sunset Into Port Francs” by Kyle Hittmeier (2021) is one of the works of Amanda Nedham Collect rusty satellites and he explores the idea of ​​free ports by incorporating images of the Cayman Islands (a site well known for such shadow activities) and post-its
A view of Dogmatic magic, curated by Nicole Basilone and Daniel Morowitz, included works by Nicole Basilone, Daniel Morowitz and Mark Zubrovich
Artist Yachin Chang with some of his humorous still lifes including “Team Work 2, Crushing Garlic” (2020) and “Flash Frozen” (2019), at Queenie Wong Power, speech, image: what is your story?
Paul Gagner’s Sleeping Beauty (2021) is flanked by a work by Chris Lucious at Libby Rosa The last dead, which focused on the use of humor in the social acceptance of death
Works by Ben Blaustein are presented in Blue curtain, curated by Francesca Pessarelli
Impressive presentation of Cade Tompkins Projects, The weaving of fairy tales, with works by artists Bob Dilworth and Nafis M. White
The 15th century table in the center of that of David Behringer Us and them featuring intricate Bosch-inspired art from Chambliss Globbi made with fondant crayons
Anne Spalter’s AI-generated Plague Tapestries, curated by Margo McIlwain Nishimura, in a presentation titled Plague planet
The majestic sculpture “The Alchemist” by artist Jaishri Abichandani (2021) in womanMANTRA by Sadaf Padder, which also included works by Sahana Ramakrishnan and Sanie Bokhari
Chiara No is impressive without bellows installation at Field Projects, curated by Kris Racaniello
The colorful work of Pranav Sood has been featured in I am more than who i am, curated by Ovodova Ekaterina
Artist Macauley Norman (center) and his spider-like works at the Deep Space Gallery’s The Spider’s Web Castle
A view of Chapel, curated by M. Charlene Stevens, and featuring works by Sophie Kahn and Colette Robbins
Adriana Gallo’s bread sculptures at Blessed body, curated by Abby Cheney and Hanna Washburn
Jamie Martinez’s “Permission” at the top of Bianca Adbi-Boragi’s “Hybrid Buffet” (yes, it’s made of real bread on a frame) which integrates the architectural forms of a church transformed into a mosque in Algiers, at Taylor’s Hansen hughes Spell life after death exposure
A view of Indira Cesarine The dungeon, which stars artist Meg Lionel Murphy
A view of “It takes a lot of moving parts to hit the nail on the head” from Stuart Lantry (2020-2021) in Shona McAndrew’s Autonomy, automatons and me
A view of Andrew Craven’s Modern Medieval (An Ode to Marbodius of Rennes) featuring the art of Bruno Leydet
Emily Oliveira “hidden under leaf mold, ferns and mushrooms, a flower as small as a fingernail, white as milk” (2020) in a one-piece exhibition curated by Chris Bors and Fred Fleisher
Sarah Celentano’s Chapel Book of Hours: A Medieval Mediator in a Post-Truth World showcases the work of Phil Buehler and includes some of the QAnon messages that fueled the Q conspiracy theory
The small solo presentation by artist Sarah Bereza was titled “Psillocybic Eucharist” (like this painting) and curated by Ambre Kelly and Andrew Gori.
Jen Catron and Paul Outlaw’s “Slicing Ham (2020/1792)” was a crowd favorite and was the focus of Magda Sawon Slice the ham exhibition, which included a number of small dioramas and sculptures by the artists
Joe Bochynski’s chapel work is something he built in his Bushwick studio during the pandemic. It was part of curator Joe Bochynski’s presentation titled Spolia.
Amy Hill’s “Substance Head” (2012) was one of two artists featured in Feast by Commissioners Kathleen Vance and Daniel Aycock
works by Kimia Ferdowsi and Icy & Sot in Spiritual capital, curated by Zahra Sherzad
A view of Qinza Najm # PleasureRecovered, which was curated by Rebecca Goyettte
Part of Cathie Pilkington: Night trip at sea, curated by Karsten Schubert London
Bucet Savci’s works are organized by Maria de Los Angeles at On the wrong side of the river (pink room)
A view of the exhibition curated by Tomato Mouse, Old mistresses, at school break

The 2021 Spring Break the art exhibition will continue at 625 Madison Avenue (Midtown, Manhattan) until September 13, 2021.

Art fairs always seem to favor and celebrate consumer behavior. But they also give me the opportunity to reconnect, to revisit, to see the work of an artist and to share the radiance of my community.

A comic book artist walking through Spring Break spots a seersucker costume, spiders, and a giant sliced ​​ham, among other curiosities.

Adams finds beauty in the earth and nature through layers of complications, chaos, and daily work.

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